In this article, an analysis of Harry Kupfer's (1935-) direction of the musical Elisabeth is given. The musical, a story of about the life of the famous queen of Austria, Elisabeth von Wittersbach (1837-1898) or “Sissi”, is a popular musical in the world nowadays. However, after its first performance in 1992, the work and its direction have varied greatly.The history of musical theatrical productions is relatively short in music history and this genre originated after professional directors had become acknowledged in the theatre world. As for the staging of a musical, it is generally admitted that the first staging is often significant. That is why it is important to analyze Kupfer’s first staging of Elisabeth. Kupfer has played an important role in the practice of Regietheater, where the director is allowed to change the original staging directions and other elements in an opera or play. Therefore, as the director of the first staging of Elisabeth, he made a substantial contribution to the work itself. There are two main themes of Kupfer’s works, the problems of women and the resistance and conflicts that arise from their being under pressure in a male-dominated society. Therefore, the author focuses on Kupfer’s staging of Elisabeth in Vienna from the viewpoint of the oppressed heroine’s resistance to and conflicts with a maledominated society.From this viewpoint, two elements can be found to analyze in the text; one is a crucial scene of many people’s testimonies, and the other is the scene of Elisabeth’s only monologue, ”Ich gehör nur mir”, which is also her first declaration of resistance. Moreover, in order to describe these two elements on stage, two unique sets were used, the “Bridge” and the “Mirror”.The “Bridge” represents the pressure on Elisabeth and the struggle against people’s different meanings of salvation. For example, to Elisabeth it means a release from the restraints upon her in this world, but to the character of “Death (der Tod)”, it means leading Elisabeth to the world of death. The “Mirror” represents a polar relationship of beauty and ugliness. Although it could hurt Elisabeth in her old age, however, she still continues to need the “Mirror” that might reflect her beauty for her own self-confidence. Consequently, Elisabeth could not receive salvation, that is, salvation from “Death” or from the people surrounding her, but instead she continued to struggle against the pressure of living in a male-dominated society. Moreover, by emphasizing this image of Elisabeth through his staging, Kupfer tried to show a kind of salvation, which had meaning only to her: the release from the restraints of this world.
1 0 0 0 OA サブミクロン粒子に対するミゼットインピンジャーの捕集性能
- 著者
- 明星 敏彦 小笠原 真理子 浅井 琢也 松倉 正雄
- 出版者
- 日本エアロゾル学会
- 雑誌
- エアロゾル研究 (ISSN:09122834)
- 巻号頁・発行日
- vol.13, no.1, pp.35-43, 1998-03-20 (Released:2010-02-03)
- 参考文献数
- 17
- 被引用文献数
- 1
This work describes the performance of the midget impinger for submicron aerosols. Collection efficiencies of the midget impinger were investigated numerically and experimentally. Flow fields in the midget impinger were solved using FLUENT, which is a computational fluid dynamics software and calculates RNG k-ε model for intermediate Re number, k-ε model for high Re number, and laminar flow model. Polystyrene latex (PSL) particles ranging from 0.10 to 3.1 μm and monodisperse diethyl-hexyl-sebacate (DEHS) mist ranging from 0.3 to 1.5 μm were aerosolized and introduced into the midget impinger. These theoretical and experimental results show a good agreement. The impinger shows poor performance for submicron particles and bubbling in the impinger contributes to 10% higher collection efficiency for submicron mist particles than that without water filling. PSL particles larger than 0.6 μm show bounce off the bottom surface of the impinger.