Titlebook: Stage Designers in Early Twentieth-Century America; Artists, Activists, Christin Essin Book 2012 The Editor(s) (if applicable) and The Aut

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GRIEF

2947-5767 es on the page, stage, and beyond that helped American audiences see the everyday landscapes and exotic destinations from a modern perspective.978-1-137-49664-5978-1-137-10839-5Series ISSN 2947-5767 Series E-ISSN 2947-5775

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Stage Designers in Early Twentieth-Century America978-1-137-10839-5Series ISSN 2947-5767 Series E-ISSN 2947-5775

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Ancillary

The Designer as Author,g artists with a “dramatic imagination,” the ability to help spectators see more beauty in the mind’s eye than on the literal stage, to lift them to a place of poetic contemplation and heightened awareness. Jones published a compilation of his lectures in . (1941) in which he directly hailed young a

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The Designer as Cultural Critic,Here we are, I thought, after thirty years, face to face with the old conflict between realism and imagination in the theatre.”. For Jones, “Belascoism”—the wholesale insertion of “real” items onstage to represent “real” locations offstage—was the antithesis of an imaginative design process that emb

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Christin Essinimum temperature (38.9 °C) was found in LCZ 1, and the lowest maximum temperature (29.9 °C) was observed in land cover LCZs. Subjective assessment showed that compact or high-rise settings were associated with warmer thermal sensations reported by the respondents. The relationship between the level