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trivial changes to their esthetics. As is the case in real life, theater presents a field of different types of interpreta- tions especially in Lebanon. A multifaceted social structure and the civil war are two factors of in- tluence on theater. During the Lebanese civil war (I 975-1990), Beirut was divided into two areas separated by a demolished downtown with in- ternal frontiers sustained by snipers' bullets and militias' bombs. The outcome of this situation was a demographic division of the Christian 11 THEATER IN LEBANON and Moslempopulations respectively

Note on illustrations and copyrights All blogs from my main sample (Beirutiyat, Hanibaael, Jou3an, Maya’s Amalgam, Ninar and Liliane’s blogs From Beirut With Funk and Incoglilo) are licensed under Creative Commons Attribution-Noncommercial 3.0 Licenses, except Plus961, who kindly agreed to allow me to use images from his blog. Additional blogs from which I use screenshots as ‘scientific citations’ (in chapter 6 and 8) are licensed under Creative Commons Licenses (Farfahinne 2.0, Hummus Nation 3.0, Trella 3.0). The header of the Lebanese blog

Youth (Weltorganisation der christlich-orthodoxen Jugend) UCAL – Unión Cultural Argentino Libanesa (argentinisch-libanesische Kultur- vereinigung) WLCU – World Lebanese Cultural Union (weltweite libanesische Kultur- vereinigung)

»Playing music saved us from going nuts« Childhood Trauma and the Sound Works of Beiruti Artists of the Civil War Generation THOMAS BURKHALTER »Yes, I have a trained ear. I know if some- one is lying from the tone of his voice. I learned this from listening to our politi- cians« JOELLE KHOURY, PIANIST (2006) In 2006, the night before the war between Israel and Hizbullah started, I sat in an Italian restaurant in East Beirut. With me were Cynthia Zaven, a Lebanese pianist and composer, and Catherine Cattaruzza, a Beirut based graphic designer

Geogra- phy Handbook. London: Sage. Argyris, C., Putnam, R., Smith, D. (Hg.) 1985: Action Science: Concepts, Methods, and Skills for Research and Intervention. San Francisco: Jossey-Bass. Asmar, C., Kisirwani, M., Springborg, R. 1999: »Clash of politics or civilizations? Sectarianism among youth in Lebanon«, in: Arab Studies Quarterly 21 (4), 35-64. Austin, J.L. 1955: How To Do Things With Words. William James Lectures. Hg. von Urmson, J.O., Sbisa, M. Cambridge, MA: Harvard University Press. Aziza, M. 1987: al-islam wal–masraÎ [Islam und Theater]. Riyad: Oyoun al

A Critique of Religious Sectarianism through Satire A Case Study of Lebanese Rap FERNANDA FISCHIONE INTRODUCTION Lebanon has experienced many collectively significant events during the past six years (2012-2018: popular peaceful protests in the wake of the so- called Arab Spring, with people demanding the end of sectarianism and the disarmament of Hezbollah; a major political anomaly such as the lack of a President of the Republic from 2011 to 2016; a massive increase in population due to the arrival of more than a million Syrian refugees

Appendix BIBLIOGRAPHY Abbas, Faisal. 2011. “Lebanon finally gets its Twitter Dawn.” Huffington Post, No- vember 14, 2011; ets-its-_b_1083923.html, accessed November 23, 2011. AbiYaghi, Marie-Noëlle, Myriam Catusse and Miriam Younes. 2016. “From isqat an-nizam at-ta’ifi to the garbage crisis movement: political identities and anti- sectarian movements.” In Lebanon Facing The Arab Uprisings: Constraints and Adaptation, ed. Rosita Di Peri and Daniel Meier. London: Palgrave Mac- Millan, pp. 73

„zu einem zweiten zu Hause“ geworden: „Among them were P.L.O. combatants, cadres, and leaders who had been obliged to move to Lebanon after the P.L.O.’s expulsion from Jordan in 1970-71 and had established or begun their families there. In this cosmopolitan city they joined tho- se of their countrymen who had first arrived in Lebanon in 1948-1949 as refugees, as well as political exiles from all over the region who had made Beirut their home. There were many others there who were there by choice. Over the years, members of the growing Palestinian bourgeoisie

network of temporary collaborators in Lebanon. However, with this project, El Khoury and Saksouk open up their collaborative structure by integrating artist Petra Serhal2 in a different capacity in the process of making and performing the work: “In this project, we have kind of blurred the lines between researcher, performer, and producer. We were all doing everything together, and just at different points in the project, one was taking more the lead in one discipline more than the other, but we were doing the work collectively. It was an experiment. Because

research. »On Top of it,« fawq d-dakki (Example A) The first thing we notice about the play is its popularity. The number of spectators reached sometimes 3000 spectators for the one show, which is quite high with respect to other plays. It belongs, hence, to the »Popular Theater,« 1 whose success criteria are the high number of audience. The play is not presented in a permanent theater house. It is tuming from one place to the other, mainly in South Lebanon, where it finds the most audience. The shows did not take place every night, but they were organized and