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Ailes was credited with the "Orchestra Pit Theory" regarding sensationalist political coverage in the news media, which originated with his quip: If you have two guys on a stage and one guy says, "I have a solution to the Middle East problem," and the other guy falls in the orchestra pit, who do you think is going to be on the evening news? [19]
An orchestra pit is an area in a theatre (usually located in a lowered area in front of the stage) in which musicians perform. The orchestra plays mostly out of sight in the pit, rather than on the stage as for a concert, when providing music for forms of theatre that require it (such as opera and ballet) or when incidental music is required
Orchestra or Orchestra Pit: In productions where live music is required, such as ballet, folk-dance groups, opera, and musicals, the orchestra is positioned in front and below of the stage in a pit. The pit is usually a large opening ranging from 4–6 feet (1.2–1.8 m) wide, 20–40 feet (6.1–12.2 m) long and 6–10 feet (1.8–3.0 m) deep.
A pit orchestra is a type of orchestra that accompanies performers in musicals, operas, ballets, and other shows involving music. The term was also used for orchestras accompanying silent movies when more than a piano was used. [ 1 ]
Jeffrey Ravel's recent work, which is a cultural history of The Contested Parterre: Public Theatre and French Political Culture: 1680-1791, is the first scholarly study devoted to writing the history of the parterre. The significance of the parterre for Ravel is how it functioned as a critical segment of public opinion in an absolutist state ...
Declared a "genius" by some and a "disease" by others, his music is widely performed, but his views on religion, politics, and social life are debated—most notably on the extent to which his antisemitism finds expression in his stage and prose works. The effect of his ideas can be traced in many of the arts throughout the 20th century; his ...
Noise: The Political Economy of Music is a book by French economist and scholar Jacques Attali which is about the role of music in the political economy.. Attali's essential argument in Noise: The Political Economy of Music (French title: Bruits: essai sur l'economie politique de la musique) is that music, as a cultural form, is intimately tied up in the mode of production in any given society.
A strong relationship between the arts and politics, particularly between various kinds of art and power, occurs across historical epochs and cultures. As they respond to contemporaneous events and politics , the arts take on political as well as social dimensions, becoming themselves a focus of controversy and even a force of political as well ...