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  • 1
    AV-Medium
    AV-Medium
    Between midnight and dawn (2021)
    Details
    UID:
    kobvindex_ZLB34849332
    Format: 1 Blu-Ray-Disc (89 min + Bonus) , 1,37:1
    Note: High Definition remaster , Orig.: USA, 1950 ; renewed 1977
    In: Columbia Noir, [London], 2021, #3., (2021)
    Language: English
    Keywords: Film ; Kommentar
    Library Location Call Number Volume/Issue/Year Availability
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    AV-Medium
    Berlin VÖBB/ZLB get availability status
  • 2
    Online Resource
    Online Resource
    Sound Design: Pirates In Promenade / (2011)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716419702883
    Format: 1 online resource (5 pages)
    Series Statement: Performance Design Archive Online
    Content: Personal accompaniment, promenade-style staging and new arrangements all factored into the sound of Chicago-based Hypocrites' unconventional production of the Gilbert and Sullivan operetta 'Pirates of Penzance.' In an interview, sound designer Mikhail Fiksel discusses various sound aspects regarding the show.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 24 no. 3, March 2011, pp. 32-34, 36-37
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 3
    Online Resource
    Online Resource
    Sound Design: Rocking "Lysistrata Jones" / (2012)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716424702883
    Format: 1 online resource (3 pages)
    Series Statement: Performance Design Archive Online
    Content: For three decades as a sound designer, Tony Meola has traveled across America and Europe working on dramas and musicals alike. Recently, he has lent his talents to the comic musical 'Lysistrata Jones,' a reinvention of Aristophanes' play 'Lysistrata.' The production only lasted a few weeks on Broadway. In an interview, Meola discusses his involvement.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 25 no. 3, March 2012, pp. 10, 12
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 4
    Online Resource
    Online Resource
    Sound Design: Miking "Billy Elliot" / (2009)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716430602883
    Format: 1 online resource (2 pages)
    Series Statement: Performance Design Archive Online
    Content: Sound designer Paul Arditti is interviewed with a focus on the microphones for the musical 'Billy Elliot,' beginning with the original production in London, England, and the New York City transfer. Arditti comments on: the Sennheiser 5012s wireless mics & the DPA 4061 mic heads; the most difficult sequence to design the sound for; foot mics; and the equipment he is using to mix the show.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 22 no. 6, June 2009, pp. 12-13
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 5
    Online Resource
    Online Resource
    Sound Design: Modernizing a Classic / (2009)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716422402883
    Format: 1 online resource (4 pages)
    Series Statement: Performance Design Archive Online
    Content: Dan Moses Schreier, the sound designer for the revival of Stephen Sondheim's musical 'West Side Story,' is interviewed. Schreier discusses: his philosophy for designing the show; his modernization of its sound design; the microphones and transmitters he used for the actors; the double microphones for cast members; the size of the orchestra and its sound system; the main audio issues of having percussionists perform in the mezzanine boxes; and his live engineer Lucas Indelicato.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 22 no. 11, November 2009, pp. 20-23
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 6
    Online Resource
    Online Resource
    Sound Design: Stay Cool / (2008)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716423002883
    Format: 1 online resource (3 pages)
    Series Statement: Performance Design Archive Online
    Content: With a rock 'n' roll background, sound designer John Shivers, who played in several bands, has learned about diversity and adapting to ever-changing situations. All of his studio and touring experience dovetailed into the theater work that is now his life's work. In an interview, Shivers discusses: using microphones on all of the actors appearing in Debbie Allen's Broadway revival of Tennessee Williams' 'Cat on a Hot Tin Roof'; using microphones in the back area of the stage; which consoles, effects, microphones and transmitters he used; the biggest challenge in working on the show; how working on 'Cat on a Hot Tin Roof' was different from his work on 'The Little Mermaid'; the involvement of Allen with the sound design; working with associate sound designer David Patridge; and future projects.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 22 no. 6, June 2008, pp. 10-11
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
    BibTip Others were also interested in ...
    Online Resource
    FU Berlin
  • 7
    Online Resource
    Online Resource
    Sound Design Cue Sound Here / (2008)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716426202883
    Format: 1 online resource (2 pages)
    Series Statement: Performance Design Archive Online
    Content: While he normally tackles larger productions, Acme Sounds Partners designer Nevin Steinberg jumped on board for the Broadway musical '[title of show]' and found unexpected challenges in helping the show leap to the Lyceum Theatre without losing the profundity and intimacy that endeared it to audiences during its Off-Broadway runs. In an interview, Steinberg discusses how he got involved in the show, the number of microphones and what kinds of microphones, the sparing use of sound effects, what kind of console he is using for the show, his thoughts over whether producers in the face of over-the-top spectacles are losing sight of the fact that without a good story they do not have a show, and what he learned from working on the musical.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 21 no. 11, November 2008, pp. 18-19
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 8
    Online Resource
    Online Resource
    Sound Design: Volley Up / (2007)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716424602883
    Format: 1 online resource (2 pages)
    Series Statement: Performance Design Archive Online
    Content: Sound designer Paul Charlier is interviewed with a focus on his work on director Michael Blakemore's Broadway production of Terrence McNally's 'Deuce,' in which he creates the illusion of a live tennis match during the performance. Charlier discusses how the tennis volleys have a rhythm that varies in a similar way that music does throughout the show, creating the design for the tennis match without the benefit of seeing the actual tennis players, and creating the sound from elements of tennis hits as well as other percussive elements, his equipment, and other topics.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 20 no. 9, September 2007, pp. 20-21
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 9
    Online Resource
    Online Resource
    Sound Design Back in Time / (2008)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716425702883
    Format: 1 online resource (2 pages)
    Series Statement: Performance Design Archive Online
    Content: An interview is provided of sound designer Scott Lehrer, who won the very first Tony for Sound Design of a Musical for his work on the Lincoln Center revival of Richard Rodgers and Oscar Hammerstein II's 'South Pacific,' presented in the Vivan Beaumont Theater in New York City. Lehrer describes how he used wireless mics in the production, the sound console and interfaces used, sound effects that were needed, and the challenges he faced, including working with an opera singer and miking the orchestra. He also comments on how the musical was originally miked in 1949 and how miking has altered the way in which performers can sing, focusing specifically on opera singer Paulo Szot and the adjustments he made in his singing style.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 21 no. 8, August 2008, pp. 18-19
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
  • 10
    Online Resource
    Online Resource
    Sound Design: A Tale of Two Sound Designers / (2008)
    [Place of publication not identified] :[publisher not identified],
    Details
    UID:
    edocfu_9959716428302883
    Format: 1 online resource (2 pages)
    Series Statement: Performance Design Archive Online
    Content: The Broadway production of the musical 'A Tale of Two Cities' closed on November 9, 2008, due to a mixed critical reception and the economic downturn, but the producers plan to mount a touring production. The show is unusual for its two-level sets that are rolled around, but also in that its sound was designed by two industry veterans, Carl Casella and Domonic Sack. Casella, in an interview about the production and the sound design, comments on the challenges of a show where the music never stops and on miking the dialogue in such a way that it did not sound miked, on the advantages of using a new Midas console for the show, and on the complexities of the setup for stage monitors, with regard to placement and to assist the singers to stay in time with the orchestra.
    Note: Title from resource description page (viewed October 11, 2017). , In English. , Original language in English.
    In: Stage Directions, Vol. 21 no. 12, December 2008, pp. 16-17
    Language: English
    Keywords: Periodical article
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    FU Berlin
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