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 Deutschlands" / SPD). As a student he financed his studies by working as a journalist. He was already writing for left of centre newspapers such as the , for Breslau's Sozialistische Arbeiterzeitung and for the young persons' newspaper, Junge Pioniere. His principal journalistic focus was on the arts and culture. The early 1930s were years of surging political tensions.The German-Jewish Hiker League was dissolved in Easter 1932 as a consequence of increasing tensions between right-wing nationalists and socialist member. Later that year Blackstein joined the "Free German-Jewish Youth" ("Freie Deutsch-Jüdischen Jugend") group, which was concerning itself with educating Jewish youngsters on the merits of socialist approaches and attitudes. The political tensions of the times were also reflected inside the  Social Democratic Party (SPD). Towards the end of 1931 Max Seydewitz was one of several SPD members expelled from the party for breaches of party discipline. Those excluded responded by setting up the Socialist Workers' Party ("Sozialistische Arbeiterpartei Deutschlands" / SAPD). Seydewitz was a local man, and Blachstein reacted by switching from the SPD to the new SAPD. In Dresden he established a youth wing for the SAPD.He was also entrusted with what was termed, in the spirit of the time, Agitprop work in the Dresden area, and it was in this context that he set up a political cabaret group called "Die Nebelspalter" (loosely "The fog destroyers") which campaigned for the SAPD in the two general elections of 1932. (The SAPD was not very successful electorally, however.) Although the focus of his journalistic work remained on the arts, he was also writing in support of the fight against the introduction of military sports ("Wehrsport") and of voluntary labour service ("Freiwilliger Arbeitsdienst") which the government was promoting as a remedy against the very high levels of unemployment which accompanied the economic depression that had been triggered by the Wall Street Crash back in 1929. Nazi Germany
The political backdrop changed rapidly after the Nazi power


type: original

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 seizure in January 1933. The new government lost very little time in transforming Germany from a democracy into a one-party dictatorship. <mask> initially remained in Dresden as a member of the city's SAPD leadership group. His political activity was now illegal.Responding to an SAPD leafleting operation, between 1 May and 8 May 1933 approximately 90 SAPD activists were arrested. <mask> was one of them. He was taken to Dresden Jail where his interrogation involved serious physical torture. On 28 February 1934 he was transferred from Dresden Jail to Hohenstein Concentration Camp, where he remained till August 1934. Later he would use his experience from the inside of the Nazi prison system in a theater play "Ein Prozeß" ("A trial"), published and first performed in Oslo in 1938. The old president's death, in August 1934, was marked by a fourth so-called Hindenburg Amnesty. <mask> was among those released.However, he was forbidden to work and, after returning to Dresden where he now lived with his parents, he was kept under police surveillance. He remained keen to continue with his political activity, but this was not a realistic option as long as he remained in Dresden. At the end of 1934 he had a meeting with the national leader of the SAPD leader, Walter Fabian (still sometimes in Germany, but now "underground"). Fabian's advice was that if he could find no way of working in Germany he should go abroad. <mask> was at an increased risk of arrest as long as he remained in Germany because his Jewish provenance was a matter of public record. In January 1935 he fled to Czechoslovakia, where by now Fabian himself was based. He remained in contact with the  SAPD leadership, from whom he received an instruction, in July 1935, to relocate again, this time travelling via Gdingen and Copenhagen to Oslo, Norway.Exile
He arrived in Oslo in August 1935. He was given a post as a secretary with the "International Bueau of Revolutionary Youth Organisations" ("Internationalen Büro revolutionärer Jugendorganisationen" / IBRJ), a combined grouping that linked member organisations

masks:
Blachstein
Peter Blachstein
Blachstein
Blachstein


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 of the "Socialist Youth International", and essentially, for many purposes, an exiled continuation of the Socialist Youth League of Germany ("Sozialistischer Jugend-Verband Deutschlands" / SJV). The IBRJ operated under the auspices of what was known, at this time, as the "London Büro". The Oslo affiliate was led by Willy Brandt, with whom <mask> was able to build a relationship of mutual trust. The two men worked closely together. One of <mask>'s principal jobs involved producing the International Youth Bulletin ("Internationalen Jugend Bulletin""). He was also entrusted with organising and implementing a theoretical training programme for the IBRJ, designed to help create a united front against fascism.It was only several years later, after Stalin's political purges and his own more personal experiences of Stalinist communism in action during his time in Spain, that <mask> would become implacably opposed to any sort of political alliance with the communists. In the summer of 1936 <mask> travelled to Paris, by now a principal centre for exiled left-wing German politicians. Here he met up, again, with Walter Fabian. He also went to Brussels where he took part in an international worker's congress of opposition to war. The war that preoccupied the congress was the Spanish Civil War which had erupted suddenly in the middle of July 1936. During the course of the congress it was determined that the Oslo IBRJ office should relocate to Barcelona. This was the context in which, in November 1936, as the Oslo IBRJ secretary, <mask> moved to Barcelona.Spanish Civil War
In Barcelona he joined the Spanish Republican Army and the POUM ("Partido Obrero de Unificación Marxista" - a Spanish Communist Party). He became a member of the executive committee of the POUM and also served a leading role in producing propaganda for the POUM and for the exiled SAPD. His was given the rank of lieutenant in a "shock battalion", but sources indicate that he was kept away from the actual fighting. Inside the SAPD, the first part of 1937 saw an intensification of differences over attitudes to

masks:
Peter Blachstein
Blachstein
Blachstein
Blachstein
Peter Blachstein


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 a possible political party of the united left or a Popular front, and more precisely over the party's approach to the Soviet Union. The differences led to <mask>'s exclusion from the SAPD. Others excluded at the same time included his political mentor Walter Fabian and Erwin Ackerknecht:  the three became the focus of a short-lived political grouping known as "Neuer Weg" ("New Way"). <mask> was also affected more directly by the intense political tensions radiating out from Moscow, based on Stalin's suspicions - not entirely unfounded - that there might be comrades in the Soviet Union and further west in Europe who favoured an alternative Soviet leader.The POUM, of which <mask> was a member, backed a broadly Trotskyite vision for a communist future and its members therefore became targets for Soviet agents. In June 1937 <mask> was arrested in Barcelona by communist secret police and accused of spying for Franco and working for the Gestapo. With approximately 100 other foreign detainees he was taken to a large garage which had been adapted for use as an ad hoc prison. Because of the appalling hygiene  he soon fell ill with Tuberculosis, as a result of which he was transferred to a sanatorium controlled by anarchist comrades. Helped by Spanish friends, in January 1938 he succeeded in escaping back to France. Return to Scandinavia

In France he met up with Walter Fabian and started working for Fabian's newspaper department. However, short of money and still in poor health, he quickly decided he would be better advised to return to Oslo.After a period recovering from an operation in connection with his Tuberculosis, he started working in the secretariat of the International Labour Front Against War which had been jointly created in September 1938 by the (Dutch) Revolutionary Socialist Party, the (British) Independent Labour Party, the (Spanish) POUM and the (exiled German) "Neuer Weg" group. The new organisation's purpose was to gather and disseminate information about the Spanish Civil War. In the April 1940 Norway was over-run by German troops. Blackstein fled to

masks:
Peter Blachstein
Blachstein
Blachstein
Blachstein


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 Sweden where he was initially interned for several months, before being given permission to live in Uppsala. In his Swedish exile he found time to refresh his college studies, revisiting topics in Economics, History and Literature. He also found work as a journalist. Along with that he was able to stage several plays by Danish authors.Working with an Uppsala University student theatre group he was deeply involved in the translation and production of several plays by Bertolt Brecht. On top of that, in 1943 he was employed by the Racial Biology Institute at Uppsala University as a lecturer and archivist. On the political front he was also an active member of the Swedish-based group of German trades unionists (" Landesgruppe Schweden der Auslandsvertretung der deutschen Gewerkschaften (LDG)"). Within the LDG he opposed the mainstream view, manifesting a certain  mistrust of the motives of the allied powers. He was also uncompromising in his opposition to any whisper of a united front between communist elements and social democratic elements in the LDG. War ended, formally, in May 1945. <mask> remained in Sweden till the early summer of 1947, working in Stockholm as secretary to the International Rescue and Relief Committee (IRRC).A central part of his work involved organising the sending of food parcels to Germany. (He continued to work for the IRRC even after his return to Germany.) New beginnings
In February 1945, a large part of Dresden had been destroyed, and after May 1945 his home city was part of a large chunk of what had been central Germany that found itself administered as the Soviet occupation zone. When he returned to occupied Germany on 6 or 27 May 1947 he settled not in Dresden but in Hamburg, at that time administered as part of the British occupation zone. This meant that after 1949, when the occupation zones were relaunched as the US Sponsored German Federal Republic (West Germany) and the Soviet sponsored German Democratic Republic (East Germany), <mask> was based in "capitalist" West Germany. In the western occupation zones a return to a

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Blachstein
Peter Blechstein


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 multi-party political structure was being implemented, and <mask> joined the Social Democratic Party ("Sozialdemokratische Partei Deutschlands" / SPD), while supporting himself successfully as a free-lance journalist. He soon obtained a post with the Hamburger Echo as Feuilleton editor.Shortly after this he was elected to chair the local Hamburg-Eimsbüttel  SPD. He continued to serve as a member of the regional party executive between 1948 and 1976. He also had an ambition to become involved in national politics, and in 1949 stood successfully for election to the Bundestag. He remained a member for nearly two decades, till October 1968. Between 1954 and 1968 he was a member of the party leadership team in the assembly, and increasingly focused on foreign policy issues, serving as the Home Affairs and Foreign Policy committees. He was a member of the Inter-Parliamentary Union and of the advisory council to the Western European Union. In terms of political philosophy he remained on the left-wing of the party and was accordingly critical of the Godesberg Program, although his criticism was more rigorously analytical than politically beguiling, and his approach failed to generate widespread support.Between 1955 and 1968, he was a member of the administrative council of the broadcaster Norddeutscher Rundfunk. He also took a particular concern in refugees, founding the German Committee for Spanish Refugees in 1958. After parliament
In May 1968 <mask> resigned from the Bundestag in order to take up an appointment as West Germany's ambassador to Yugoslavia. In June 1969 poor health forced him to retire from the position, however. After a period of recuperation his health improved, and between 1970 and 1972 he found himself working directly for Willy Brandt, employed as an officer of the Government Press Service. After this, till his death of 4 October 1977, he again worked as a free-lance journalist. Personal
<mask> seldom mentioned his family in public, or even privately with friends.He had a brother and a younger sister. <mask> himself was a committed atheist who

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Blachstein
Blachstein
Peter Blachstein
Blachstein


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 could never understand how a national government could simply decide who was Jewish and who was not:  he robustly rejected the conflation of race and religion. He came from a humanist background. However, the German government under Adolf Hitler took a different view, and the identification of his family as Jewish placed them at increased risk when Nazi antisemitism became an underpinning of government policy. <mask>'s parents spotted the dangers in good time, and while <mask> remained in Europe his parents and his two siblings emigrated to the United States. From here they successfully rescued at least some of their assets from Germany, which a couple of years later would have been impossible. In the 1950s <mask> began making regular visits across the Atlantic to see his family.His sister pursued a successful career as an academic. His brother took over the delicatessen that their parents had started. The brothers were not on particularly good terms:  <mask> nevertheless  liked to serve his friends "Blachstein delicacies" from the family shop, which he had brought back from his latest American trip  ("Blachstein Gewürze, alle mitgebracht aus Amerika"). <mask> never married. His fiancée was killed, in barbaric circumstances under the Nazi régime. See also
 Germany–Yugoslavia relations

References

1911 births
1977 deaths
Politicians from Dresden
Social Democratic Party of Germany politicians
Socialist Workers' Party of Germany politicians
Spanish people of the Spanish Civil War (Republican faction)
Spanish military personnel of the Spanish Civil War (Republican faction)
Jews in the German resistance
Exiles from Nazi Germany
German expatriates in Norway
Refugees in Norway
Refugees in Sweden
Hohnstein concentration camp survivors
Members of the Bundestag for Hamburg
Members of the Bundestag 1965–1969
Members of the Bundestag 1961–1965
Members of the Bundestag 1957–1961
Members of the Bundestag 1953–1957
Members of the Bundestag 1949–1953
Ambassadors of West Germany to Yugoslavia
Members of the Bundestag for the Social Democratic Party of Germany
20th-century

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Blachstein
Peter Blachstein
Blachstein
Peter Blachstein
Peter Blachstein


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<mask> (Serbian Cyrillic: Мира Траиловић; née Milićević; 22 January 1924 – 7 August 1989) was a Serbian dramaturg and one of the most distinguished theatre directors in the history of Serbian and Yugoslav theatre. A pioneer of the avant-garde theatre in Eastern Europe, she was one of the founders and a driving force behind the Atelje 212 theater and BITEF, one of the most important European theatre festivals

Early life and education
Born <mask> on 22 January 1924 in Kraljevo, in central Serbia, she was raised by intellectual parents both of whom were professionally involved with French language. Her mother Radmila Simić (1894-1973) taught French while her father Andrej Milićević (1893-1973) worked as translator, involved with translating 36 works of French classical literature into Serbian. The couple had one more child, a daughter Olga (born 6 June 1931, in Belgrade). On her mother's side, Milićević descended from the cadet branch of the Simić family, notable in the 19th century Serbia, both in politics and culture. The branch's progenitor, Aleksa Simić (1800–72), held the Prime Minister of Serbia post in three terms (1843–44, 1853–55, 1856–57), while her great grandfather, Milan Simić (1827–80), was manager of the National Theatre in Belgrade (1871–75, 1877–80). Milićević was a student at the Second girls’ high school in Belgrade as well as the Higher Music school's drama section.She then enrolled in several studies, which she never finished: technology, architecture (her father's wish) and art history (even though she was only one exam away from graduating). She

masks:
Mira Trailović
Mira Milićević


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 finished the Higher Film school and finally graduated as a theatre director at the Belgrade's Faculty of Drama Arts. In 1967 she would become a professor of the radio direction at her alma mater. Career

Radio Belgrade

After Belgrade was freed from German occupation on 20 October 1944, Milićević, almost by chance, became the very first announcer on Radio Belgrade in the liberated city. Soon, she switched to direction, advancing to the post of program editor at the radio's drama section. She directed over 70 radio dramas, mostly by foreign authors. Atelje 212

She entered the world of theater as an assistant director at the Yugoslav Drama Theatre.She was a co-founder of the new theatre, Atelje 212 in 1956, with Radoš Novaković (serving as manager 1956-58) and Bojan Stupica (manager 1958-61). Atelje 212 opened with her direction of Goethe's Faust on 12 November 1956, with <mask> initially being an assistant manager (shortly acting in 1958) and in 1961 she became Atelje's manager, shifting its focus to the avant-garde plays. <mask> herself directed over 20 plays, including some authors whose works were never before played in Serbia and Yugoslavia, like  Jean-Paul Sartre (No Exit) in 1957, Eugène Ionesco (The Chairs) in 1957, Albert Camus (The Misunderstanding) in 1960 and Edward Albee (Who's Afraid of Virginia Woolf?) in 1964. Other plays include Don Juan in Hell (by George Bernard Shaw; 1956), Medal (adapted folk tales; 1957), L'Histoire du soldat (Charles-Ferdinand Ramuz; 1959), Tchin-Tchin (François Billetdoux; 1960), The Fantasticks (Tom Jones; 1962), The

masks: Trailović Trailović


texts: Cocktail Party (T.S. Elliot); 1965), Marat/Sade (Peter Weiss); 1966), Next time I’ll sing to you (James Saunders; 1968), Jumpers (Tom Stoppard; 1974), The miracle in Šargan (Ljubomir Simović; 1975), The Mother (Stanisław Ignacy Witkiewicz; 1982), Big and Little (Botho Strauß; 1985), and Demons (Lars Norén; 1987). Major controversy, however, was caused by her staging of the Hair, which was prepared in 1968 and premiered in 1969.A rock-musical, composed by Galt McDermot, with lyrics by Gerome Ragni and James Rado, stirred not just the highest political and artistic circles, but also the common people. Heavily shook and agitated by the student protests of 1968, the Communist governing class and its diehards attacked the musical as subversive, due to its hippie and anti-establishment attitude. It had such an impact, that it has been debated even today. Under her artistic and managerial guidance, though not a directorial one, Atelje 212 also presented for the first time in Serbia works of Samuel Beckett (Waiting for Godot) in 1956 (first staging in Eastern Europe), William Faulkner (Requiem for a Nun) in 1958, Sławomir Mrożek (The Police) in 1960, James Joyce (Exiles) and Tadeusz Różewicz (The Card Index), both in 1962. Also, she oversaw staging of contemporary Serbian authors’ works, like those of Aleksandar Popović, starting with Ljubinko and Desanka in 1964, and Dušan Kovačević, with The Marathon Family and, especially, Radovan III, both in 1973, which is with Atelje's "Ubu Roi" by Alfred Jarry (1964; both starring Zoran Radmilović), considered anthological in the


texts:
 history of Serbian theatre. Atelje 212 gained international reputation. It was the first theatre from Yugoslavia that was invited to the United States after World War II, and toured the world (Paris, New York, Moscow, Caracas, Mexico).<mask> retired in 1983 as a manager, as she was required to do so by the law, but she continued to direct. She also directed Maria by Isaac Babel in the Schiller Theater in Berlin, with German cast and Konak by Miloš Crnjanski in the National Theatre in Belgrade in 1986. Her last, unfinished project was Alban Berg's opera Lulu, which she wanted to adapt for the Belgrade Opera. BITEF

In 1967, together with Jovan Ćirilov, she founded BITEF - Belgrade International Theatre Festival, and was its artistic co-director until she died. The festival, subtitled New theatre tendencies, was an effort to bring the latest movements within the avant-garde theatre to Belgrade. <mask> tenaciously travelled around the world bringing to BITEF the greatest names of the 20th century theatre, their companies and plays, so the festival gradually evolved into one of the major theatrical festivals in Europe. BITEF was especially successful as it was arguably the only place where artists from both sides of the Iron curtain could meet.Over the decades, programs encompassed various directions. On one side, the extreme experimental tendencies, like Judith Malina and The Living Theatre, Jerzy Grotowski, Richard Schechner, Tadeusz Kantor, Peter Schumann and the Bread and Puppet Theater. On the other, new directorial interpretations of classical works (Peter Brook,


texts: Peter Stein, Ingmar Bergman, Otomar Krejča, Peter Zadek, Patrice Chéreau, Claus Peymann, Roger Planchon, Yuri Lyubimov). Also, performances of the contemporary dance were regular, choreographed by Alwin Nikolais, Merce Cunningham, Pina Bausch or Birgit Cullberg. BITEF also showed performances of the traditional, folk theatres, like Chinese Peking opera, Japanese Noh theatre, Ugandan traditional theatre or the Opera dei pupi (Sicilian marionettes theatre), but also followed the theatre's coming out of the box, that is, having performances outside of the theatre buildings, giving shows on stadiums, in semi-collapsed industrial zones and peers, or simply out in the open. Lyubimov's Taganka Theatre was allowed by the Soviet authorities to visit BITEF which was the first time at all they were allowed to leave the USSR, as, until that point, Lyubimov was deemed a dissident by the Soviet government. From the late 1970s, <mask> was right on time with postmodern aesthetics in scenic arts, bringing to Belgrade Robert Wilson (Einstein on the Beach), Johann Kresnik, Tomaž Pandur.Some artists gained international recognition after being summoned by <mask> to the festival: Luca Ronconi (with his famous Orlando furioso), Victor Garcia, Roberto Ciulli and his Theater an der Ruhr. Other directors and companies which performed on BITEF include Eugenio Barba, Steven Berkoff, Dejan Mijač, Pyotr Fomenko, Teatro Núria Espert,  Pip Simmons Theatre Group, Ellen Stewart and La MaMa while authors Samuel Beckett, Jean Paul Sartre and Eugène Ionesco attended performances of their plays.


texts:
 France
In the first half of the 1980s, <mask> lived in France for several years. In 1983-84 she worked in Theatre of Nations in Paris and was an artistic director of the International theatre festival in Nancy. BITEF Teatar
In 1989 she founded a new theatre, "BITEF Teatar", and became its manager. Theatre is seated in the never fully finished nor consecrated German Evangelical church in Belgrade's neighborhood of Dorćol. Construction began in 1940.It was projected by Otto Bartning and developed and supervised by Đorđe Staševski, who partially changed the interiors in 1943 in the projected residential section of the church, facing the Drinčićeva street. The works stopped in 1951. The building was renovated to accommodate the new theatre in 1988-89. It is considered to be the unique case that, instead of a theatre founding the festival (like Atelje 212 did with BITEF), in this case, the festival founded a theatre. The theatre was opened on 3 March 1989. It was envisioned without having a permanent staff. The idea behind the creation of BITEF teatar was to organize the BITEF festival and to expand the effects of the festival throughout the year, and not only in the period when BITEF was held, but <mask> died later that same year.Among the managers who inherited her at the helm of the theatre were playwright Nenad Prokić (1997-2005) and theatrical director Nikita Milivojević (2005–09). The building of the "BITEF teatar" was declared a cultural monument by the Serbian government in April 2013. Television
She also adapted and directed over 15 TV dramas, including The


texts:
 Browning version by Terence Rattigan (1973), Exiles by James Joyce (1973), Nora by Henrik Ibsen (1975) and A Novel about London by Miloš Crnjanski (1988). Aired on 19 January 1972, her adaptation of Albert Camus' The Misunderstanding was the first TV drama in Serbia recorded in TV studio, and the first one aired in color. Style and image
In her work, molded by her Balzacian talent, <mask> exhibited strong disposition towards the avant-garde repertoire, though she always rejected the term itself, asking "And what is avant-garde?". She constantly baffled and surprised, both the audience and the critics, with her ideas, innovations and seemingly inexhaustible energy and persistence. Because of the acuteness of hers, endless charm and talent for persuasion, she was nicknamed "bulldozer in a fur coat".Her activities were always followed by controversial reactions and urban myths. Refreshing spirit of the avant-garde wasn’t accepted well by the Communist authorities. Press was full of malicious comments and stories how young actors were terrified of her, labeling her "a woman with 24 smiles" while her outfits during public appearances were under scrutiny to the last detail. She herself said that "Yugoslav journalists trained her not to get accustomed to praises and compliments". Her closest collaborator Ćirilov called her "the ruler of the arts", while Ionesco, when asked what he has seen in Belgrade when he visited in 1971, replied: "I saw <mask>. Isn’t that enough?". Personal life
While working in Radio Belgrade, she met Dragoljub <mask>, a fellow speaker from 1947,

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Trailović
Mira Trailović
Trailović


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 and they got married.Born on 3 May 1925 in Prahovo, eastern Serbia, he left Radio Belgrade in 1955 when he became a commentator for the daily Borba until 1959 when he was appointed an editor-in-chief of Radio Television Belgrade until 1962. He later became a correspondent from Paris for the daily Politika and, as a respected journalist, was editor-in-chief of Politika Ekspres and Politika itself 1982-83. They remained married until <mask>'s death on 7 August 1989. Dragoljub died on 3 June 1993 in Belgrade. The couple had no children. Her sister Olga Milićević Nikolić is a well-known architect, who reconstructed some of downtown Belgrade's landmarks like Andrićev Venac (1976), Republic Square (1980) or Nikola Pašić Square (1987), but also projected residential blocks 28, 45 and 70 in New Belgrade (1972), Lešće cemetery (1972) and the Stepin Lug wooden area (1972). Legacy

From modern perspective, it is hard to imagine how much of a courage and personal vision was needed at the time to modernize the theatre against the major opposition from the ideological, cultural and artistic establishments.As a director and manager, <mask> often appeared as a Don Quixote tilting at windmills, fighting against the "narrow minds", with the constant idea of "bringing the world to Belgrade and showing Belgrade to the world". Through Atelje 212 and BITEF, she marked the beginning of a new era in Serbian theatre. On one side, she  deprovincialized the theatrical scene in Belgrade and Serbia by allowing the audience inspection into the world theatre's current events. On the other, she

masks: Mira Trailović


texts:
 toured the parts of the world where Serbian language was basically never heard before. What bewildered the theatrologists is that <mask> was personally quite traditional and old fashioned, and yet she was the key figure in modernization of the theatre - ranging from the theatre of the absurd and docudrama to rock opera and postmodernism - which they explained with her globe-trotting and cosmopolitan spirit. BITEF remains one of the major European festivals. Founded in the mid of the Cold War, it was a unique place where theatres from the West and East could meet.The great stage in modern Atelje 212 is named after her, the <mask> stage, and BITEF's main award is named the Grand Prix "<mask>ović". She bequeathed her inheritance to the Museum of the theatrical art in Belgrade. With that data, but also with the interviews with many of her collaborators and his own interviews with her, theatrical and literary critic Feliks Pašić (1939-2010) published a book Gospođa iz velikog sveta – prilozi za biografiju Mire <mask> (A lady  of the big world – contributions to the <mask>'s biography). One day after her death, Danilo Kiš wrote her an epitaph, titled Upon hearing the news of death of Mrs. M.T. :

What a nicely done job, Death,
what a success,
to tear down a fortress like that! To devour so much meat,
to crack so many bones
in such a short time.To spend so much energy,
swiftly, as if you smoked a cigarette. What a job that was, Death,
what a demonstration of power. (As if we wouldn’t
trust your word on it.) A square in front of the BITEF Theatre, below the bohemian

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Trailović
Mira Trailović
Mira Trail
Trailović
Mira Trailović


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 quarter Skadarlija, and next to the Bajloni open green market, is named in her honor, the Square of <mask>. The room for the artists above the main stage in the Bitef theatre is called "<mask>'s room" (Mirina soba). In March 2019, director Andraš Urban staged a text, dramatized by Vedrana Božinović, dedicated to <mask>. The play, titled "M.I.R.A.", was part of the 30th anniversary of the Bitef Theatre. <mask> was portrayed by the actress Mirjana Karanović. Filmography

TV dramas

Accolades
Regarding the awards, <mask> said that she doesn't care about them but that they do flatter her. Yugoslav and Serbian awards include City of Belgrade's "Oktobarska nagrada" in 1976 (for The miracle in Šargan), "Sedmojulska nagrada" (at the time the highest government award in Serbia), Statuette of Joakim Vujić in 1988, Order of Merits for the People and "Popularity Oscar" for the most popular person in culture, which proved that her popularity exceeded the artistic and theatrical circles. She received the most prominent French award Légion d'honneur in 1985, awarded to her by the French culture minister Jack Lang and was knighted by the Italian president Giuseppe Saragat. Other awards include the prizes of the Association of the American Theatre Artists, German embassy in Belgrade, Bulgarian and Czechoslovakian theatrical societies, International Theatre Institute and the Polish Order of merit for culture. References

External links

Serbian theatre directors
Serbian dramatists and playwrights
Recipients of the Legion of Honour
1924 births
1989 deaths
People from

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Mira Trailović
Mira
Mira Trailović
Trailović
Trailović


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<mask> (Nora) Tsolakovna <mask> (Gabrielyan) (Armenian: Էլեոնորա Ցոլակի Գաբրիելյան; Russian: Элеонора Цолаковна Габриэлян) (born February 22, 1929) is a Soviet, Armenian born botanist, doctor of biological sciences, professor. Professor <mask> is the president of the Armenian Botanical Society. She is a specialist in the fields of taxonomy, geography, evolutionary morphology and anatomy of plants. She has been awarded numerous awards and prizes during her career. Biography

Early life
<mask> was born in Yerevan on February 22, 1929 to <mask> and Zvart Cholakian. Her mother was an English teacher, her father was an electrical engineer who was repressed in 1937, rehabilitated posthumously in 1956. In 1946, <mask> completed secondary school and entered the Biology and Soil Faculty of the Yerevan State University, where at that time A. L. Takhtajan was teaching.After 2 years, she transferred to the Biology and Soil Faculty of Moscow State University, where she graduated with honors in 1951. In 1952-1955, she completed her doctorate in Leningrad (now St. Petersburg) at the Komarov Botanical Institute of the Russian Academy of Sciences (Russian: Ботанический институт им. В. Л.Комарова РАН), in the plant systematics and geography department. During her doctorate studies, she met her future husband Vladislav Agababian, also a botanist, future professor, who would become one of the founders of the Armenian school of palynology. Under the guidance of A. L. Takhtajan, she successfully completed her Ph. D. thesis on "Caucasian representatives of the genus Sorbus L.". Career

In 1955,

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Eleonora
Gabrielian
Eleonora Gabrielian
Eleonora Gabrielian
Tzolak Gabrielian
Gabrielian


texts: <mask> returned to Armenia and entered the Institute of Botany of the Academy of Sciences of the Soviet Socialist Republic of Armenia as a junior researcher in the Department of Plant Systematics and Geography.In 1960, she became a senior researcher, in 1986 a leading researcher and in 1989 the head of the department of Plant Taxonomy and Geography in the Institute of Botany. Since 1989 she has been in charge of the Department of Systematics and Geography of the Institute of Botany of the Republic of Armenia and heading a multivolume edition of the Flora of Armenia. Thanks to numerous expeditions in Armenia and other regions of the Caucasus, as well as by studying extensive materials in various herbaria worldwide, <mask> successfully completed in 1974 a doctoral thesis on the topic "The genus Sorbus L. of western Asia and the Himalayas". In 1978, she published the fundamental monograph "Sorbus L. (Western Asia) and the Himalayas" "... which constitutes the gold fund of world literature on the systematics of flowering plants ..." (Bot. Journ. 1999. 84 (9): 133).In 1984 the book was awarded the Komarov Prize, the highest award of the Academy of Sciences of the USSR. Being one of the main authors of the multivolume edition of Flora of Armenia, and later heading the edition, she has always intensively continued the systematic research of numerous complex groups of plants, such as ferns, Scrophulariaceae, Compositae, Liliaceae and Poaceae families. After the collapse of the Soviet Union, the last volumes (9, 10, 11) of the "Flora of Armenia" were published abroad, through the

masks: Gabrielian Gabrielian


texts:
 publishing house Koeltz Scientific Books. During the times of the Iron Curtain, she worked with botanists from multiple Western countries. At the request of prof. P. H. Davis, <mask> prepared a revision of the genus Sorbus L. for the multivolume edition of "Flora of Turkey and the East Aegean Islands". Together with prof. W. Greuter, a modern catalog of Pteridophyta of the Armenian flora was compiled. Cooperation with Israeli colleagues prof. D. Zohary and O. Fragman-Sapir resulted in the publication of "Wild relatives of food crops native to Armenia and Nakhichevan" (2004) – the first detailed list of descriptions and maps of wild relatives of cultivated plants, and "Flowers of Transcaucasus and Adjacent Areas" (2008),  the first scientific publication, illustrated by color photographs of plants and landscapes.At the initiative of <mask>, a multi-year project began in order to create a compressed, easy-to-use, single-volume edition of the Flora of Armenia in three languages (Armenian, Russian, English) for the identification of plants. Long time collaboration with Carolyn Mugar and financial support of the Armenia Tree Project (ATP). Protection of the nature in Armenia

<mask> is the author of the first "List of rare and endangered plants of Armenia" (1979), second edition of "Red Data Book" (1988) and author and scientific advisor of the last publication of "The Red Book of Armenia" (2010). Other works include: "Nature protection in Armenia" (1988), essays on all the protected territories of Armenia, in the book "Reserves of the Caucasus" (1990). In the 1980s, together with

masks: Gabrielian Gabrielian Gabrielian


texts:
 A. L. Takhtajan, she organized a series of speeches on television, radio and in the all-Union press to prevent the construction of a pumped storage power plant on the territory of the Khosrov Reserve. She took contributed to the set up of the Erebuni Reserve. She prevented the Artanish Reserve from being transferred to management under the military unit of the Ministry of Defense of Armenia, where it would have been used to construct a military facility.Since 2002, she has been a consultant in the two major organizations for nature protection: The Foundation for the Preservation of Wildlife and Cultural Assets (FPWC) and WWF participating in numerous projects on the study, conservation and sustainable use of natural resources of Armenia. In 2016, in collaboration with O. Fragman-Sapir and K. Manvelyan,  the book "Green Armenia" was published with notes and illustrations of representatives of Armenian flora. Personal life

During her student years, she traveled alone, with a herbarium bag on her shoulder, walking on foot throughout the Caucasus discovering the region with a very rich flora. Later on her travels took her throughout Great Britain, the Baltic states, the Carpathians, Central Asia, Iran and Kamchatka. She spent 5 months in the Indian Ocean on the research vessel "Acad. Vernadsky" in 1981. A year later, she participated in the expedition organized by A. Cronquist in the United States together with A. L. Takhtajan.In 1980, in Spain (Seville), she participated for the first time in the conference on the study of the Mediterranean flora OPTIMA. In 1989, she was


texts:
 elected a member of the Executive Council of the organization. <mask> was friends with Armenian artists such as Martiros Saryan (a portrait of her from his brush is kept in the National Gallery of Armenia), Minas Avetisyan, and Haroutiun Galentz. Scientific discoveries/publications

Selected plants named by Gabrielian

 Amaryllidaceae Galanthus artjuschenkoae Gabrieljan in Fl. Rastitel'nost' Rast. Res. Arm.12: 13. 1999. Asteraceae Amberboa gubanovii Gabrieljan in Takhtajania 1: 37. 2011. Asteraceae Amberboa takhtajanii Gabrieljan in Takhtajania 1: 36. 2011. Asteraceae Carthamus tamamschjanae Gabrieljan in Fl., Rast.i Rast. Res. Arm. SSR 10: 21. 1987. The Genus Sorbus in Eastern Asia and the Himalayas. Erevan.(in Russian). <mask>, E. & Vallès Xirau, J. 1996. New data about the genus Artemisia L. (Asteraceae) in Armenia. − Willdenowia 26: 245−250. ISSN 0511-9618. <mask>, E.: The genus Gladiolus (Iridaceae) in southern Transcaucasia.− Bocconea 13: 445-455. 2001. −ISSN 1120-4060. <mask>, E. & Zohary, D. 2004. Wild relatives of food crops native to Armenia and Nakhichevan. <mask>, E. & O. Fragman-Sapir. 2008.Flowers of the Transcaucasus, including Armenia, Eastern Turkey, southern Georgia, Azerbaijan and northern Iran. A.R.G. Gartner Verlag. References

External links
 Institute of Botany - National Academy of Sciences of Armenia
 Article by the Armenian General Benevolent Union
 Article by <mask> <mask> about A. Takhtajan
Aghababyan Vladislav

Living people
1929 births
Scientists from Yerevan
Armenian botanists
Women botanists
Yerevan State University alumni
Moscow State

masks: Gabrielian Gabrielian Gabrielian Gabrielian Gabrielian Eleonora Gabrielian


texts:
Brigadier-General <mask>,  (20 July 1869 – 21 April 1930) was a senior Canadian-born British Army officer and British Empire colonial administrator. He published a number of works on military topics and Africa. Early life
Guggisberg was born in Galt, Ontario, Canada. He was the grandson of Samuel Guggisberg, a cabinetmaker and farmer who had emigrated from Uetendorf in Canton Bern, Switzerland in 1832. He was the eldest son born to merchant Frederick Guggisberg and his wife Dora Louisa Willson. After moving to England in 1879, Guggisberg was educated at Burney's School, Portsmouth and the Royal Military Academy, Woolwich. He was commissioned a second lieutenant in the Royal Engineers in 1889 and promoted to lieutenant in 1892.He served in Singapore from 1893 to 1896. He became instructor in fortification at Woolwich in January 1897, where he distinguished himself by reforming the methods and syllabus of instruction. He was promoted to captain in 1900, the year he published The Shop: The Story of the Royal Military Academy. In 1903 he published Modern Warfare under the pseudonym "Ubique". Career and later life

In September 1902 <mask> was employed by the Colonial Office on a special survey of the Gold Coast Colony and Ashanti, and in 1905 was appointed director of surveys in that colony. In 1908 he returned to Chatham for regimental work, but in 1910 was appointed director of survey in Southern Nigeria. Nigeria gave him full scope for his energies and organizational skills, and he compiled The Handbook of the Southern Nigeria Survey (1911) for the guidance of his assistants.Of this work the director-general of the ordnance survey wrote:
"The duties of all members of the staff were strictly defined and, in particular, sensible rules were laid down as to the relations of the staff with the civil

masks:
Sir Frederick Gordon Gugberg
Guggisberg


texts: administration. Much attention was paid to the treatment of villagers; unpaid labour was forbidden; all goods bought were to be paid for at the recognized rate, and great care was to be exercised not to damage the crops.... They were model instructions and the survey of Nigeria was a model survey." Following the union of the Southern Nigeria Protectorate and the Northern Nigeria Protectorate in 1913, <mask> was appointed surveyor-general of Nigeria. In 1914 he was appointed director of public works in the Gold Coast, but he rejoined the army upon the outbreak of the First World War. He commanded the 94th Field Company, Royal Engineers, from 1915 to 1916, and was Commander, Royal Engineers, (CRE) of the 8th Divisional Engineers during the Battle of the Somme (July 1916), and of the 66th (2nd East Lancashire) Divisional Engineers from November 1916 to May 1917. He was brigadier-general commanding the 170th (2/1st North Lancashire) Brigade 1917–1918, assistant-inspector-general of training, general headquarters, France, in 1918; and in command of the 100th Brigade in 1918.He was mentioned in dispatches five times, and was awarded the Distinguished Service Order in 1918. In 1919, <mask> was appointed Governor of the Gold Coast. There he energetically undertook works of development and extension of railways, and created the deep-water harbour of Takoradi, superseding the use of surf-boats for handling traffic. In 1923 he commissioned the construction of Accra's Korle Bu Teaching Hospital, the finest and most modern institution of its kind in colonial Africa at the time. During his time in the Gold Coast, as during his time in Nigeria, Guggisberg was lucky to be able to benefit from the advice of the geologist Albert Ernest Kitson, who took a keen interest in developing local infrastructures. Close

masks: Guggisberg Guggisberg


texts: association with native Africans during his survey work convinced Guggisberg that the African races and Muslims of the Middle East and Asia were capable of eventually attaining the development levels of modern Europe. Toward the close of his life he wrote: "My practical experience... during the last twenty-seven years has convinced me that what individuals have achieved, in spite of ill-selected systems of education, can be achieved by the race generally, provided we alter our educational methods."In order to carry out that purpose he founded Achimota College for the training of native teachers and instructors. It was later to become the largest establishment for the education of native Africans. The aim of Guggisberg's policy was the development of the country by and for the natives rather than for the benefit of European capitalists. In 1928 Guggisberg was appointed governor and commander-in-chief of British Guiana, but owing to failing health he was obliged to leave the colony in 1929, and soon afterwards resigned the appointment. He introduced drastic administrative reforms and devoted himself energetically to the problems of maintaining and improving the system of drainage and irrigation upon which the sugar and rice cultivation of the colony depended. He also promoted immigration and peasant settlement and the development of the production and marketing of rice. These activities were cut short by his illness and resignation in 1929.He died at Bexhill-on-Sea at the age of 60. During his last illness <mask> addressed to his personal friends a remarkable letter setting forth the aims which he had had in view in his administrative work in British Guiana, his confidence in divine guidance and in the spirit of Christianity, and his hope of being able to return to Africa "to try to do some more


texts:
 work for the African races.... As you know", he concluded, "my heart is in Africa, and I believe that away from the trammels of the Colonial Office, there is opportunity for me to do something useful both for the Empire and for the natives of Africa. ",

Honours and family
Guggisberg was a tall and athletic figure, as a young man very handsome, and always of impressive and dignified presence. His personality was attractive and inspiring. He was for some years captain of the Royal Engineers' cricket eleven and played a first-class cricket match for the Marylebone Cricket Club in 1905. He was also a fine player of polo, racquets, golf, and football. He was created a Companion of the Order of St Michael and St George in 1908 and a Knight Commander in the same Order in 1922.He was made a Chevalier of the Legion of Honour in 1917. <mask> married twice:
On 20 September 1895 in Trichinopoly, Madras Presidency, India, he married Ethel Emily Hamilton Way, daughter of Colonel Wilfred FitzAlan Way of the Northumberland Fusiliers, whom he divorced in 1904 and by whom he had three daughters. On 15 August 1905 in Staines to (Lilian) Decima Moore, the actress, daughter of Edward Henry Moore, of Brighton, county analyst. She accompanied him on his survey journeys, and their joint book, We Two in West Africa (1909), is an interesting study of a transitional phase in West African development. <mask> died in 1930 in Bexhill-on-Sea, East Sussex. In 1973 on the occasion of the 50th anniversary of the construction of Korle-Bu Teaching Hospital in Accra, the Ghanaian government honoured Guggisberg with the erection of a large statue, a rare tribute paid by a post-colonial government to one of its colonial governors. There are male dormitories named after Guggisberg at the Eastern compound of Achimota School in Accra


texts:
 Ghana, Bagabaga College of Education in Tamale Ghana and Prempeh College in Kumasi Ghana.Ethnic background and religious affiliation
Despite of the occasional rumours about Guggisberg's background and religious faith being Jewish, it has been thoroughly documented that he was not. His family has long recorded ancestry in the farming village of Belp, going back to the early 16th century and before that in the neighboring hamlet of Niederhäusern, near the village of Zimmerwald, both in Canton Bern, Switzerland going back even further, to the late 14th century and beyond. The family were adherents to the Evangelical Reformed National Church of Canton Bern (Evangelisch-Reformierte Landeskirche des Kantons Bern) since 1528, when Bern introduced the Protestant Reformation to all its territories, a faith Guggisberg's emigrant grandfather continued to follow throughout his lifetime while in Canada. Guggisberg himself, because of his mother, was baptized and raised in the Anglican denomination, a faith that he piously adhered to until his death. Books authored by Guggisberg
Guggisberg, F. G., The Shop: The Story of the Royal Military Academy (1900)
Guggisberg, F. G., Modern Warfare (1903)

Guggisberg, F. G., The Handbook of the Southern Nigeria Survey (1911)
Guggisberg, F. G. and Fraser, A. G., The Future of the Negro (1929)

Notes

External links
CricketArchive: <mask>berg

1869 births
1930 deaths
People from Cambridge, Ontario
Graduates of the Royal Military Academy, Woolwich
Royal Engineers officers
British Army generals
British Army generals of World War I
Companions of the Distinguished Service Order
Knights Commander of the Order of St Michael and St George
Chevaliers of the Légion d'honneur
English cricketers
Marylebone Cricket Club cricketers
Cricketers from Ontario
People educated at Burney's


texts:
<mask> (10 March 1889 – 29 December 1955) was a German, later an English conductor, theater and music director as well as Kapellmeister, composer and musicologist. Life
Born in Hanover during the Gründerzeit of the German Empire as scion of a Jewish scholarly family, son of a lawyer and notary and later Privy Councillor of Justice <mask> (1846–1920) and his second wife Leonore, née Cohen, Behren grew up in Hannover with three half siblings, including the later literary scholar  (1883–1972). Sein He took his Abitur at the Schillergymnasium there, studied law from 1907, initially for two semesters, but then moved to Munich to the Ludwig-Maximilians-Universität München, where he studied musicology, philosophy and art history under Heinrich Wölfflin, Theodor Lipps and Theodor Kroyer. Under Adolf Sandberger, Berend completed his doctorate in Munich in 1913 on the baroque composer and under the title Nicolaus Adam Strungk 1640-1700. Sein Leben und seine Werke mit Beiträgen zur Geschichte der Musik und des Theaters in Celle, Hannover, Leipzig

Meanwhile Berend had already received practical music lessons from Emil Blume for violoncello and Heinrich Lutter for piano, and had taken further practical lessons at the Hochschule für Musik und Theater München with August Schmidt-Lindner, Friedrich Klose and Felix Mottl. In 1913 Berend got the position as assistant of Bruno Walter at the National Theatre Munich. In the following year 1914, Berend took up his first position as a theatre Kappelmeister in Freiburg im Breisgau, but this was already interrupted the following year by the war effort in World War I. Berend served from 1915 in the 4th Baden Field Artillery Regiment No.66, became an officer and was awarded the Iron Cross second and first class as well as the "Baden Order of Merit", before he returned to Freiburg in 1918 and was able to work as a

masks:
Fritz Berend
Emil Berend


texts: theatre Kappelmeister again until 1920. From 1922 to 1924, Berend was engaged in Kaiserslautern as Kapellmeister at the Pfalztheater and conducted operas, symphony concerts and oratorio performances there. But still in 1924 he changed to Hagen, where he held the position of head conductor at the local opera house until 1925. At the beginning of 1926 Berend took over the position of the first Kapellmeister at Theater Osnabrück, in 1931 also that of the Intendant. Due to the Great Depression, a theatrical cooperation with the city of Münster was agreed upon for the 1932/1933 season by "[...] the city fathers" of the two neighbouring cities and Berend was given the direction of both municipal theatres. Although Berend "completely fulfilled the expectations of his spoiled audience", including a performance of Wagner's Die Walküre, shortly after the Nazi's seizure of power the arbitrariness against Berend began: During his vacation he learned from the radio that he had been deposed as Kapellmeister in Osnabrück in favor of a successor who was politically acceptable to the Osnabrück National Socialists. The deposition had been enforced arbitrarily and without any legal basis.Since, however, according to Berend's contract of 16 March 1933, an extension for three seasons had been agreed for the Münster location, the action against Berend initially had no effect in Münster. Meanwhile, however, the party organ National-Zeitung spread malicious allusions to Berend's origins as a so-called "half-Jew": with his dismissal of a Jewish actor he had only wanted to distract from his own origins. Only a few weeks later, on 10 June 1933, Karl-Eugen Heinrich denounced the theatre director to Joseph Goebbels that Berend was "[...] to address him as a Jew according to party official regulations". On 2 July 1933, Berend's descent was verified, and subsequently


texts: noted on the index card of the  "fully-Jew" (?). Although Berend was initially able to work as the first Kapellmeister in Münster, after he had received words of thanks from the "Münsterischer Anzeiger" dated 25 July 1933 "[...] not only [for] the artistic but also the human qualities of the upright front officer", he was dismissed as Intendant in Münster on 28 July 1933 and replaced by Otto Liebscher. In a personal conversation with Goebbels, Liebscher's successor Wilhelm Hanke succeeded in keeping Berend in his post, pointing out that otherwise he would have to close the Münster Theater. The opera ensemble was delighted.But on September 6, 1935, <mask> was expelled from the Reichstheaterkammer, but he was able to work in Münster until the summer of 1936, when the decisive objection of the party authorities led to the "Gleichschaltung" of Berend's Theater Berends final dismissal in Münster. In August 1936 <mask> moved to see his aunt in Berlin, where he lived at Yorkstraße 10 until February 1938. During this time he initially looked for a position as a répétiteur, but then joined the Jüdische Künstlerhilfe, where he could work as a conductor, and shortly afterwards also in  Breslauer Kulturbund-Orchester. Place of his work in Berlin was the  ("Jüdische Künstlertheater"). Then, however, he received a warning from the non-Jewish actress Ilsabe (Ilse Annemarie) Dieck, who lived in Münster, that the Gestapo would make inquiries about the mutual relationship. <mask> immediately left Berlin for South Tyrol, where his cousin, who had previously worked as a doctor also in Berlin, had acquired a country estate in Chiusa. Later he moved to Florence, where he - despite the  (prohibition of work) - carried out various activities to secure his livelihood.He taught music to children of German emigrants in a rural school near Florence, worked as a

masks: Berend Berend Berend


texts: répétiteur and pianist in concerts, and occasionally gave lectures on music at the British Institute. Because of the violation of the ban on work, he feared the so-called "Sippenhaft" for his siblings who remained in the German Reich, especially after his brother Eduard had been arrested there. Meanwhile, Ilsabe Dieck had repeatedly travelled to the Netherlands to send Berend foreign currency regularly via fake addresses. Later his fiancée suffered a nervous breakdown and followed Berend to Florence. After Benito Mussolini had also enacted Italian racial laws in the fall of 1938, similar to Adolf Hitler, and Berend was now threatened with persecution and expulsion in Italy as well, the artist left the country by means of a visa after the forced payment of the "Reich Flight Tax" in the amount of 1,917 Reichsmark - for which he had to sell his concert piano - and reached England on 18 March 1939. About half a year later he was followed "[...] on household leave" by Ilsabe Dieck, who Berend married in 1940. But even in England the two of them - without work permit - only led a stifling emigrant life.When the Second World War began, the couple were no longer able to travel to the USA as they had wished. So the couple was initially dependent on support from English artists or the Anglican Communion. In addition, Berend founded two orchestras with emigrants, conducted concerts and operas with them, but only for charitable purposes, for example for the Red Cross. He also gave lectures, organized concerts and opera performances in the city of Hampstead and the English province. Berend once found a larger audience when the Landesgruppe deutscher Gewerkschafter in Gross-Britannien celebrated the 25th anniversary of the November Revolution in the middle of the war on 9 November 1943: at the well-attended event with lectures, musical interludes and


texts:
 recitations by Ferdinand Freiligrath and Bertolt Brecht, Berend was able to present the audience with a sonata by Ludwig van Beethoven and his Victory Symphony from Egmont. Between 1944 and the post-war period of 1951, Berend found a large public as a conductor, especially in London during the matinees of the National Gallery of Art, performing cantatas by Johann Sebastian Bach among others. Meanwhile, Berend had already received news in 1945 that his mother and half-brothers and sisters had been victims of the Holocaust.Although <mask> finally obtained British nationality in 1948, he never found a normal employment again. Although he worked at the Carl Rosa Opera Company from 1951 to 1953, he was only a guest conductor. His last position, from 1953, was only limited to "ability to work", at the Welsh National Opera Company Ltd. in Cardiff once again as music director, but was dismissed at the end of 1954 due to "reduced ability to work". In 1955 Berend's "complete incapacity to work" was determined. After a new municipal theatre was completed in the course of the German economic miracle in Berend's former place of work in Münster, Berend was invited to conduct the first opera in 1956. However, the invitation did not reach the artist: after suffering from a heart failure in addition to his kidney disease, which had already been diagnosed in 1933, he succumbed to the disease in London at the end of December 1956 aged 66. An application for indemnity previously submitted by Berend was not processed in Berlin in time before his death.Literature
 Josef Bergenthal: Theater-Gemeinschaft Münster-Osnabrück. In Das schöne Münster, Heft 22, ed. : Verkehrsamt der Stadt Münster in Verbindung mit dem Verkehrsverein, Münster, 1932
 Werner Röder, Herbert A. Strauss: Biographisches Handbuch der deutschsprachigen Emigration nach 1933. (International


texts:
 biographical dictionary of Central European emigrés 1933-1945), ed. : Institut für Zeitgeschichte, Munich among others: K. G. Saur Verlag, 1983. Manfred Kroboth: Ein Dirigent muss ins Exil. Ein Lebensbild des Musikers Fritz Berend, unveröffentlichtes Manuskript, Osnabrück: 1987
 Peter Junk, Martina Sellmeyer: Stationen auf dem Weg nach Auschwitz: Entrechtung, Vertreibung, Vernichtung.Juden in Osnabrück 1900-1945. Ein Gedenkbuch. 2nd edition, Bramsche: Rasch, 1989
 Klaus Hortschansky, Gerd Dethlefs: Musik in Münster. Eine Ausstellung des Stadtmuseums Münster in Zusammenarbeit mit dem Musikwissenschaftlichen Seminar der Westfälischen Wilhelms-Universität Münster vom 22. April bis 31. Juli 1994, ed. : Stadt Münster, Münster: Regensberg, 1994
 Gisela Möllenhoff, Rita Schlautmann-Overmeyer: Jüdische Familien in Münster 1918-1945.1st edition, published by the city of Münster, Franz-Josef Jakobi, Münster: Westfälisches Dampfboot;
 Part 1: Biographisches Lexikon, 1995
 Part 2,1: Abhandlungen und Dokumente 1918-1935, 1998
 Part 2,2: Abhandlungen und Dokumente 1935-1945, 2001
 Walther Killy, Rudolf Vierhaus (ed. ): Deutsche Biographische Enzyklopädie, 1st edition, vol. 1, Munich: Saur, 1995,
 Christoph Schmidt: Nationalsozialistische Kulturpolitik im Gau Westfalen-Nord. Regionale Strukturen und lokale Milieus (1933-1945). (Forschungen zur Regionalgeschichte, vol. 54), plus Dissertation 2002/2003 at the University of Münster, Paderborn; Munich; Vienna; Zürich: Schöningh, 2006,

Archives
 Entschädigungsakte Fritz Berend (Aktenzeichen 53.274), Entschädigungsbehörde Berlin, Landesverwaltungsamt für Bürger- und Ordnungsangelegenheiten, Section 1

Notes

References

External links

1889 births
1955 deaths
Musicians from Hanover
German musicologists
German people of World War I
Jewish emigrants from Nazi Germany to the United Kingdom
Recipients of the


texts:
<mask> (19404 February 2021) was an Indian Marxist historian who studied and wrote on ancient and medieval India following the methodology of Marxist historiography. He was a professor of history at Delhi University and a member of the Indian Council of Historical Research. Some of his books include Ancient India: In Historical Outline (1997), The Myth of the Holy Cow (2001), and Early India: A Concise History (2004). Through his works he argued against the communal distortions of history including challenging popular beliefs of the sanctity of cow and Indian beef eating tradition. Education
<mask> completed his Senior Secondary Schooling from Board of Secondary Certification, West Bengal with First Division. He did Intermediate Examination of Arts with first division and  Bachelor of Arts (honours) in History at University of Calcutta and then his MA in History at Patna University where he was a student of Professor R.S. Sharma, who was amongst the first of modern Indian historians to study history through socio-economic analyses.Personal life
<mask> was born to <mask> <mask> and Gauri <mask>. He was born at his maternal village Ganauli (Darbhanga District) Now it is in Madhubani District, Bihar. His paternal village was Haitibali. He had two brothers and one sister. His eldest brother Dr. <mask> <mask> was doctor and retired as Assistant Director, state Falaria control, Bihar health Services and died in 1990. His second brother died at very young age when he was in intermediate. His eldest sister Vimla <mask> died in 2018.In 1975 he married to RajRani <mask> in Calcutta. <mask>'s eldest nephew Rajiv <mask> works with CPI(M)'s central organ and is part of editotial team of Loklaher. Career
<mask> was a professor at the history department of the Delhi University specializing in ancient and medieval history. In a career of over three decades, he spoke against communal distortions of history. Through his works, he studied the socio-economic

masks:
Dwijendra Narayan Jha
Jha
Jha
Devswaroop
Jha
Devi
Devendra
Narayan Jha
Jha
Jha
Jha
Jha
Jha


texts: structures of early India and used India's ancient texts to draw linkages between culture and technology and the resulting social and state setup. In some of his early works he studied revenue systems and linkages between economy and society in ancient India. His study was a breakaway from both imperialist historians who studied India from a colonial lens and nationalist historians who studied Indian history through folklore, wars, and royalties.In doing so, he was a group of historians who believed that post independence India's nation building efforts hinged on a professional attempt at writing history. Jha had repeatedly taken a position against Hindu nationalist ideology, arguing against what he claimed is communalism and saffronisation. He was critical of the view that "tolerance is the very essence of 'Hinduism qua Hinduism'''", and had claimed what he termed as Brahmanical intolerance since early India. He was credited with calling out the inconsistencies in Indian history and his efforts to bring a contemporary relevance to ancient history. He was an author of multiple history text books for India's National Council of Educational Research and Training, the organization which developed the textbooks and course curricula for Indian schools. He also served as the secretary of the Indian History Congress and a member of the Indian Council of Historical Research He was a member of visiting faculty at the Institute of Oriental Culture in the University of Tokyo. In 1991, he wrote a paper, with other historians R.S.Sharma, Suraj Bhan, and Athar Ali, making a case that there was no evidence to prove that the Babri Masjid, a mosque in Ayodhya, was built over a temple at the same site. The findings were documented in Ramjanmabhoomi-Baburi Masjid: A Historians’ Report to the Nation (1991) which he co-wrote with  The mosque was demolished a year later by right wing activists. The paper diverged in its findings from the Archaeological Survey of


texts:
 India's findings and was later dismissed by the Supreme Court of India in 2019 as an opinion. In his 2001 book, The Myth of the Holy Cow, he made a case that beef was part of the early Indian diet and used also for medicinal purposes. He quoted religious and non-religious texts from ancient periods to dispel the prevailing belief that cow was holy and its meat not a part of historical Indian consumption. The book quoted Charaka Samhita to say that it was used in soups for intermittent fevers, emaciation, and tuberculosis, while the fat was used in the treatment of rheumatism. He used text from the Vedas and Upanishads to argue that cattle were routinely offered in sacrifice to various ancient deities.He went on to argue that the sacred status afforded to cows was a much more recent development. He also challenged the notion that the age of the Gupta Empire (320 CE to 550 CE) was the "golden age" of Indian history. He argued that the notion of a gilded age before the Mughal Empire was a creation of historians during the Indian freedom movement and provided an ideological support to participants of the movement, but, served no purpose after. His last published book, Drink of Immortality (2020) studied alcohol distillation and consumption in ancient India. He argued that there were more than 50 varieties of alcohol that were available and consumed by men and women of ancient India. He further quoted religious texts including the epics like Ramayana and Mahabharata as well as the Vedas mentioning of alcohol consumption. Controversies

The Myth of the Holy Cow

Jha has received death threats over his book The Myth of the Holy Cow in which he outlined the practice of eating beef in ancient India as documented in Vedic and Post-Vedic texts.Since Hindus traditionally consider the cow holy and deny the claims of beef consumption during Vedic period, his book caused much controversy.The Guardian (13 July 2002)

 Criticism by Arun Shourie
<mask> was accused


texts:
 by Arun Shourie of deliberate distortion of the history of the destruction of Nalanda University in 12th century AD. Shourie accused Jha of selective lifting of sources, obfuscation and intellectual compromise. In an article in the Indian Express, Jha responded that Shourie was distorting what he had said, and that Shourie's allegations of plagiarism are baseless. <mask> also criticized Shourie's book Eminent Historians, saying that it contains "slander" and "has nothing to do with history." <mask> died on 4 February 2021 in Delhi, at age 81. He had suffered a paralytic attack a few years earlier and had lost much of his hearing. Publications
As author:
1980, Studies in early Indian economic history, Anupama Publications, ASIN: B0006E16DA.1993, Economy and Society in Early India: Issues and Paradigms, . 1997, Society and Ideology in India, . 1997, Ancient India: In Historical Outline, . 2002, Holy Cow: Beef in Indian Dietary Traditions; paperback (2004)
2004, Early India: A Concise History,
2009, Myth of the Holy Cow,
2009, Rethinking Hindu Identity, Routledge,
2016, Brahmanical Intolerance in Early India,
2018, Against The Grain: Notes on Identity, Intolerance and History,
2020, Drink of Immortality: Essays on Distillation and Alcohol Use in Ancient India,

As editor:
1988, Feudal Social Formation in Early India,
1996, Society and Ideology in India: Essays in Honour of Professor R.S. Sharma (Munshiram Manoharlal, Delhi, 1996). 2000, The Feudal Order: State, Society, and Ideology in Early Medieval India'', ; a collection of critical essays by 20 specialists on medieval Indian society, politics, ideology and religion. References

External links

Indian Council of Historical Research
History Department, Delhi University

2021 deaths
20th-century Indian historians
21st-century Indian historians
Historians of India
Patna University alumni
People from Bihar
Place of death missing
Presidency University, Kolkata alumni
University of Calcutta

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<mask> (December 24, 1922 – January 25, 1990) was an American actress and singer. She first signed a contract with Metro-Goldwyn-Mayer in 1941 and appeared mainly in small roles until she drew critics' attention in 1946 with her performance in Robert Siodmak's film noir The Killers. She was nominated for an Academy Award for Best Actress for her performance in John Ford's Mogambo (1953), and for best actress for both a Golden Globe Award and BAFTA Award for her performance in John Huston's The Night of the Iguana (1964). During the 1950s, <mask> established herself as a leading lady and one of the era's top stars with films like Show Boat, Pandora and the Flying Dutchman (both 1951), The Snows of Kilimanjaro (1952), The Barefoot Contessa (1954), Bhowani Junction (1956) and On the Beach (1959). She continued her film career for three more decades, appearing in the films 55 Days at Peking (1963), Seven Days in May (1964), The Bible: In the Beginning... (1966), Mayerling (1968), Tam-Lin (1970), The Life and Times of Judge Roy Bean (1972), Earthquake (1974) and The Cassandra Crossing (1976). She continued to act regularly until 1986, four years before her death in 1990, at the age of 67. In 1999, the American Film Institute ranked <mask>  25 on their greatest female screen legends of classic American cinema list.Early life
<mask> <mask> was born on December 24, 1922, in Grabtown, North Carolina, the youngest of seven children. She had two older brothers, Raymond and Melvin, and four older sisters, Beatrice, Elsie Mae, Inez and Myra. Her parents, Mary Elizabeth "Molly" (née Baker) and Jonas Bailey <mask>, were poor tobacco sharecroppers. She was of English and Scots-Irish ancestry. She was raised in the Baptist faith of her mother. While the children were still young, the <mask>s lost their property, and Molly received an offer to work as a cook and housekeeper at a dormitory for teachers at the nearby Brogden School that included board for the

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 family and where Jonas continued sharecropping tobacco and supplemented the dwindling work with odd jobs at sawmills. In 1931, the teachers’ school closed, forcing the family to finally give up on their property dreams and they moved to a larger city, Newport News, Virginia, where Molly found work managing a boarding house for the city's many shipworkers.While in Newport News, Jonas became ill and died from bronchitis in 1938, when <mask> was 15 years old. After her father's death, the family moved to Rock Ridge near Wilson, North Carolina, where Molly ran another boarding house for teachers. <mask> attended high school in Rock Ridge and she graduated from there in 1939. She then attended secretarial classes at Atlantic Christian College in Wilson for about a year. Career
<mask> was visiting her sister Beatrice in New York City in the summer of 1940, when Beatrice's husband Larry Tarr, a professional photographer, offered to take her portrait as a gift for her mother Molly. He was so pleased with the results that he displayed the finished product in the front window of his Tarr Photography Studio on Fifth Avenue. A Loews Theatres legal clerk, Barnard Duhan, spotted <mask>'s portrait in Tarr's studio.At the time, Duhan often posed as a Metro-Goldwyn-Mayer (MGM) talent scout to meet girls, using the fact that MGM was a subsidiary of Loews. Duhan entered Tarr's studio and tried to get <mask>'s number, but was rebuffed by the receptionist. Duhan made the comment, "Somebody should send her info to MGM", and the Tarrs did so immediately. Shortly after, <mask>, who at the time was a student at Atlantic Christian College, traveled to New York to be interviewed at MGM's New York office by Al Altman, head of MGM's New York talent department. With cameras rolling, he directed the 18-year-old to walk towards the camera, turn and walk away, then rearrange some flowers in a vase. He did not attempt to record her voice because her strong Southern accent

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texts: made understanding her difficult for him. Louis B. Mayer, head of MGM, however, sent a telegram to Altman: "She can't sing, she can't act, she can't talk, she's terrific!"She was offered a standard contract by the studio and left school for Hollywood in 1941, with her sister Beatrice accompanying her. MGM's first order of business was to provide her with a speech coach, as her Carolina drawl was nearly incomprehensible to them, and Harriet Lee as her singing teacher. Her first appearance in a feature film was as a walk-on in the Norma Shearer vehicle We Were Dancing (1942). Fifteen bit parts later she received her first screen billing in 3 Men in White (1944), a Dr. Kildare film in which she brings her mother to the hospital for treatment. After five years of bit parts, mostly at MGM and many of them uncredited, <mask> came to prominence in the Mark Hellinger production The Killers (1946), playing the femme fatale Kitty Collins. Films from the next decade or so include The Hucksters (1947), Show Boat (1951), The Snows of Kilimanjaro (1952), Lone Star (1952), Mogambo (1953), The Barefoot Contessa (1954), Bhowani Junction (1956), The Sun Also Rises (1957) and On the Beach (1959). Off-camera, she could be witty and pithy, as in her assessment of director John Ford, who directed Mogambo ("The meanest man on earth.Thoroughly evil. Adored him!"). In The Barefoot Contessa, she played the role of doomed beauty Maria Vargas, a fiercely independent woman who goes from Spanish dancer to international movie star with the help of a Hollywood director played by Humphrey Bogart, with tragic consequences. <mask>'s decision to accept the role was influenced by her own lifelong habit of going barefoot. <mask> played the role of Guinevere in Knights of the Round Table (1953), opposite actor Robert Taylor as Sir Lancelot. Indicative of her sophistication, she portrayed a duchess, a baroness and other women of noble lineage in her films of the 1950s. <mask>

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 played the role of Soledad in The Angel Wore Red (1960) with Dirk Bogarde as the male lead.She was billed between Charlton Heston and David Niven for 55 Days at Peking (1963), which was set in China during the Boxer Rebellion in 1900. The following year, she played her last major leading role in the critically acclaimed The Night of the Iguana (1964), based upon a Tennessee Williams play, and starring Richard Burton as an atheist clergyman and Deborah Kerr as a gentle artist traveling with her aged poet grandfather. John Huston directed the movie in Puerto Vallarta, Mexico, insisting on making the film in black and white – a decision he later regretted because of the vivid colors of the flora. <mask> received billing below Burton, but above Kerr. She was nominated for a Golden Globe Award for Best Actress in a Motion Picture – Drama and BAFTA Award for Best Actress in a Leading Role for her performance. She next appeared again with Burt Lancaster, her co-star from The Killers, this time along with Kirk Douglas and Fredric March, in Seven Days in May (1964), a thriller about an attempted military takeover of the US government. <mask> played a former love interest of Lancaster's who could have been instrumental in Douglas's preventing a coup against the President of the United States.John Huston chose <mask> for the part of Sarah, the wife of Abraham (played by George C. Scott), in the Dino De Laurentiis film The Bible: In the Beginning..., which was released in 1966. In a 1964 interview, she talked about why she accepted the role:

Two years later, in 1966, <mask> briefly sought the role of Mrs. Robinson in Mike Nichols' The Graduate (1967). She reportedly called Nichols and said, "I want to see you! I want to talk about this Graduate thing!" Nichols never seriously considered her for the part, preferring to cast a younger woman (Anne Bancroft was 35, while <mask> was 44), but he did visit her hotel, where he later recounted, "she sat at a

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 little French desk with a telephone, she went through every movie star cliché. She said, 'All right, let's talk about your movie. First of all, I strip for nobody.'"<mask> moved to London in 1968, undergoing an elective hysterectomy to allay her worries of contracting the uterine cancer that had claimed the life of her mother. That year, she appeared in Mayerling, in which she played the supporting role of Austrian Empress Elisabeth of Austria, opposite James Mason as Emperor Franz Joseph I. She appeared in disaster films throughout the 1970s, notably Earthquake (1974) with Heston, The Cassandra Crossing (1976) with Lancaster, and the Canadian movie City on Fire (1979). She appeared briefly as Lillie Langtry at the end of The Life and Times of Judge Roy Bean (1972), and in The Blue Bird (1976). Her last movie was Regina Roma (1982). In the 1980s, she acted primarily on television, including the miniseries remake of The Long, Hot Summer and in a story arc on Knots Landing (both 1985). Personal life

Marriages
Soon after <mask> arrived in Los Angeles, she met fellow MGM contract player Mickey Rooney; they married on January 10, 1942.The ceremony was held in the remote town of Ballard, California, because MGM studio head Louis B. Mayer was worried that fans would desert Rooney's Andy Hardy movie series if it became known that their star was married. <mask> divorced Rooney in 1943, citing mental cruelty; privately blaming his gambling and womanizing, she didn't ruin his on-screen image as the clean-cut, judge's son Andy Hardy that the public adored. <mask>'s second marriage was equally brief, to jazz musician and bandleader Artie Shaw, from 1945 to 1946. Shaw had previously been married to Lana Turner. <mask>'s third and last marriage was to singer and actor Frank Sinatra, from 1951 to 1957. She later said in her autobiography that he was the love of her life. Sinatra left his wife Nancy for <mask>, and their subsequent marriage made

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 headlines.Sinatra was blasted by gossip columnists Hedda Hopper and Louella Parsons, the Hollywood establishment, the Roman Catholic Church, and by his fans for leaving his wife for a femme fatale. <mask> used her considerable influence, particularly with Harry Cohn, to get Sinatra cast in his Oscar-winning role in From Here to Eternity (1953). That role and the award revitalized both Sinatra's acting and singing careers. The <mask> marriage was tumultuous. <mask> confided to Artie Shaw, her second husband, that, "With him [Frank], it's impossible... It's like being with a woman. He's so gentle.It's as though he thinks I'll break, as though I'm a piece of Dresden china, and he's gonna hurt me." During their marriage, <mask> became pregnant twice, but aborted both pregnancies. "MGM had all sorts of penalty clauses about their stars having babies", according to her autobiography, which was published eight months after her death. <mask> and Sinatra remained good friends for the rest of her life. Of the support Sinatra gave <mask>, Ian McKellen commented that "If you have been married to Frank Sinatra, you don't need an agent". Relationships

<mask> became a friend of businessman and aviator Howard Hughes in the early to mid-1940s, and the relationship lasted into the 1950s. <mask> stated in her autobiography, Ava: My Story, that she was never in love with Hughes, but he was in and out of her life for about 20 years.Hughes' trust in <mask> was what kept their relationship alive. She described him as "painfully shy, completely enigmatic, and more eccentric ... than anyone [she] had ever met". After <mask> divorced Sinatra in 1957, she went to Spain, where she began a friendship with writer Ernest Hemingway (she had starred in an adaptation of his The Sun Also Rises that year, and five years earlier, Hemingway had successfully urged producer Darryl F. Zanuck to cast <mask> in The Snows of Kilimanjaro, a film which adapted several of his short

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 stories). While staying with Hemingway at his villa in San Francisco de Paula in Havana, Cuba, <mask> once swam alone without a swimsuit in his pool. After watching her, Hemingway ordered his staff: "The water is not to be emptied". Her friendship with Hemingway led to her becoming a fan of bullfighting and bullfighters, such as Luis Miguel Dominguín, who became her lover. "It was a sort of madness, honey", she later said of the time.<mask> was also involved in a relationship with her live-in boyfriend and companion, American actor Benjamin Tatar, who worked in Spain as a foreign-language dubbing director. Tatar later wrote an autobiography in which he discussed his relationship with <mask>, though the book was never published. Religion and political views

Although <mask> was exposed to Christianity throughout her early years, she was an atheist later in life. Religion never played a positive role in her life, according to biographers and <mask>, in her autobiography Ava: My Story. Her friend Zoe Sallis, who met her on the set of The Bible: In the Beginning... when <mask> was living with John Huston in Puerto Vallarta, said <mask> always seemed unconcerned about religion. When Sallis asked her about religion once, <mask> replied, "It doesn't exist". Another factor that contributed to this was the death of <mask>'s father in her youth, "Nobody wanted to know Daddy when he was dying.He was so alone. He was scared. I could see the fear in his eyes when he was smiling. I went to see the preacher, the guy who'd baptized me. I begged him to come and visit Daddy, just to talk to him, you know? Give him a blessing or something. But he never did.He never came. God, I hated him. Cold-arse bastards like that ought to ... I don't know ... they should be in some other racket, I know that. I had no time for religion after that. I never prayed. I never said another prayer".Concerning politics, <mask> was a lifelong Democrat. Death

A bout of

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 pneumonia, after a lifetime of smoking, coupled with her underlying condition of lupus erythematosus brought on a stroke in 1986 that left <mask> partially paralyzed. Although she could afford her medical expenses, Sinatra wanted to pay for her visit to a specialist in the United States, and she allowed him to make the arrangements for a medically staffed private plane. She died in January 1990, at the age of 67, of pneumonia and fibrosing alveolitis at her London home 34 Ennismore Gardens, where she had lived since 1968. <mask> was buried in the Sunset Memorial Park in Smithfield, North Carolina, next to her siblings and their parents, Jonas and <mask>. In the town of Smithfield, there is the Ava Gardner Museum, incorporated in 1996. Book

In the last years of her life, <mask> asked Peter Evans to ghostwrite her autobiography, stating: "I either write the book or sell the jewels."Despite meeting with Evans frequently, and approving of most of his copy, <mask> eventually learned that Evans, along with the BBC, had once been sued by her ex-husband Frank Sinatra. <mask> and Evans's friendship subsequently cooled, and Evans left the project. Evans' notes and sections of his draft of <mask>'s autobiography, which he based on their taped conversations, were published in the book <mask>: The Secret Conversations after Evans' death in 2012. Accolades
<mask> was nominated for an Academy Award for Mogambo (1953); the award was won by Audrey Hepburn for Roman Holiday. Her performance as Maxine Faulk in The Night of the Iguana (1964) was well-reviewed, and she was nominated for a BAFTA Award and a Golden Globe. Additionally, <mask> won the Silver Shell for Best Actress at the San Sebastián International Film Festival in 1964 for her performance in The Night of the Iguana. Film portrayals
<mask> has been portrayed by Marcia Gay Harden in the 1992 TV miniseries Sinatra, Deborah Kara Unger in HBO's 1998 television movie The Rat Pack, Kate Beckinsale

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 in the 2004 Howard Hughes biopic The Aviator, Anna Drijver in the 2012 Italian TV film Walter Chiari – Fino all'ultima risata and Emily Elicia Low in Frank & Ava (2018).The images of <mask> and Clark Gable are featured on the cover of Robin Gibb's 1983 album How Old Are You? The 2018 Spanish television series Arde Madrid is a comedy-drama with thriller elements based on elements of <mask>'s life in Francoist Spain. <mask> is portrayed by Debi Mazar. Filmography

Film

Television

References

Further reading
 Cannon, Doris Rollins. Grabtown Girl: <mask>'s North Carolina Childhood and Her Enduring Ties to Home. Down Home Press, 2001;
 Fowler, Karin. <mask>: A Bio-Bibliography.Greenwood Press, 1990;
 <mask>, <mask>. Ava: My Story. Bantam, 1990;
 Gigliotti, Gilbert, editor. <mask>: Touches of Venus. Entasis Press, 2010;
 Grobel, Lawrence. "Conversations with <mask>", CreateSpace; accessed August 31, 2014. Rivers, Alton.Love, Ava: A Novel. St. Martin's Press, 2007;
 Server, Lee. <mask>: Love is Nothing. St. Martin's Press, 2006;
 Mims, Bryan. "Our Ava", Our State Magazine, 2014
 Wayne, Jane Ellen. Ava's Men: The Private Life of <mask>. Robson Books, 2004;

External links

 <mask> Biography, Britannica.com; accessed August 31, 2014.<mask> – the journey to Hollywood at aenigma
 <mask> profile, TVGuide.com; accessed August 31, 2014. Ava Gardner Museum, avagardner.org; accessed September 13, 2014. 1922 births
1990 deaths
20th-century American actresses
20th-century American singers
American people of English descent
American people of Scotch-Irish descent
Actresses from North Carolina
American expatriate actresses in the United Kingdom
Female models from North Carolina
American film actresses
20th-century American memoirists
American television actresses
Deaths from pneumonia in England
Metro-Goldwyn-Mayer contract players
People from Johnston County, North Carolina
California Democrats
North Carolina Democrats
American

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<mask> (February 13, 1953 – October 30, 2018), better known as <mask><mask>, was a Filipino singer, television host, actor, comedian and politician. He was considered as a music icon in the Philippines. He started the trend of incorporating Tagalog lyrics in his rendition of the American song The Way We Were and other foreign songs. <mask> was known as a singer who regularly infused his on-stage performance with tongue-in-cheek comedy and adult humor. He hosted the noontime variety show Pilipinas Win na Win alongside Rey Valera, Marco Sison, and Nonoy Zuñiga for two months in 2010 replacing Kris Aquino. He also hosted on Happy Yipee Yehey! together with <mask>, Randy Santiago, Mariel Rodriguez, Pokwang and Toni Gonzaga as one of the main hosts replacing Pilipinas Win na Win.<mask> was also active in politics. In 1998, he was elected as the city councilor of Makati from its 1st district until his third and last term ended in 2007. He ran for a comeback in 2010 as the vice mayoralty candidate of Makati, but was unsuccessful. In 2016, <mask> was elected as a councilor in Makati, under the United Nationalist Alliance (UNA), until his death. Biography
<mask> was born in Manila to parents, <mask> Sr. and Corazon J. <mask>. He studied high school in Victorino Mapa High School, although he earned a Bachelor of Arts degree from the Philippine School of Business Administration, <mask> dreamed of becoming a singer. Music career
<mask> introduced himself and his talent to the entertainment business by performing at folk houses and small clubs in Metro Manila.In 1975, while singing at the Palazzi, <mask> met and performed with the American Motown group, The Temptations. <mask>'s talent was later noticed

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. Puno
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texts: by the executive producers from Vicor Records (now Vicor Music). His first record was Love Won't Let Me Wait, while his first big hit was the Tagalog-infused The Way We Were. In 1976, <mask> won the Aliw Award for Most Promising Entertainer. Two years later, he became Aliw's Entertainer of the Year. His Rico in Concert show at the Cultural Center of the Philippines launched him as one of the foremost Philippine pop stars. In 1977, <mask> covered the Carpenters song Merry Christmas Darling from his first Christmas album, The Spirit of Christmas which was originally sung by Karen Carpenter.In 1978, <mask>'s popularity and his regular concerts at the Araneta Coliseum (now SMART Araneta Coliseum) in Quezon City and his performance tours in the United States broke records in terms of audience attendance. His fame also made him into a sought-after product endorser including advertisements for San Miguel Beer in the 1970s. In 1979, <mask> represented the Philippines at the Tokyo Music Festival, with Lupa (Ground), a song that imparted messages on how an individual could strive to change for the better, on how to gain humility and other human values, on how not to judge others, and on how to struggle against one's own weaknesses. From 2001, the Greatest Hits series in Manila, produced by Viva Concerts helped maintain <mask>'s popularity. These Greatest Hits concerts brought him together with other Greatest Hitmakers in the Philippine music scene during the 1980s, namely Philippine pop icons: Hajji Alejandro, Rey Valera, Nonoy Zuñiga and Marco Sison. He also covered the song Ang Huling El Bimbo in 1994 which was originally a major hit for The Eraserheads. He also covered the song Mabuti Pa Sila in

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 2010 and originally composed and recorded by Gary Granada.During <mask>'s recent performances, he is often joined on stage by his oldest daughter, Tosca Camille. <mask>'s son, Rox is also a singer and a band member. <mask> was honored and awarded recently in ASAP Pinoy on ASAP show on ABS-CBN contributing his best in singing performing as a total entertainer who celebrated his 40th anniversary in music and entertainment movie and TV career in 2017. Hit songs
<mask>'s hit songs included "Kapalaran" (Fate), "Buhat" (Ever Since), "Macho Gwapito" (Gorgeous Young Man), "Lupa" (Soil or Ground), "Damdamin" (Feelings), "May Bukas Pa" (There's Still Tomorrow), "Ang Tao'y Marupok" (People Are Fragile), "Magkasuyo Buong Gabi" (Together Through the Night) – a duet with Elsa Chan – and his Filipino rendition of "You Don't Have To Be A Star (To Be in My Show)". One of <mask>'s recent albums, is Aliw by Sony BMG Records. His carrier single was "Kay Hirap Mong Limutin" (It Is Hard To Forget You) by Lito Camo. Popularity
The duration of <mask>'s career spanned more than four decades.He was a favorite of the Philippine Amusement and Games Corporation (PAGCOR) and other casinos around Metro Manila and the provinces. His performances included tours in the United States, Canada, Dubai, Hong Kong, Japan, Australia and European countries. Acting
Aside from singing, <mask> also ventured into an acting for being as a comedian, his 1st movie was, Bawal Na Pag-ibig in 1977. His other popular comedy movies are Isang Platitong Mani (1986), A.B. Normal College (2003), As Boobs: Asal Bobo (2009) and his last movie was Instant Mommy (2013). His 1st and only action thriller movie was Alas Dose (2001) he plays as a bad

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 congressman who bombs a preschool learning center, with co stars award winning actor & Director Cesar Montano & Christopher De Leon which plays as a nemesis Villain of Montano in the movie. Hosting
Owing to his rising popularity, various TV networks and movie producers soon came knocking on his door for more acting/hosting opportunities.GMA Network hired <mask> to host a noontime variety show, Lunch Date which first aired in March 1986 and served as a replacement for Student Canteen. However, in 1987 he left the show after it reformatted. In 1994–1995 he headlined another noontime show, Chibugan Na (It's Eating Time), aired on weekdays at 12 noon on RPN 9, with Hajji Alejandro. <mask> returned as TV host for Macho Guwapito on the now-defunct Makisig Network. He was one of the judges in the inaugural week of the reality talent show Showtime on ABS-CBN. In 2010, he also hosted "Pilipinas Win na Win" and "Happy Yipee Yehey!" in 2011–2012.Business
<mask> was also the owner of the karaoke bar, Coriks, at Vito Cruz Extension, Makati. He also managed a trucking business. Politics
He won a seat in the Makati City Council for the first district in 1998. Among <mask>'s notable ordinances filed during his first term was the installation of a surveillance camera in every convenience store in Makati that operates 24 hours a day, as protection against robbers who prey on convenience stores. He left the city council after his third and final consecutive term ended in 2007. His seat in the city council was kept by his eldest daughter, Tosca Camille. He then teamed up with <mask> Binay to run for vice mayor of Makati in 2010.Although Binay won the mayoralty race, <mask> lost to Romulo "Kid" <mask>., who

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 was the running mate of then-outgoing vice mayor Ernesto Mercado. As his daughter Tosca was term-limited, he successfully regained a seat in the Makati City Council in 2016 under the ticket of Abigail Binay. In October 2018, he left the United Nationalist Alliance and was among the 13 councilors who pledged support to former Mayor <mask> Binay, the incumbent mayor's brother who would run against her in the upcoming 2019 elections. He planned to seek reelection but died after he filed his Certificate of Candidacy (COC). He was substituted by his daughter Tosca, who would then go on to win a seat in the city council. Death
<mask> died of heart failure on October 30, 2018, in St. Luke's Medical Center – Global City. He was 65.He was laid to rest at The Heritage Park in Taguig. Awards
Special Lifetime Achievement Award, ASAP Pinoy 2017, ASAP Show, ABS-CBN 2

Filmography

Television
Rico Baby (BBC)
Rated A (MBS)
GMA Supershow (GMA Network) (1978–1997) – guest performer
Student Canteen (GMA Network) (1975–1986) – guest performer
Lunch Date (GMA Network)
Chibugan Na! (RPN)
Vilma on Seven! (2011) – <mask>
Asboobs: Asal Bobo (2003) – Capt. Palma
Pakners (2003) – Richard de Guzman
A.B. Normal College (2003)
Alas-Dose (2001) – Congressman
<mask> & Ted: Wanted (2000) – Mr. Mariano
Matalino Man ang Matsing Na-iisahan Din! (2000)
Alyas Boy Tigas: Ang Probinsyanong Wais (1998)
Sailor's Disaster (1994) – Bruno
Tom & Jerry: Hindi Kaming Hayop (1993) – Alfie
Dr. Potpot Travels to the Moon (1991) – Enzio
Isang Platitong mani (1986)
Annabelle Huggins Story (1982)
Bullet for Your Music (1978)
Silang Mga Mukhang Pera (1977)
Wow!Sikat Pare, Bigat! (1977)
Bawal Na Pag-ibig (1977)

Discography

Albums
The Way We

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 Were (1973)
Once Again...
Kapalaran
<mask> J. Puno (1976)
Spirit of Christmas (1976)
Rico Baby (1977)
The Total Entertainer (1977)
Tatak (1978)
Macho Gwapito (1979)
Diyos ang Pag-Ibig (1980)
Ako Ang May Nais (1989)
Rico J. Puno (1991)
Aliw (2001)
With Love in Our Hearts (2005)

Compilation albums
Walang Kupas... All Hits
40th Anniv Collection
The Ultimate Collection
Rico Silver Series (Viva Records)
Hits of R.Puno, B.Dominic & R.Manrique Jr.

Live albums
The Way We Were: Live
<mask> J. Puno: Live in Hawaii (produced by Willy Martin)

Compilation appearances
The 2nd Metro Manila Pop Music Festival (Vicor Music, 1978)
Handog sa Pasko (Viva Records, 1991)
Metropop Song Festival 1996 (GMA Records (formerly Infinity Music, Inc.), 1996)
25 Great Songs 25 Great Artists  (PolyEast Records, 1998)
Ultraelectromagneticjam! (Sony BMG Music Philippines, 2005)
No. 1 Signature Hits OPM's Best  (Vicor Music & Viva Records, 2008)
Pinoy Sound Trip Vol. 1 (Vicor Music, 2008)
Pinoy Sound Trip Vol. 2 (Vicor Music, 2008)
18 Inspirational Love Songs (Viva Records, 2009)
Live Na Live: Unforgettable Live Performance (Viva Records, 2009)
C.H.I.N. Picnic Celebration, Toronto Canada (produced by <mask>) (2012)

Soundtrack appearances
Happy Yipee Yehey!Soundtrack (Star Music, 2011)

Songs
Original songs
"All I Ever Want" (a finalist of Metropop Song Festival 1996)
"Cartada Dies" (covered by <mask> Gibbs)
"Kapalaran" (covered by Radioactive Sago Project & Martin Nievera)
"Kay Hirap Mong Limutin" (Original composed by: Lito Camo)
"Lupa" (covered by Gary Valenciano; previously covered by ASIN)
"Macho Guwapito" (covered by Protein Shake)
"May Bukas Pa" (covered by Kyle Balili, Ogie Alcasid and Erik Santos)
"Sorry Na,

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Janno


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<mask> or Payns ( 1070 – 24 May 1136) was the co-founder and first Grand Master of the Knights Templar. In association with Bernard of Clairvaux, he created the Latin Rule, the code of behavior for the Order. Name
The majority of the primary sources of information for his life are presented in Latin or the medieval French language. In French his name usually appears as <mask> or Payns (). His earliest certain appearance in documents is under the part-Latin, part-French name <mask> (1120–1125; details below). Later Latin sources call him <mask>is. In English works he often appears as <mask>, in Italian sometimes as <mask>' Pagani'.Origin and early life
There is no known early biography of <mask> <mask> in existence, nor do later writers cite such a biography. None of the sources on his later career give details of his early life. Information is therefore scanty and uncertain; embellishments depend partly on documents that may not refer to the same individual, partly on histories written decades or even centuries after his death. The earliest source that details a geographical origin for the later Grand Master is the Old French translation of William of Tyre's History of Events Beyond the Sea. The Latin text calls him simply <mask> Paganis, but the French translation, dated to c. 1200, describes him as Hues de Paiens delez Troies ("Hugh of Payens near Troyes"), a reference to the village of Payns, about 10 km from Troyes, in Champagne (eastern France). In early documents of that region <mask> Pedano, Montiniaci dominus is mentioned as a witness to a donation by Count Hugh of Champagne in a document of 1085–90, indicating that the man was at least sixteen by this date—a legal adult and thus able to bear witness to legal documents—and so born no later than 1070. The same name appears on a number of other charters up to 1113 also relating to

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Hugues de Payens
Hugues de Payens
Hugo de Ps
Hugo de Pagan
Hugh de Payns
Ugo de
Hugues
de Payens
Hugo de
Hugo de