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1 Theater of War
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2 theater of war
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3 Synthetic Theater of War-Theater Missile Defense
Military: STOW-TMDУниверсальный русско-английский словарь > Synthetic Theater of War-Theater Missile Defense
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4 Major Theater of War
Универсальный русско-английский словарь > Major Theater of War
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5 Synthetic Theater of War
Military: STOWУниверсальный русско-английский словарь > Synthetic Theater of War
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6 Synthetic Theater of War-Europe
Military: STOW-EУниверсальный русско-английский словарь > Synthetic Theater of War-Europe
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7 Theater
n; -s, -2. nur Sg.; (Institution) (the) theat|re (Am. auch -er); (die Bühne) the stage; beim oder im Theater sein have a theat|re (Am. auch -er) job, meist be an actor ( oder actress), act for a living; zum Theater gehen go on the stage; sie will zum Theater ( gehen ) auch she wants to be(come) an actress, she wants to act; ich habe als Student viel Theater gespielt in my university days ( oder when I was a student) I did a lot of acting ( oder I was very into theat|re [Am. auch -er]); ( ganz modernes) Theater machen put on (avant-garde oder ultra-modern) plays; ins Theater gehen go to the theat|re (Am. auch -er); das antike / epische / absurde Theater ancient theat|re / epic theat|re / theat|re of the absurd (Am. auch -er); wann fängt das Theater an? (Vorstellung) when does the performance begin?4. nur Sg.; umg., fig., pej. (Verstellung) play-acting, histrionics Pl. geh.; Theater spielen put on an act; bes. SPORT play-act; das ist alles nur Theater (gespielt) that’s just put on, that’s all play-acting5. nur Sg.; umg., fig., pej. (Aufregung, Ärger) fuss, to-do, excitement, bother, trouble, carry-on; ( jemandem) ein Theater wegen etw. machen kick up a fuss (with s.o.) about s.th.; mach kein Theater! don’t make such a fuss!; ich kriege zu Hause das größte Theater! I’ll get hell at home!; es ist immer das gleiche Theater it’s always the same old carry-on (Am. spiel); das ist vielleicht ein Theater bis alle bereit sind etc.: it’s such a carry-on (Am. to-do) ( schwächer: business); das war ( vielleicht) ein Theater (Aufregung) that was a bit of a flap (if I ever saw one); (Aufwand) that was a (right) carry-on (Am. a huge foofaraw)* * *das Theatertheater; theatre* * *The|a|ter [te'aːtɐ]nt -s, -1) theatre (Brit), theater (US); (= Schauspielbühne) theatre (Brit) or theater (US) company; (= Zuschauer) audiencebeim or am Theáter arbeiten — to work in the theatre (Brit) or theater (US)
er ist or arbeitet beim Ulmer Theáter — he's with the Ulm theatre (Brit) or theater (US) company
heute Abend wird im Theáter "Othello" gezeigt or gegeben — "Othello" is on or is playing at the theatre (Brit) or theater (US) tonight
das Theáter fängt um 8 Uhr an — the performance begins at 8 o'clock
zum Theáter gehen — to go on the stage
ins Theáter gehen — to go to the theatre (Brit) or theater (US)
das französische Theáter — French theatre (Brit) or theater (US)
Theáter spielen (lit) — to act
jdm ein Theáter vormachen or vorspielen (fig) — to put on an act for sb's benefit
das ist doch alles nur Theáter (fig) — it's all just play-acting
das war vielleicht ein Theáter, bis ich... — what a palaver or performance or carry-on I had to... (inf)
das ist (vielleicht) immer ein Theáter, wenn er kommt — there's always a big fuss when he comes
* * *das1) (drama: His special interest is the theatre.) the theatre2) (a place where plays, operas etc are publicly performed.) theatre3) (plays in general; any theatre: Are you going to the theatre tonight?) theatre* * *The·a·ter<-s, ->[teˈatɐ]ntzum \Theater gehen to go on the stage\Theater spielen to put on a show, to act[ein] \Theater machen to make [or create] a fuss fam* * *das; Theaters, Theater1) theatrezum Theater gehen — (ugs.) go into the theatre; tread the boards
beim od. am Theater sein — be or work in the theatre
Theater spielen — act; (fig.) play-act; pretend; put on an act
2) o. Pl. (fig. ugs.) fussmach [mir] kein Theater! — don't make a fuss
* * *im Theater sein have a theatre (US auch -er) job, meist be an actor ( oder actress), act for a living;zum Theater gehen go on the stage;sie will zum Theater (gehen) auch she wants to be(come) an actress, she wants to act;ich habe als Student viel Theater gespielt in my university days ( oder when I was a student) I did a lot of acting ( oder I was very into theatre [US auch -er]);(ganz modernes) Theater machen put on (avant-garde oder ultra-modern) plays;ins Theater gehen go to the theatre (US auch -er);das antike/epische/absurde Theater ancient theatre/epic theatre/theatre of the absurd (US auch -er);wann fängt das Theater an? (Vorstellung) when does the performance begin?das ganze Theater lachte the audience roared with laughter4. nur sg; umg, fig, pej (Verstellung) play-acting, histrionics pl geh;das ist alles nur Theater (gespielt) that’s just put on, that’s all play-acting5. nur sg; umg, fig, pej (Aufregung, Ärger) fuss, to-do, excitement, bother, trouble, carry-on;(jemandem) ein Theater wegen etwas machen kick up a fuss (with sb) about sth;mach kein Theater! don’t make such a fuss!;ich kriege zu Hause das größte Theater! I’ll get hell at home!;es ist immer das gleiche Theater it’s always the same old carry-on (US spiel);das ist vielleicht ein Theater bis alle bereit sind etc: it’s such a carry-on (US to-do) ( schwächer: business);das war (vielleicht) ein Theater (Aufregung) that was a bit of a flap (if I ever saw one); (Aufwand) that was a (right) carry-on (US a huge foofaraw)* * *das; Theaters, Theater1) theatrezum Theater gehen — (ugs.) go into the theatre; tread the boards
beim od. am Theater sein — be or work in the theatre
Theater spielen — act; (fig.) play-act; pretend; put on an act
2) o. Pl. (fig. ugs.) fussmach [mir] kein Theater! — don't make a fuss
* * *- n.theater (US) n.theatre (UK) n. -
8 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today. -
9 theater prisoner of war information center
Military: TPWICУниверсальный русско-английский словарь > theater prisoner of war information center
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10 World War II
(1939-1945)In the European phase of the war, neutral Portugal contributed more to the Allied victory than historians have acknowledged. Portugal experienced severe pressures to compromise her neutrality from both the Axis and Allied powers and, on several occasions, there were efforts to force Portugal to enter the war as a belligerent. Several factors lent Portugal importance as a neutral. This was especially the case during the period from the fall of France in June 1940 to the Allied invasion and reconquest of France from June to August 1944.In four respects, Portugal became briefly a modest strategic asset for the Allies and a war materiel supplier for both sides: the country's location in the southwesternmost corner of the largely German-occupied European continent; being a transport and communication terminus, observation post for spies, and crossroads between Europe, the Atlantic, the Americas, and Africa; Portugal's strategically located Atlantic islands, the Azores, Madeira, and Cape Verde archipelagos; and having important mines of wolfram or tungsten ore, crucial for the war industry for hardening steel.To maintain strict neutrality, the Estado Novo regime dominated by Antônio de Oliveira Salazar performed a delicate balancing act. Lisbon attempted to please and cater to the interests of both sets of belligerents, but only to the extent that the concessions granted would not threaten Portugal's security or its status as a neutral. On at least two occasions, Portugal's neutrality status was threatened. First, Germany briefly considered invading Portugal and Spain during 1940-41. A second occasion came in 1943 and 1944 as Great Britain, backed by the United States, pressured Portugal to grant war-related concessions that threatened Portugal's status of strict neutrality and would possibly bring Portugal into the war on the Allied side. Nazi Germany's plan ("Operation Felix") to invade the Iberian Peninsula from late 1940 into 1941 was never executed, but the Allies occupied and used several air and naval bases in Portugal's Azores Islands.The second major crisis for Portugal's neutrality came with increasing Allied pressures for concessions from the summer of 1943 to the summer of 1944. Led by Britain, Portugal's oldest ally, Portugal was pressured to grant access to air and naval bases in the Azores Islands. Such bases were necessary to assist the Allies in winning the Battle of the Atlantic, the naval war in which German U-boats continued to destroy Allied shipping. In October 1943, following tedious negotiations, British forces began to operate such bases and, in November 1944, American forces were allowed to enter the islands. Germany protested and made threats, but there was no German attack.Tensions rose again in the spring of 1944, when the Allies demanded that Lisbon cease exporting wolfram to Germany. Salazar grew agitated, considered resigning, and argued that Portugal had made a solemn promise to Germany that wolfram exports would be continued and that Portugal could not break its pledge. The Portuguese ambassador in London concluded that the shipping of wolfram to Germany was "the price of neutrality." Fearing that a still-dangerous Germany could still attack Portugal, Salazar ordered the banning of the mining, sale, and exports of wolfram not only to Germany but to the Allies as of 6 June 1944.Portugal did not enter the war as a belligerent, and its forces did not engage in combat, but some Portuguese experienced directly or indirectly the impact of fighting. Off Portugal or near her Atlantic islands, Portuguese naval personnel or commercial fishermen rescued at sea hundreds of victims of U-boat sinkings of Allied shipping in the Atlantic. German U-boats sank four or five Portuguese merchant vessels as well and, in 1944, a U-boat stopped, boarded, searched, and forced the evacuation of a Portuguese ocean liner, the Serpa Pinto, in mid-Atlantic. Filled with refugees, the liner was not sunk but several passengers lost their lives and the U-boat kidnapped two of the ship's passengers, Portuguese Americans of military age, and interned them in a prison camp. As for involvement in a theater of war, hundreds of inhabitants were killed and wounded in remote East Timor, a Portuguese colony near Indonesia, which was invaded, annexed, and ruled by Japanese forces between February 1942 and August 1945. In other incidents, scores of Allied military planes, out of fuel or damaged in air combat, crashed or were forced to land in neutral Portugal. Air personnel who did not survive such crashes were buried in Portuguese cemeteries or in the English Cemetery, Lisbon.Portugal's peripheral involvement in largely nonbelligerent aspects of the war accelerated social, economic, and political change in Portugal's urban society. It strengthened political opposition to the dictatorship among intellectual and working classes, and it obliged the regime to bolster political repression. The general economic and financial status of Portugal, too, underwent improvements since creditor Britain, in order to purchase wolfram, foods, and other materials needed during the war, became indebted to Portugal. When Britain repaid this debt after the war, Portugal was able to restore and expand its merchant fleet. Unlike most of Europe, ravaged by the worst war in human history, Portugal did not suffer heavy losses of human life, infrastructure, and property. Unlike even her neighbor Spain, badly shaken by its terrible Civil War (1936-39), Portugal's immediate postwar condition was more favorable, especially in urban areas, although deep-seated poverty remained.Portugal experienced other effects, especially during 1939-42, as there was an influx of about a million war refugees, an infestation of foreign spies and other secret agents from 60 secret intelligence services, and the residence of scores of international journalists who came to report the war from Lisbon. There was also the growth of war-related mining (especially wolfram and tin). Portugal's media eagerly reported the war and, by and large, despite government censorship, the Portuguese print media favored the Allied cause. Portugal's standard of living underwent some improvement, although price increases were unpopular.The silent invasion of several thousand foreign spies, in addition to the hiring of many Portuguese as informants and spies, had fascinating outcomes. "Spyland" Portugal, especially when Portugal was a key point for communicating with occupied Europe (1940-44), witnessed some unusual events, and spying for foreigners at least briefly became a national industry. Until mid-1944, when Allied forces invaded France, Portugal was the only secure entry point from across the Atlantic to Europe or to the British Isles, as well as the escape hatch for refugees, spies, defectors, and others fleeing occupied Europe or Vichy-controlled Morocco, Tunisia, and Algeria. Through Portugal by car, ship, train, or scheduled civil airliner one could travel to and from Spain or to Britain, or one could leave through Portugal, the westernmost continental country of Europe, to seek refuge across the Atlantic in the Americas.The wartime Portuguese scene was a colorful melange of illegal activities, including espionage, the black market, war propaganda, gambling, speculation, currency counterfeiting, diamond and wolfram smuggling, prostitution, and the drug and arms trade, and they were conducted by an unusual cast of characters. These included refugees, some of whom were spies, smugglers, diplomats, and business people, many from foreign countries seeking things they could find only in Portugal: information, affordable food, shelter, and security. German agents who contacted Allied sailors in the port of Lisbon sought to corrupt and neutralize these men and, if possible, recruit them as spies, and British intelligence countered this effort. Britain's MI-6 established a new kind of "safe house" to protect such Allied crews from German espionage and venereal disease infection, an approved and controlled house of prostitution in Lisbon's bairro alto district.Foreign observers and writers were impressed with the exotic, spy-ridden scene in Lisbon, as well as in Estoril on the Sun Coast (Costa do Sol), west of Lisbon harbor. What they observed appeared in noted autobiographical works and novels, some written during and some after the war. Among notable writers and journalists who visited or resided in wartime Portugal were Hungarian writer and former communist Arthur Koestler, on the run from the Nazi's Gestapo; American radio broadcaster-journalist Eric Sevareid; novelist and Hollywood script-writer Frederick Prokosch; American diplomat George Kennan; Rumanian cultural attache and later scholar of mythology Mircea Eliade; and British naval intelligence officer and novelist-to-be Ian Fleming. Other notable visiting British intelligence officers included novelist Graham Greene; secret Soviet agent in MI-6 and future defector to the Soviet Union Harold "Kim" Philby; and writer Malcolm Muggeridge. French letters were represented by French writer and airman, Antoine Saint-Exupery and French playwright, Jean Giroudoux. Finally, Aquilino Ribeiro, one of Portugal's premier contemporary novelists, wrote about wartime Portugal, including one sensational novel, Volframio, which portrayed the profound impact of the exploitation of the mineral wolfram on Portugal's poor, still backward society.In Estoril, Portugal, the idea for the world's most celebrated fictitious spy, James Bond, was probably first conceived by Ian Fleming. Fleming visited Portugal several times after 1939 on Naval Intelligence missions, and later he dreamed up the James Bond character and stories. Background for the early novels in the James Bond series was based in part on people and places Fleming observed in Portugal. A key location in Fleming's first James Bond novel, Casino Royale (1953) is the gambling Casino of Estoril. In addition, one aspect of the main plot, the notion that a spy could invent "secret" intelligence for personal profit, was observed as well by the British novelist and former MI-6 officer, while engaged in operations in wartime Portugal. Greene later used this information in his 1958 spy novel, Our Man in Havana, as he observed enemy agents who fabricated "secrets" for money.Thus, Portugal's World War II experiences introduced the country and her people to a host of new peoples, ideas, products, and influences that altered attitudes and quickened the pace of change in this quiet, largely tradition-bound, isolated country. The 1943-45 connections established during the Allied use of air and naval bases in Portugal's Azores Islands were a prelude to Portugal's postwar membership in the North Atlantic Treaty Organization (NATO). -
11 European war theater
Military: EWTУниверсальный русско-английский словарь > European war theater
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12 Major Theater War
Abbreviation: MTW -
13 театр военных действий
Русско-английский синонимический словарь > театр военных действий
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14 театр военных действий
theater of war, theater of hostilities, theater of operationРусско-английский политический словарь > театр военных действий
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15 театр военных действий
1) General subject: battle ground, battle-ground, the scene of operations, the seat of war, the theater of operations, the theater of war, war seat2) Military: combat theater, hostilities theater, sub-theater, tactical theater, theater, theater of military action, theater of military operations, theater of operation (ТВД), theater of operations, theater of war, theater of war operations, theatre of military operations, theatre of war, theatre of war operations3) Law: seat of war, theatre of operations4) Diplomatic term: scene of operations, theatre of hostilities5) Abbreviation: ТВД6) Makarov: arena of warУниверсальный русско-английский словарь > театр военных действий
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16 escenario de la guerra
(n.) = theatre [theater, -USA], theatre of warEx. This journal provides a social and military history of the GI in the European theater in World War 2.Ex. The author examines the role of codebreaking in MacArthur's theater of war.* * *(n.) = theatre [theater, -USA], theatre of warEx: This journal provides a social and military history of the GI in the European theater in World War 2.
Ex: The author examines the role of codebreaking in MacArthur's theater of war. -
17 театр войны
1) Military: hostilities theater, seat of war, theater, theater of war, theater strategy2) Law: war theatre3) leg.N.P. theater of operations -
18 teatr
theatre (BRIT), theater (US)* * *mi1. ( dziedzina twórczości) (the) theater; Br. theatre; teatr lalkowy l. kukiełkowy puppet theater; teatr absurdu theater of the absurd; teatr cieni shadow theater; teatr muzyczny musical theater.2. (instytucja, budynek, scena, t. przen.) theater; Br. theatre; teatr objazdowy traveling theater; teatr stały repertory theater; chodzić do teatru go to the theater.3. teatr działań wojennych theater of war.The New English-Polish, Polish-English Kościuszko foundation dictionary > teatr
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19 Европейский театр войны
Универсальный русско-английский словарь > Европейский театр войны
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20 desciframiento
m.decipherment, deciphering, decoding.* * *1 deciphering, decoding* * *= deciphering, codebreaking.Ex. Berlin scholars have shown interest in the deciphering and publication of Mexican Indian manuscripts since the early 19th century.Ex. The author examines the role of codebreaking in MacArthur's theater of war.* * *= deciphering, codebreaking.Ex: Berlin scholars have shown interest in the deciphering and publication of Mexican Indian manuscripts since the early 19th century.
Ex: The author examines the role of codebreaking in MacArthur's theater of war.
См. также в других словарях:
theater of war — noun the entire land, sea, and air area that may become or is directly involved in war operations • Syn: ↑theatre of war • Hypernyms: ↑region • Part Meronyms: ↑field, ↑field of operations, ↑theater, ↑ … Useful english dictionary
theater of war — Defined by the National Command Authorities or the geographic combatant commander, the area of air, land, and water that is, or may become, directly involved in the conduct of the war. A theater of war does not normally encompass the geographic… … Military dictionary
Theater of War (album) — Infobox Album Name = Theater of War Type = Studio album Artist = Jacobs Dream Released = 2001 Recorded = John Schwab Studios Genre = Power metal, christian metal Length = 44:59 Label = Metal Blade Records Producer = Jacobs Dream with Joe Viers… … Wikipedia
theater of war — the entire area in which ground, sea, and air forces may become directly employed in war operations, including the theater of operations and the zone of interior. [1885 90] * * * … Universalium
theater of war — Date: circa 1890 the entire land, sea, and air area that is or may become involved directly in war operations … New Collegiate Dictionary
theater of war — battlefield, location where war is taking place … English contemporary dictionary
theater of war — noun The area in which armed conflict takes place … Wiktionary
Theater an der Ruhr — Das Theater an der Ruhr wurde 1980 von dem italienischen Regisseur Roberto Ciulli und dem Dramaturgen Helmut Schäfer als gGmbH in Mülheim an der Ruhr gegründet. Die Stadt Mülheim wurde ebenfalls Gesellschafter der gGmbH. Das Theater wird bei… … Deutsch Wikipedia
Theater im Zimmer — Das Theater im Zimmer war eine Hamburger Sprechbühne. Inhaltsverzeichnis 1 Geschichte … Deutsch Wikipedia
Theater Aachen — bei Nacht Das Theater Aachen ist eine kulturelle Stätte in Aachen, an der theatralische Stücke, Opern, Operetten, Musicals, Musikkonzerte usw. aufgeführt werden. Es besitzt ein eigenes Sinfonieorchester, das seit 2002 unter der Leitung von… … Deutsch Wikipedia
Theater — The a*ter, Theatre The a*tre, n. [F. th[ e][^a]tre, L. theatrum, Gr. ?, fr. ? to see, view; cf. Skr. dhy[=a] to meditate, think. Cf. {Theory}.] 1. An edifice in which dramatic performances or spectacles are exhibited for the amusement of… … The Collaborative International Dictionary of English
