Theaters of Estonia Jõhvi Theater Jõhvi Concert H all, situated in a small town Jõhvi near N arva, is the youngest, yet the most modern theater in Estonia. With it's large multi-functional transforming scene and stunning unusual architecture it became an important art and cultural center not only of Ida Virumaa, but of the whole Estonia in a very short time. The colourful history of Jõhvi Concert H all dates back to the year 1491, when Jõhvi M anor with its historicist features stood on the spot of the modern Jõhvi Concert H ouse. The manor buildings were surrounded by a spacious park, which can be found next to the concert house even today, reminding us of the former glory of the manor. In cooperation with the Estonian M inistry of Culture and Jõhvi Government the Jõhvi Theater was built in 2004 and first opened its doors on the 8th of October 2005 under the management of Aivar M äethe Director of Estonian Concert. The architects
by the lightning in 1625 and when it was restored in 1651, it was made lower. During the 17th and 18th centuries, the steeple was struck by lightning six times. The present height 123.7- m dates back to the restoration of 1820-1840, after the fire of 1820 that devastated the church. The restoration took 20 years and followed the old Gothic style and not the Neo- 13 Classical style dominating in the first half of the nineteenth century and so the restored St Olaf`s introduced the new, Historicist ecclesiastical architecture. The oblong basilica is a wonderful specimen of Gothic architecture in Tallinn. The fact that the central nave is almost twice as high as the side aisles reveals the basic characteristic feature of Gothic style aspiration upward. The altar part of the building with magnificent asteroid vaults dates from the 15th century. The Lady Chapel, built southwards from the chancel just before the Reformation in the early
written. Similarly, Regan acknowledges the achievements of what he calls the “symbolist approach”, since it points out the link between Larkin and (both French and English) symbolism. Again, however, he sees it as problematic that this approach tends to view literary trends outside their social context. Instead of the rejected methods, his ambition in the second part of his monograph is to offer “a more responsive and responsible historicist criticism”. Regan does this by pointing out that “here is a complex and distinctive relationship between the linguistic structure of the poems and the changing social structure of the post-war years”. Nobody can doubt this, but Regan’s conclusion is somewhat surprising: he makes Larkin, a par excellence conservative poet, seem to be a rebellious critic of post-war capitalism. Moreover, although Regan admits that Larkin is
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