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greekroyalfamily · 11 months

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117 years since the Birth of Princess Theodora of Greece and Denmark (30 May 1906 – 16 October 1969) who was by birth a Greek and Danish princess as well as Margravine of Baden through her marriage to Berthold, pretender to the throne of the Grand Duchy of Baden.

The second of five children of Prince Andrew of Greece and Denmark and Princess Alice of Battenberg, Theodora spent a happy childhood between Athens and Corfu. In her youth, however, she witnessed the Balkan Wars (1912–1913), followed by the First World War (1914–1918) and the Greco-Turkish War (1919–1922). For the young princess and her relatives, these conflicts had dramatic consequences and led to their exile in Switzerland (between 1917 and 1920), then in France and the United Kingdom (from 1922 to 1936). During their exile, Theodora and her family depended on the generosity of their foreign relatives, in particular Marie Bonaparte (who offered them accommodation in Saint-Cloud) and Lady Louis Mountbatten (who supported them financially)

At the end of the 1920s, Theodora's mother was struck by a mental health crisis which led to her confinement in a Swiss psychiatric hospital. Shortly after, in 1931, Theodora married Berthold, Margrave of Baden, son of Chancellor of the German Reich Prince Maximilian. The couple then moved to Salem Castle, where Berthold ran a school with teacher Kurt Hahn. The princess gave birth to three children there: Margarita (1932–2013), Maximilian (1933–2022) and Ludwig (born 1937). Opposed to Nazism, Theodora and her husband kept their distance from the Nazi regime; however, this did not prevent Berthold from enlisting in the Wehrmacht at the start of the Second World War. Affected by the conflict, which divided her family into two factions, Theodora became involved in the German Red Cross and other charitable organizations.

The defeat of Germany and its occupation by the Allies brought new upheavals in the life of Theodora and Berthold. Though not held by the Soviets, responsible for the death of several of their cousins, the couple was ostracized by the British royal family at the time of the marriage of Prince Philip, Theodora's only brother, to Princess Elizabeth of the United Kingdom (later Queen Elizabeth II) in 1947. Over the years, the couple was nevertheless reintegrated into the life of the European elite, as illustrated by their invitation and presence at the coronation of Elizabeth II in 1953 and at the wedding of Juan Carlos, Prince of Asturias, and Princess Sophia of Greece and Denmark in 1962.

At the end of the 1940s, Theodora began to suffer from heart problems.Over time, her health deteriorated and she appeared very diminished at the wedding of Prince Juan Carlos and Princess Sophia in 1962.Her health then alternated between times when she had the greatest difficulty speaking or walking and times when she felt absolutely good. Unable to anticipate her next seizures, she had to move around with a cane at all times.Forced to have all her teeth pulled out, she acquired a strange smile, which her mother struggled to get used to.

As his wife's health deteriorated, Berthold suffered a fatal heart attack while driving with their son Ludwig on 27 October 1963.Upset by the demise of her husband, Theodora then hurriedly returned from Italy, where she was on vacation.

Theodora's last years were affected by the establishment of the Regime of the Colonels in Greece and by the departure into exile of King Constantine II and his family.Hospitalized at the clinic of Doctor Büdingen in Konstanz,Theodora died on 16 October 1969.Her funeral was held at the mausoleum of the Baden family in Salem in the presence of many members of the aristocracy, including her nephew Prince Charles, but not her brother Prince Philip who was on an official trip to Canada

117 χρονια από τη γέννηση της πριγκίπισσας Θεοδώρας της Ελλάδας και της Δανίας (30 Μαΐου 1906 – 16 Οκτωβρίου 1969), η οποία ήταν εκ γενετής Ελληνίδα και Δανή πριγκίπισσα καθώς και η Μαργραβίνη του Μπάντεν μέσω του γάμου της με τον Μπέρθολντ, διαδόχου του θρόνου του Μεγάλου Δουκάτου του Μπάντεν.

Το δεύτερο από τα πέντε παιδιά του πρίγκιπα Ανδρέα της Ελλάδας και της Δανίας και της πριγκίπισσας Αλίκης του Μπάτενμπεργκ, η Θεοδώρα πέρασε μια ευτυχισμένη παιδική ηλικία μεταξύ Αθήνας και Κέρκυρας. Στα νιάτα της, ωστόσο, έγινε μάρτυρας των Βαλκανικών Πολέμων (1912–1913), που ακολούθησαν τον Πρώτο Παγκόσμιο Πόλεμο (1914–1918) και τον Ελληνοτουρκικό πόλεμο (1919–1922). Για τη νεαρή πριγκίπισσα και τους συγγενείς της, αυτές οι συγκρούσεις είχαν δραματικές συνέπειες και οδήγησαν στην εξορία τους στην Ελβετία (μεταξύ 1917 και 1920), στη συνέχεια στη Γαλλία και το Ηνωμένο Βασίλειο (από το 1922 έως το 1936). Κατά τη διάρκεια της εξορίας τους, η Θεοδώρα και η οικογένειά της εξαρτιόταν από τη γενναιοδωρία των συγγενών τους, ιδιαίτερα της Μαρίας Βοναπάρτη (που τους πρόσφερε διαμονή στο Saint-Cloud) και της Λαίδης Λούις Μαουντμπάτεν (που τους στήριξε οικονομικά)

Στα τέλη της δεκαετίας του 1920, η μητέρα της Θεοδώρας χτυπήθηκε από μια κρίση ψυχικής υγείας που την οδήγησε στον εγκλεισμό της σε ένα ελβετικό ψυχιατρείο. Λίγο αργότερα, το 1931, η Θεοδώρα παντρεύτηκε τον Μπέρθολντ, Μαργράβο της Βάδης, γιο του Καγκελαρίου του Γερμανικού Ράιχ πρίγκιπα Μαξιμιλιανού. Στη συνέχεια, το ζευγάρι μετακόμισε στο Κάστρο του Σάλεμ, όπου ο Μπέρθολντ διηύθυνε ένα σχολείο με δάσκαλο τον Κερτ Χαν. Η πριγκίπισσα γέννησε εκεί τρία παιδιά: τη Μαργαρίτα (1932–2013), τον Μαξιμιλιανό (1933–2022) και τον Λούντβιχ (γεννήθηκε το 1937). Ενάντια στον ναζισμό, η Θεοδώρα και ο σύζυγός της κράτησαν αποστάσεις από το ναζιστικό καθεστώς. Ωστόσο, αυτό δεν εμπόδισε τον Μπέρτολντ να καταταγεί στη Βέρμαχτ κατά την έναρξη του Β' Παγκοσμίου Πολέμου. Επηρεασμένη από τη σύγκρουση, που χώρισε την οικογένειά της σε δύο φατρίες, η Θεοδώρα ασχολήθηκε με τον Γερμανικό Ερυθρό Σταυρό και άλλες φιλανθρωπικές οργανώσεις.

Η ήττα της Γερμανίας και η κατοχή της από τους Συμμάχους έφερε νέες ανατροπές στη ζωή της Θεοδώρας και του Μπέρθολντ. Αν και δεν θεωρούνταν από τους Σοβιετικούς, υπεύθυνους για τον θάνατο πολλών από τα ξαδέρφια τους, το ζευγάρι εξοστρακίστηκε από τη βρετανική βασιλική οικογένεια τη στιγμή του γάμου του πρίγκιπα Φίλιππου, του μοναδικού αδερφού της Θεοδώρας, με την πριγκίπισσα Ελισάβετ του Ηνωμένου Βασιλείου (αργότερα βασίλισσα Ελισάβετ ΙΙ) το 1947. Με τα χρόνια, το ζευγάρι επανεντάχθηκε ωστόσο στη ζωή της ευρωπαϊκής ελίτ, όπως φαίνεται από την πρόσκληση και την παρουσία τους στη στέψη της Ελισάβετ Β' το 1953 και στον γάμο του Χουάν Κάρλος, πρίγκιπα της Αστούριας, και την πριγκίπισσα Σοφία της Ελλάδας και της Δανίας το 1962.

Στα τέλη της δεκαετίας του 1940, η Θεοδώρα άρχισε να υποφέρει από καρδιακά προβλήματα. Με την πάροδο του χρόνου, η υγεία της επιδεινώθηκε και εμφανίστηκε πολύ εξασθενημένη στο γάμο του πρίγκιπα Χουάν Κάρλος και της πριγκίπισσας Σοφίας το 1962. Η υγεία της εναλλάσσονταν τότε μεταξύ των περιόδων που είχε τα καλύτερα δυσκολία στην ομιλία ή στο περπάτημα και φορές που ένιωθε απολύτως καλά. Μη μπορώντας να προβλέψει τις επόμενες κρίσεις της, έπρεπε να κυκλοφορεί με ένα μπαστούνι ανά πάσα στιγμή. Αναγκασμένη να της βγάλουν όλα τα δόντια, απέκτησε ένα παράξενο χαμόγελο, το οποίο η μητέρα της πάλευε να συνηθίσει.

Καθώς η υγεία της συζύγου του επιδεινώθηκε, ο Berthold υπέστη θανατηφόρο καρδιακό επεισόδιο ενώ οδηγούσε με τον γιο τους Ludwig στις 27 Οκτωβρίου 1963. Αναστατωμένη από τον θάνατο του συζύγου της, η Theodora επέστρεψε βιαστικά από την Ιταλία, όπου ήταν για διακοπές.

Τα τελευταία χρόνια της Θεοδώρας επηρεάστηκαν από την εγκαθίδρυση του καθεστώτος των συνταγματαρχών στην Ελλάδα και από την αναχώρηση στην εξορία του βασιλιά Κωνσταντίνου Β' και της οικογένειάς του. Νοσηλευόμε��η στην κλινική του Doctor Büdingen στην Konstanz, η Θεοδώρα πέθανε στις 16 Οκτωβρίου 1969. Η κηδεία της έγινε που πραγματοποιήθηκε στο μαυσωλείο της οικογένειας Baden στο Σάλεμ παρουσία πολλών μελών της αριστοκρατίας, συμπεριλαμβανομένου του ανιψιού της Πρίγκιπα Κάρολου, αλλά όχι του αδελφού της πρίγκιπα Φίλιππου που βρισκόταν σε επίσημο ταξίδι στον Καναδά

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mi4011seminiwickramasinghe · 1 month

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Assignment

Part two : Research on the 3 Animators of choice

Animator #1

Everfreshchannel (Primary Research)

After interviewing him, this is what I found in regard about himself.

Sebastian Pfeifer is a 2d animator from known for fluid animations. Freelance 3D generalist, animator, rigger, designer. From Büdingen, Germany.

He was first interested in animation as a child, watching Warner Brothers cartoons such as Johnny Bravo, Two Stupid dogs. He was first interested in fluid animation specifically when he watched the movie Akira (1988), an animated cyberpunk movie which features fluid and flawless animation, inspiring many upcoming actors, including Sebastian himself.

He stated that currently one of the most important things to him is his cat.

He is a self taught animator who first started out as a graphic designer in an advertising agency and switched to animation later on after teaching himself the ropes of it. The animation shown below was one of the first animations he had done back in 2017.

vimeo

He stated that his journey regarding animation has been going great and he has been enjoying every single part of it. While working in graphic design he had started doing animation as a hobby and had gained the attraction of studios and clients and in 2021 he decided to quit his graphic design career and pursue animation as a whole. Most of his clients are from around the world including France, Australia, UK etc.

Regarding his animation style he has stated that between using 3D and 2D animation he uses 3D animation more often due to needing references. He usually uses 3D animation for the animation and draws it over in 2D frame by frame creating a smooth transitioning animation.

The topic of most of his works include behavioral patterns, the things that you consciously or subconsciously do over and over again, creating a loop that you are stuck in.

Keep reading for the interview.

All right, so shall we get started? OK, so I go to AOD, which is a design school based in Sri Lanka, and basically we've been assigned a project where we have to do research on an animator of our choice and we have to do in depth research on them and we have to choose an aspect of their life and we have to animate it in their style. OK. Yeah.

Speaker 2: { 0:37 } That's interesting.

Speaker 1: { 0:38 } Yeah, very interesting.

{ 0:40 } So I I wanted to choose you as one of my options because like I said in the e-mail, when I saw your like animations at first like in caravan palaces like video, I was like Oh my God this is really this is really cool and I really wanted to get to know more about you. So I was wondering if a question that I wanted to ask is like if you could like if you wanted someone to like an animate like talk about 1 aspect of your life. Like what aspect do you think it would be?

Speaker 2: { 1:21 } Oh, oh, that's a tough question.

Speaker 1: { 1:24 } Take your time.

Speaker 2: { 1:26 } That that that's a that's a tough question. I don't know why this is. This is like, I mean there are so many aspects to life so it's the it's it's really tricky to to choose.

{ 1:44 } So I mean the topics in in in my work are usually several aspects of life, you know, but so and the the, the main topic, it's not in all of my works, but but in in a lot of them it's about, it's about behavioral patterns, you know stuff that you you consciously or subconsciously do over and over again and you basically are not able to get out of the loop. You know, because you even though you might, you might know about it, you know, you know, like about your flaws or about your your behaviors that might not be healthy for you or whatnot, but you still do it. So that's the that's the main topic of my work.

{ 2:54 } And yeah, I guess I would basically see someone tackle that topic as well. But I mean, they're not in my head, so they don't know about my, about my flaws and about my behavioral patterns. So it's a bit tricky. So yeah, I would, I would actually leave it up to to you what you would would kind of focus on what you would like to focus on. I mean I I do have a cat. I feel strong about my cat so.

Speaker 1: { 3:43 } Oh, I've actually seen one of your animations on a cat. Was that?

Speaker 2: { 3:48 } Inspired by? Yeah exactly. Yeah. And I actually just released another one on on.

{ 3:56 } I just posted it on Twitter a couple of minutes ago and this also involves my cat.

Speaker 1: { 4:02 } Oh, I will check it out. Umm, so you said something. You said that most of your animations are influenced by behavioral patterns like due to the fact that they're in a loop, right? So is that why, like most of your animations are in a loop?

Speaker 2: { 4:20 } Yeah, exactly.

Speaker 1: { 4:20 } Oh, I see. That's that's interesting to know. I would also like to ask like what? Like what made you work with caravan? Like, did they reach out to you? Or like, did you reach out to them?

Speaker 2: { 4:38 } Yeah, they their their manager reached out to me. Yes, they they found my work on social media and liked it and asked me if I wanted to like a music video for them. And after I did the first one, they asked, hey, do you want to do another one? And so, yeah, there we are.

Speaker 1: { 4:56 } Right. And how long did these two projects take you?

Speaker 2: { 5:01 } They took about. They took about two months each. Oh.

Speaker 1: { 5:10 } Wow, that's that's impressive.

Speaker 2: { 5:14 } Yeah, it's actually quite fast. I'm, I'm, I'm. I'm quite efficient in my workflow.

Speaker 1: { 5:21 } So you animated the whole thing by yourself, right? Yeah, that that is very cool. I wanted to ask, so like what got you into animation in the 1st place? Like what inspired you to get into animation like?

Speaker 2: { 5:40 } Basically watching cartoons as a kid.

Speaker 1: { 5:43 } Oh.

Speaker 2: { 5:43 } So I just watched, you know, like the, the classic, you know, like the classic Warner Brothers cartoons.

{ 5:53 } So those I I grew up with or you know the Hana Barbera tune tunes and and I also love like the the, the more weird ones that that were on on Cartoon Network and stuff like I don't know if you know Johnny Bravo or Two Two Stupid dogs or whatever or cow and chicken. I love those.

Speaker 1: { 6:23 } I see what inspired like the fluid aspect of like your animations.

Speaker 2: { 6:29 } Oh basically just just watching other people do it. So I'm I'm, I'm was always inspired by by other animators that did like a similar thing. So I think the first time I encountered that kind of that kind of organic fluid animation was when I watched Akira also as a kid.

{ 6:58 } But then they were like, you know, like some, some Japanese, any majors like like Mazzanova, Heroka and and whatnot that just inspired me over the the past decade or two all.

Speaker 1: { 7:20 } Right. So did you go into like any school for animation specifically, or is it all self-taught?

Speaker 2: { 7:30 } No, it's all so I've taught. I started out as a as a as a graphics designer in print actually.

{ 7:39 } So I've been I've been freelancing for for over 20 years now and when I when I started out I in my in my early 20s I I started working in an advertising agency as as a regular graphics designer. And then I I I opened up my own business and yeah I did like a lot of, a lot of yeah, classic graphic design for for, for footprint, a lot for the music industry back then like like record covers and stuff. And but since I always was was interested in the in the moving side of things I I just taught myself on the side a little bit of of animation. So I started learning after Effects. Then I I started learning 3D software and then at some point I I started a little bit with frame by frame animation. And so yeah, those days I just combine everything basically.

{ 8:54 } So I I use three DI, use 2D frame by frame, I use stuff in After Effects, whatever, whatever gets the job done most efficiently.

Speaker 1: { 9:04 } Hmm, I see. So I believe the fire animation was the first one that I saw on your page. Like the first the which one? There was like a fire animation that you did. I think that was like the first one you ever posted.

Speaker 2: { 9:24 } Oh yeah. Yeah. That was like, way, way back. Yeah, OK.

Speaker 1: { 9:29 } Around what time was that like? What year was that like?

Speaker 2: { 9:33 } I don't, I don't know. But.

Speaker 1: { 9:35 } Don't give like a request.

Speaker 2: { 9:37 } Those were like like experiments I did in in in 3D to do 2D looks. So I I've did. I've done a lot of of those experiments back then and I still do.

{ 9:53 } So I guess that was I would say. I mean, I I I did stuff before, but I only started using you know like social media and stuff. So that one I think I put on Vimeo, I don't know 2017 or something like that. So not too long ago I was before all of that I wasn't much on on social media or or didn't didn't care about that. I see.

Speaker 1: { 10:41 } All right. And how has your animation journey been so far? Like, has it been rough to, like, keep up like?

Speaker 2: { 10:54 } No, I'm I'm, I'm actually loving it.

{ 10:58 } So it just, you know I was working as a as a regular graphics designer for for quite a while so that I started working professionally in animation also only started I would say. So it's now like seven years ago, something around that where I got my first like animation gigs from studios and stuff before I had like my regular graphic design clients and I just did the the, the animation thing for fun on the side. But at some point, yeah, like studios started noticing me and yeah, just gave me, gave me jobs.

{ 11:52 } And that that increased to to a point where in in 2021 I I ditched my main regular client entirely and said, OK, now I'm not doing like graphics design anymore. I'm just doing animation now. But that was, yeah, that was basically just three years ago that I'm I was going like full animation before I had them animation jobs on the on the side here and there. But then I I went for it, and in retrospect, it was the best decision I've ever made.

Speaker 1: { 12:35 } I mean, I believe you are in Germany right now, right?

Speaker 2: { 12:42 } Yeah.

Speaker 1: { 12:43 } So is the demand high either like the?

Speaker 2: { 12:49 } Ohio, my my my my clients are mostly not from Germany. I, I, I work for studios all over the the globe.

{ 12:57 } Basically a lot of a lot of studios in in USA, a lot in France, actually a lot in the UK, but also like other countries like Australia and you name it.

Speaker 1: { 13:21 } OK, so regarding your animations, do you use a combination of 3D and 2D animation when it comes to like your fluid animations?

Speaker 2: { 13:31 } Yeah, so I always use 3D in one way or another. Sometimes it's just for reference, right? So sometimes it's just, you know, like a reference for for, for character perspectives and whatnot. And then I I draw over over it in in in 2D frame by frame.

{ 13:53 } Sometimes it's it's partially actually 3D that looks like 2D and then parts are drawn over it. So sometimes you know like I'm I'm happy with the look and everything in in in 2D but in 3D. But then there's just a couple of things that that that need frame by frame animation and then add this on top of that and and and try to match the the, the the style which I which I output it from from 3D like regarding the the the line work and whatnot So and how much is is 2D and how much is 3D like totally depends on the project. Sometimes it's sometimes it's 90 or 95% 3D and only a little bit of of 2D and sometimes it's entirely 2D frame by frame. It it depends.

Speaker 1: { 14:53 } Oh, so taking the music videos that you did for Caravan, Yeah, So those are mostly 2D, right, I believe.

Speaker 2: { 15:04 } Those are mostly 3D.

Speaker 1: { 15:05 } Actually, oh really.

Speaker 2: { 15:07 } Yeah, those are mostly 3D. You couldn't. You couldn't do that.

Speaker 1: { 15:10 } In Yeah. No, that that makes sense now.

Speaker 2: { 15:15 } And that's, you know, like that's also when I do, when I do Commission work, you know, that's that's always a thing. I try to think about OK what's my deadline and what's the budget you know like and then I have deadline and budget and I can I can think about OK what what style can I can I use or what style can I can I pull off in in in in 3D to make it to make it efficient and just add a little bit of 2D here and there to make it more believable And then it gets gets quite quite efficient because of of course in in in 3D you can you can do a lot more in in much shorter time.

Speaker 1: { 16:00 } Oh, well, I actually thought that was 2D animation. That's.

Speaker 2: { 16:05 } Good then, goal achieved.

Speaker 1: { 16:08 } Oh oh God, that's that's about the questions I have for now. I I'm so sorry. This is like my first time interviewing someone. I'm very nervous.

Speaker 2: { 16:25 } You're doing great, but don't worry.

Speaker 1: { 16:29 } I'm not sure if I have. I might have any questions in the future if I do.

Speaker 2: { 16:36 } If you have any, just just drop me a mail and I try to try to answer your question if something something pops to mind.

Speaker 1: { 16:51 } Alright, so if I'm I'm thinking about like an animation I could do for your based on your life, and I'm kind of getting the idea of like doing a fish, 'cause I feel like I don't know, like animating a fish.

Speaker 2: { 17:13 } I actually have a pond in the garden but and they used to be fish in there but there's none left so all the cats and and you know like like big birds got all the fish from the pond so there's no more fish at the.

Speaker 1: { 17:29 } Pond oh, what's the name of your cat, actually?

Speaker 2: { 17:35 } The name of my cat is Stinkovich.

Speaker 1: { 17:39 } Oh.

Speaker 2: { 17:40 } It's. Yeah, it's basically it's his nickname, but it morphed into his calling name, right. So his name on paper. His name on paper is Mr. Orange.

{ 17:56 } That's because you know, it's it's it's one of the babies of my of my sister's cat. And when she gave birth, she, my sister gave all the kittens like different colored necklaces and he had an orange one, so that's why he was called Mr. Orange. So they were all like called after the color of them necklaces. So there wasn't Mr. Gray and Missus Pink and whatnot.

Speaker 1: { 18:24 } That's adorable.

Speaker 2: { 18:40 } But why did you want to do a fish? I'm curious about that.

Speaker 1: { 18:44 } OK, so I want to do a fish, because a fish, I mean, it technically lives in water, so it has very like fluid motions, right?

{ 18:52 } It's very smooth and it travels very elegantly, so I I feel like that's what your animations look like to me. Like, it's very elegant and it's very it's very mesmerizing, so I wanted to like capture that using a fish.

Speaker 2: { 19:14 } Yeah, that's a good idea.

Speaker 1: { 19:16 } Maybe I could use a cat, yeah.

Speaker 2: { 19:20 } Adding a cat always works.

Speaker 1: { 19:27 } I'm so sorry, I don't think I have any more questions at the moment, but it's fine if I could e-mail you, right?

Speaker 2: { 19:39 } Yeah, anytime. Great.

Speaker 1: { 19:42 } Thank you so much for this interview. I really appreciated this. Thank you so much. I really look up to all of your works, They're really amazing and I'm really happy to have like call due on this.

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apotheke-kaufen · 5 months

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