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Almost as they were occurring, the 9/11 attacks were marketed as popular entertainment. The TV presentations of the 9/11 attacks soon took on the qualities of a made-for-TV drama series. Each of the networks found a melodramatic title for their coverage of the attacks and the consequent events. The program titles, the style of presenting the news, the sequencing of advertising and news items, showed how television, more than the other media, marketed 9/11 and the second Iraq War as a made-for-television series. When on September 16 avantgarde composer Karlheinz Stockhausen called the destruction of the World Trade Towers: „The greatest work of art imaginable for the whole cosmos” his remark was greeted by rage and disgust. Was the attack art? Or was it just using strategies adapted from art? I believe that the attack can be understood as the actualization of some key ideas driving a lot of avantgarde art. The attack was in direct succession to anarchist and futurist actions and manifestos. 9/11 was „bad art” in the ethical and moral sense, „illegal art” from the point of view of American law. Is this kind of analysis perverse, doing dishonor to the dead and injured? Does it grant the jihadists much more than they deserve? Terrorism, at the scale of 9/11, works like art more on states of mind and feeling than on physical destruction. Or, if you will, the destruction is the means toward the end of creating terror, which is a state of mind.
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Polish theatre of the first decade of the 21st century is comprised of several dozen of state theatres (of which only a few can claim considerable artistic merit), a few private theatres (which, for the most part, stage unsophisticated, popular shows), several hundred theatre festivals and innumerable independent theatres operating either as foundations or associations. The money for the culture are distributed in today’s Poland only by the state through The Ministry of Culture and National Heritage via subordinate institutions. Every day in Poland a different theatre festival its starting. The reason is that the officials see, in the even smallest festival, a huge promotional potential.
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The pedagogy of acting operates with the Homework notion, which will become the task that the student must solve by his own means, with his mind, body and being by experiencing. How the task will be solved differs from one student to another depending on their individual personality and game partner. This work develops the students’ ability to find his own solutions and implicitly generates the discovery of their objective and subjective truths about things and life. It is well known that determining one’s self value is done through constant reference to others, this is why teens are in a continuous search for models. In this case, the teacher should be the ideal model, a consummate, consistent, cultivated, impartial professional.
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The explosion of the consumption of cyberspace emotional-symbolic products has profoundly influenced the stage communication classical formats, not only in contemporary subjects but also in stagings concerning subjects, let us name it „classical”. The multimedia imaginary follows us in the theatre even if before the performance starts „we (politely) close our phones and ipads”. Nowadays scenography and directing can’t ignore the - nameless and countless - formats of communication of our mind already living in cyberstage, spectators and authors.
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The article approaches the necessity of drama classes in Romanian high-schools. The author advocates the importance of using professional theatre pedagogues, either acting or directing graduates and the prevention that the Ministry of Education should make in order to stop teachers of other subjects to take the theatre classes. The author also advocates for the study of poetry as a tool of elevation, enrichment, refinement. The emphasis of the theatre classes should be on the personal development of the students, instead of staging shows. The high school theatre objectives must be the same like the students from 1st year acting university and based on the Stanislavski, Ion Cojar and Viola Spolin methods.
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At the beginning of XXI century, Chekhov remainsa theatrical and existential model, an author-destiny of our world. Theatre Patriarchs or young directors have created performances of reference based on his work. An important part into the series of memorable stagings, is the Chekhov triptych made by Andrei Şerban in Romania, in three theaters elite: „The Seagull” at the National Theatre Radu Stanca Sibiu, „Uncle Vanya” at the Hungarian Theatre of Cluj-Napoca and „Ivanov” at L.S. Bulandra Theatre in Bucharest.
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Semiotics of art holds a big place in the general theory of the symbol system in the XXI century. During the period of examining semiotics of the modern Georgian theatre language, I chose the State Academic Theatre, more precisely, the study of the world’s well-known director, Robert Sturua and his theatre language. Sturua is an aesthetic leader in the modern Georgian theatre since the 1960s. The study outlines a list of semiotic signs typical for Robert Sturua’s theatrical language (text montage, application of scenic space with mathematical precision and saturation of signs, attaching symbol or metaphor to sets or props, representation of the unity of whole and part, fragment and entirety, universality of actors, coexistence of drama and irony; giving music the same function as to the spoken language or plastic, body language, mixing times, non-existence of border between reality and conventionality, poly-stylistics of genres and so on.
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The study of movement and its expressiveness is based on a theoretical and practical insight, having the objective to develop for the acting student not only the body’s availability, but also the penetration of the mechanisms of movement.
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As predicted more than half century ago, the consumer society has been influencing human life and mentality and that includes the perception of theatrical art, too. The cultural democratization and the technological boom have a leveling effect on the impact of any cultural act. Publicity and the perpetual rush for novelty at all cost cause the existence to be deprived of any profound meaning. The present way of life - promoted by virtual communication and stimulated by euphoriants - have reduced the human being to the condition of superficial witness, incapable of focusing on anything, and seems to be concerned only to preserve the illusive state of well-being reached through the acceptance of the imperatives of the consumer society. It is in this social reality that theatre, surviving in spite of all the gloomy prospects preached by some, must find its own way of existing, between its classical foundations and the bombastic experiments of the present.
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The pedagogy of vocational education at preuniversity level which focuses on acting, must have as fundamental target the initiation of youth towards discovery, self-discovery and verification through practice, through experimentation, of the truthfulness of principles and methods studied. A study structured in stages, following a natural chronological order of the element of difficulty, starting with improvisation exercises and ending with an adolescent ageappropriate drama, offers the possibility of improving the personal qualities and skills in order to further engage in a unified creative process named - theatre performance.
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Although a bit late, I decided to record the results of my research, of a quite long experience in teaching and directing, in order to help future aspirants for the difficult profession of theater pedagogy. The article is entitled “Notes and late comments” because I was inspired by the future briliant acting teacher Florin Vidamski whose dissertation on the Esrig method I coordinate.
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Although apparently devoid of reason, the theatre of the absurd exorcises the moral and intellectual anxieties of an entire post-war generation of playwrights. To be or not to be, has always been the question. But what is the purpose of being, when we keep failing over and over again, when we have lost faith, and logical discourse, and the sense of our transcendence? – this is the question posed by the authors of the absurd. The resented lack of reliable meaning in the human existence is the tormenting source of this question. The theatre of the absurd is, thus, an honest attempt to accept the unacceptable.
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Placing the theatre of the 1950s in a wider social and historical context is still a challenge for theatre researchers, mainly because its most significant figures did not follow any common literary program. The “theatre of the absurd”, as Martin Esslin named it in his 1961 seminal study, represents a catalyst of various influences. This essay aims to highlight the paradoxical originality of this genre by pointing out some of the major influences it absorbed from the avant-garde movements that preceded it.
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The basic idea of this study is that the syntagm Dance-theatre represents the nowadays name for the complete performance or the ideal representation, which twins different techniques in one work of art. The last years of the XXth century were marked by a profound reshaping, a reconsideration of the performing art, while the performer has taken center stage again. Merely, the performing art means not only the artist, the human being in action, but also the text/the script, the music, the set design, the costumes, the stage technique and the lights, the acting itself and the multimedia techniques. The teoreticians should answer to the artists’ challanges with a deep analysis of the way the arts interact in the contemporary performance, bringing forth new forms, which can be named as: drama mosaic, epic operas, dramatic cantatas, living film, composite theatre, visual poetry, dancing images or... Dance-Theatre. All these „new” formulas do not represent, in fact, more than a redescovery or an endless repetition of the already invented forms, already asked questions, already fought battles. Even if the first attempt do define the performing arts date back from Plato and Aristotle, the exegets of today feel the need to discuss again and reformulate the fundamental principles of the aestetics in the case of this „living work of art”.
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In this essay I intended to analyzed the visual aspects from one of the most imagistic play written by Samuel Beckett called Endgame. Starting with the idea of a cyclic time the author uses it and therefore, everything in the play has a certain repeatability, the actions can be counted. The situations can also be interpreted in a key of a ritual - an expression of the characters routine, of the humanity left adrift. In Endgame the ending does not really exist, the end is already there.
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