Cum a fost Eminescu editat
Review of Pericle Martinescu's book "Odiseea editării poeziilor lui Eminescu. In prima sută de ani. 1884-1984", Ex Ponto Publishing House, 2000.
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Review of Pericle Martinescu's book "Odiseea editării poeziilor lui Eminescu. In prima sută de ani. 1884-1984", Ex Ponto Publishing House, 2000.
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Review of Ileana Mălăncioiu's book "Călătorie spre mine însămi" (Trip towards Myself), Polirom Publishing House.
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A collection of thoughts and quotations regarding life, sickness, knowledge, success, ethics, culture, and writing, very often taking a sad and ironic tone.
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Article focusing on Camil Petrescu, illustrated with a few commented episodes from the author's life.
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The author of the first Slovak monography dedicated to the work of art of Jacquesa Copeau (in print) is in this study dealing with the investigation of common features in creation of two great personalities of the European Theatre of 20th century. Both considered the status of the theatre where they had been creating non-satisfactory, and both expressed their rather critical a_itudes towards it
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Terézia Ursínyová, a significant Slovak musical critic and appraiser of the creation and art of the prominent Slovak soprano, a long time soloist of the Deutsche Staatsoper Berlin (in the former GDR), nowadays the Staatsoper Unter den Linden, Magdaléna Hajóssyová, prepared in connection to the artist ´s jubilee a profile interview for the Slovak Theatre. M. Hajóssyová there reveals a lot of not very known connections of her long time career – experience earned while performing at European, predominantly German stages, she goes back to key stagings where used to act. Of great interest is her knowledge on the German theatre development aer German reuniting, and on the impact of a hectic trasformantion of the system where cultutral institutions of the former GDR had operated – reflected in the artistc production level. The artist talks also about her future, mostly of vocal-pedagogical nature aims and plans.
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The author is in her study dealling with the issue of a reception of violence in the work of art of a cult author in-year-face Sarah Kane, especially in her play Blasted. The English stages have not for approximately thirty years (since performance of Bond´s Rescued) experienced such a turbulent response and not even a single play from the contemporary ones has become so widely discussed and polemic. Sarah Kane has introduced to English stages a new theatrical language, full of pressure, violence and sexuality performed directly in front of the eyes of the audience. She has significantly roughed, bared and cleared the language of characters, and the pshycho-realistic frame which she had created herself before, then subsequently broke. In doing, so she made any possible classification of her work or, expressing any standpoint towards it, very hard. The critics were le only with offence and shock.
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The paper discusses three plays wri_en between 1945 and 1948: Dvaja (The Two, 1945) by Július Barč-Ivan, Posledná prekážka (The Last Obstacle, 1946) by Štefan Králik, and Povíchrica (The Gale, 1948) by less known Július Alexej Illéš. All three plays deal with passion, guilt and chances to reach reconciliation. In Illéš´s play, marked by the Christian perception, divine law rules in the universe, and human beings are able to redeem themselves. His concept of the man emphasizes archaic and archetypal elements. In Barč´s play, author´s religious worldview is not expressed directly.
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(Ad: ČAHOJ, Peter: Dramatik Viliam Pauliny-Tóth. In: Slovenské divadlo, 54, 2006, č. 3, s. 469 – 493.)
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In her contribution the author is dealing with thematisation of fiction by means of the concept of our world (empiric reality/natural world), mythology and religious representations on the other hand by means of various concepts of possible virtual worlds and their partial phenomena. She is focusing on the general characterisation of mimesis and fiction, on the elements of mimesis as imitations of the empiric reality, and on elements of fiction as imitations of virtual etities in the context of drama, on space and time ordinates (known time and location) – „ quasi-time“ and „quasi – location“/ known, recognized and recognizable time and location), as well as characters and stories.
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A prominent Czech dramatist of the middle generation, a long time literary adviser and university educationist (Prague, Banská Bystrica) Jan Vedral, is in his study reacting upon a problem occurig in his praxis of a literary advisor: Like „ a sound dramaturgy“ of the text which aims thoroughly at a logical arrangement of scenic events from the point of view of their casual temporary continuity and the „sujet layout“ into the adequate artificial time-space of a dramatic or theatrical work of art, has lead into ,as it were, an exponential predictability increase of solutions, bringing about at the same time also inabilty to generate new meanings. The work of a literary advisor with the author´s text (applying identically to a new text where, within its creation, the literary advisor functions as a mirror to objectively reflect the author, and also to a classical text, where the literary advisor acts, in the event of an ideal case, as an objective reflection of the interpretation produced by a director) is the work related to revealing of the sense, not its projecting, determining or injecting.
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The study is dealing with a sharp and new trend that occured in the marione_e theatre by the beginning of 90- ies – by the application of poetics and also methods of the Czech Study Author´s Theatre. Through a brief retrospective, the author is returning back to the near and more distant past in order to clarify this phenomenon and continuity related to the heritage of the inter-war avant-garde. The artistic programme of the most combative Study Theatre Husa Na Provázku in Brno was intentionally tying upon significant personalities: the script writer Jiří Mahen, directors J.Honzl a E.F.Burian and also upon the specific Czech poetism. Since the Slovak marione_ists were inspired by the activities of the Study Theatre in Brno, they have also indirectly tied upon the ideas and poetics of avant-garde.
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In 1976 in Košice a new, non professional theatre was originated. In the then new House of Culture built and run by the immense steel factory (nowadays belonging to the concern of the U.S. Steel), three professional creative authors who had been due to various reasons looking for the possibility to put themselves into praxis outside the professional theatres, were given the room for their self-realisation. The theatrical advisor and dramatist Štefan Oľha having been harassed due to his social involvement during the so called Czechoslovak Spring in 1968-69, then an extraordinarily eruptive director Jozef Pražmári, and a scenographer Štefan Hudák. Together with a group of young enthusiastic secondary school and university students, they formed a team (but within a troop were also some actors from the professional theatres involved), they produced a series of stagings which have had a rather significant impact on the whole theatrical creation within the Slovak contingency.
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A specialist in Asian cinematographies is in the next part of the free study cycle (the Slovak theatre: issue 52/2004, study Iranian Film (An Open Chapter), issue 51/2003 studies The Phenomenon of Asian Cinematography (Some historic Facts) a South Korea, the Asian Film Tiger (Kim Ki-duk, Messanger of the Land of tje Rose- -mallow Bud on Our Film Screens)) is dealing with the cinematography situation in the world most populated country, in the Republic of China. She is observing that the limitation created by the Chinese culture towards its barbarian neighbours has generated a phenomenon that is most oen compared with European nationalism. Recoursing to own national social mannerisms and institutions while feeling culturally superior has been given the name culturalism. Nowadys many experts have been asking the question on how this phenomenon can cope with the pressure of the „western global capitalism“ , which since 1984, when the Chinese government agreed to start reforms, has been present almost in any level of the social life.
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A Slovak music theorist Miloslav Blahynka is bringing a few notes on aestehetic views related to theatre and production of Adolph Appia. Soon – in the year of 2008, we are going to commemorate 20th anniversary of Appia´s death. This is a proper occasion to contemplate on the importance and content of his ideas and deeds which belong to the most meaningful incentives of theatrical reforms of 20 th century. Many of Appia´s innovative thoughts have been codified as a general component of the present theatre and staging praxis. Conditions for be_er understanding of aesthetic views od Appia were created by publishing his collective works in the publishing house L Age d´Homme in 80 – 90-ties years of the previous century.
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Amid self-immolations and other gruesome protests, something essential is missing in Bulgarian public life.
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Plus, Slovenia says it’s not another Cyprus and an accused Kosovo organ trafficker pleads guilty. Around the Bloc is TOL's daily digest of the important, the trivial, the tragic, the weird, and the sober from its coverage region.
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Plus, Belgrade asks for more talks on Kosovo and Croatian war veterans march against Cyrillic signs. Around the Bloc is TOL's daily digest of the important, the trivial, the tragic, the weird, and the sober from its coverage region.
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Plus, cautious hopes ahead of the latest Serbia-Kosovo summit and an unusual plan to send ethnic Azeris into Armenian territory. Around the Bloc is TOL's daily digest of the important, the trivial, the tragic, the weird, and the sober from its coverage region.
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