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"American Jewish History"; "Aschkenas. Zeitschrift fuer Geschichte und Kultur des Juden"; "Gachelet. Association of the Lithuanian Jews in Israel"; "Gedenkstaetten Rundbrief"; "Hebrew Union College Annual"; "Mitteilungen. Dokumentationsarchiv des Oesterreichischen Widerstandes"; "Revue d'histoire de la Shoah"; "Temoigner. Entre histoire et memoire"; "The Voice of Piotrkow Survivors"; "Yad Vashem Jerusalem Quarterly Magazine"
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The Jewish religious school in Katowice was established in 1860 and was taken over by the municipality in 1875. Then the Jewish community set up the Private Hebrew Teaching Establishment in order to provide additional language and religion tuition. In subsequent years, Jewish youth also formed a significant group of secondary and higher school students in Katowice. After the end of World War I, together with Katowice becoming part of the Polish state, the system of schools run by religious unions was rebuilt. In 1926, the Berek Joselewicz Jewish school was opened. The educational offer also included the Talmud Tora School, the Hebrew Research Centre and the classes organized within the framework of the Jewish Youth Organization. Until the outbreak of World War II, Jewish youth also studied in general Catholic and Evangelical primary and secondary schools.
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Jesus of Nazareth was a Jew, which is not obvious to all present-day Christians, which is why they should be reminded of it. For some Jews, Jesus is becoming part of Jewish tradition these days, which is neither obvious to all, which is why the author draws attention to this dimension of contemporary Judaic faith. But both one and the other aspect are but an external manifestation of much more profound processes examined in this article. The ever broader scope of the findings of archaeological, linguistic, religious or mass media studies (which examine the impact of technological change on the methods of passing down tradition), as well as anthropological ones are responsible for the fact that its historical nature and an element of chance are nowadays widely accepted phenomena. The realization of this simple fact could significantly simplify mutual relations between the followers of Judaism and Christianity. Seen from this perspective, Jesus will be a uniting, not a divisive, factor.
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Jan Doktór - Krzysztof Pilarczyk: Katalog judaiców - starych druków w zbiorach Biblioteki Jagiellońskiej w Krakowie z dawnej Pruskiej Biblioteki Państwowej w Berlinie; Hanna Kozińska-Witt - Adam Michnik (opr.): Przeciw antysemityzmowi 1936-2009; Jerzy Tomaszewski - Stepan Pellar: Hrdi orli ve smrtelnem obkliceni. Polske stereotypizovane videni moderniho sveta; Jerzy Tomaszewski - Shimon Redlich: Life in Transit. Jews in Postwar Łódź 1945-1950
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Józef Śmietański was a journalist, he left Poland in 1968 and died in Israel. In the memoirs penned in his late years he reminisced about his childhood spend in the township of Chmielnik (Kielce province). Śmietański’s recollections contain information about day-to-day living of poor Jews in Central Poland pre-1939.
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The recital is the core of the puppeteer art. Whoever does not understand the special nature of the puppeteer recital cannot understand, either, the autonomous language of the art to which we are referring. To approach the puppeteer recital in terms of dramatic art would be a mistake. If in the dramatic art the word is the essential tool, in puppetry the instrument through which communication is achieved is the puppet, the mask, the marionette, the animated object. The focus of the artist who aims to interpret a puppeteer recital will be on the handling systems that will be used by the puppeteer in order to obtain the most meaningful expression possible and to perform several characters onstage simultaneously. Therefore, we believe that a classification of these recitals should be made not only according to the text of departure, but especially to the type of puppet, mask or animated object that the puppeteer employs.
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In pursuit of success. Inner and outer constraints. Of a subjective and objective nature. EMOTIONS. How can a person be understood? And how can a character be placed in the world of theatre, a character that is a person to the same extent as the actor? Only it is a different person! And how can they each be successful? The actor may use a stable and effective means of successfully approaching any character, irrespective of the literary epoch or dramatic genre to which it pertains. The performer thus avoids the danger of self- repetition with each role, or the fear of not knowing anymore what to invent for his next character, or many other dangers that might occur while creating a character onstage. The actor is basically a tool which, just like in a music ensemble, has a unique essential role but which, at the same time, depends upon the larger aggregate.
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Always busy with pursuing the 'ideal method' of training the future puppeteers, we are structuring and re-structuring, almost unawares, our approach to what we call – officially and constrainingly – the didactic act. However, any method – as sophisticated or simple as it may be – is generated by the taking of an aim. Furthermore, in this century, when values are overthrown, when each day hurries by in a dizzying rhythm and desires grow overwhelming, this aim of ours could be called in a nutshell, success. Consequently, there are at least three questions which inherently occur: what exactly means / what is inferred by a successful puppeteer and who is it that knows the recipe for becoming successful? Must success be assimilated to reaching the top level in one's creative activity? From this viewpoint, our study is meant to be a starting point for a potential debate on this topic.
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The project entitled “Re-thinking Theatre Through the Art of Puppets and Marionettes” and initiated by GAG Association took place in the city of Craiova (Southwestern Romania) between 5th and 9th May 2008. It was conceived as a true creative camp and aimed at promoting animation theatre among children, teenagers and youth. Moreover, it was a winner in the project competition organised by The National Authority for Youth and successfully re-united, for the first time in Romania, the university departments of Puppets and Marionettes from Bucharest, Iasi and Targu- Mures. The performing shows within the camp approached different topics and styles, i.e. A Midsummer Night’s Dream (adapted from Shakespeare), Pinocchio (adapted from Collodi), A Wonderful Journey (adapted from The Little Prince by A. de Saint-Exupery). Thus, the participants were able to weigh and draw comparisons between the graduation performances given by the former students of the three universities above-mentioned. They also benefited from three thematic workshops co-ordinated by the following teachers (who also directed the performing shows): Decebal Marin, PhD, Lecturer, The University of Bucharest (UNATC) – ‘Fundamental Techniques in Marionette Handling’; Aurelian Balaita, PhD, Assistant Professor / Reader, The University of Arts “G. Enescu” Iasi – ‘Handling Techniques in Puppet and Marionette Theatre’; Oana Leahu, PhD, Lecturer, The University of Targu-Mures – ‘Directing Animation Theatre’. The performances and the workshops were followed by debates and a press conference; some of the most important conclusions drawn from those debates were that classroom practice of all three universities was similar, that it relies on the basic principles and on the same didactic bench marks, and that it benefits a lot from the collaboration with the other sections in the department of drama & theatre.
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“Amidst a deep crisis of the traditional reading – which implies self- awareness and reflexive behaviour, for what is reading if not testing several destinies in one existence? – there is one fact that needs to be pointed out, namely the writers' turn towards drama, which allows us to consider it a sort of 'literature of the future'. For the practitioner of literature there is, naturally, no difference between literary genres, or, at any rate, none so rigid as preached in the theory of literature.”
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The final chapter of this work focuses on the most controversial project of the Moldavian ruler Despot Vodă, a project that should have been the glorious achievement of an essentially humanist reign. It was Stefan Bârsănescu, the great Romanian academician, who authored the most extensive study on the above-mentioned project. As we have mentioned in the introduction of our work, Barsanescu's study features certain parts which pertain to the history of culture and cultural anthropology; we dare leave those aspects out or unapproached in favour of Barsanescu's applied research in the Romanian education and pedagogy history. However, the orientation of his research is surprisingly narrow, but this apparent shortcoming is the unfortunate consequence of the drastic censureship practiced at the time when his work came out (in 1957). We started our critical approach with a brief historical argumentation meant to define the nature of that virtual Academy. We have concluded that it could not have been of an institutional type, starting from the statements found in epistolary literature and made by potential 'members' of the Academy or even by its founder. There were certain suppositions regarding a Byzantine calque, even since the reign of Moldavian ruler Alexandru cel Bun. These suppositions were entertained by the presence at the Moldavian Court of several scholars of that time as well as an esteemed representative of the Patriarchal Church, Grigore Tamblac.
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I have directed Gogol for three times and I realised that it's not only a genius of dramatic theatre but also a surprising creator for puppeters, too! I am wondering that the directors of children theatres (and not only children theatres), the ones that make wonderful plays with ropes and "wayangs" are not thinking about the great russian dramatist.
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Breve storia di una compania nata 25 anni fa, a Gubbio,in Italia, da una grande passione per il teatro.Sono signalati qui, i momenti piu importanti, quelli che parlano di spettacoli,di autori,Compania ,,La Fama’’ nasce e resiste grazie a un gruppo che con coraggio, speranza,sacrificio , si e dedicato al palcoscenico.Ho avuto l’onore di conoscere e di lavorare con la gente del gruppo ed e stato tra noi un cambio indimenticabile di idei e di energie.
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The present paper shows a short version of the evolution of the musical phenomenon expressed in the Romanian theatric art and the puppet shows art, a difficult task considering the absence of a systematic approach from the musical literature. It points out the evolution of this phenomenon from the folkloric approaches (Paparudele, Caloianul, Irozii, etc.), up to the works of Matei Millo, Al. Flechtenmacher and Ciprian Porumbescu, in order to illustrate the dramaturgical works of Vasile Alecsandri. It also brings into discussion the music from the shows for children, underlining the contribution of some representative composers such as: Florin Comişel, Achim Stoia, Vasile Spătărelu, Sabin Păutza, Cristian Misievici.
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An emblematic person of the stage and theatre school of Iaşi, an artist recognized for his sensibility and talent, State Dragomir shall choose to become an actor, even if he already had a double degree in letters and philosophy. The historians consider him as one of the great artists of that period, but the most often he is known for the involvement he had directly in the evolution of the National Theatre. The truth is that State Dragomir and all the actors of his generation are responsible for the wholesome blow which theatre had that time among the audience, audience which will be more and more attracted to the romanian theater spectacles. As an ex-student of Mihail Galino at the Dramatic Conservatory, State Dragomir will be considered as being the most apposite person to take over the chair of Drama Teaching from the Conservatory of Iaşi, when Mihail Galino dies. Both of them were successors of a naturalist current in drama teaching, which was initiated long time before them, by the actor and teacher Matei Millo.
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“The 4th year-students in Puppets and Marionettes from The University of Arts “G. Enescu” Iasi ended beautifully their artistic wandering by a stage performance of Tom Ziegler’s The Ninth Step (which premièred on 21st January 2008). The cast performed the same play for their graduation practical exam, but it was the former event – the actors’ first meeting with the audience – that brought out their most intense and climactic emotions.”
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Colour results from the reflexion of EM energy waves specific to light which are projected onto an object. When light falls on any coloured object, it will only absorb those wavelengths that match its atomic structure. All the other wavelengths will be reflected, thus providing the object with the colour that we perceive. The retina converts the waves into electric impulses which travel to the brain, where they are decoded, analysed and synthesized. This article aims at reviewing the major studies focusing on the significance of colour with respect to human personality, as well as on the meanings associated to colours and their effect on the human brain.
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In Vişniec’s theatre, mysterious entities get specific connotations linked to the changing power of illusion. The non-existent, but omnipresent, character from Three Nights With Madox keeps alive the other „heroes’” interest in something. The same happens in The Night Train, written by Ioan Groşan, where the level of speculations made by the two „inhabitants” of the railway station reaches burlesque quotations. The multiple connections that can be made between Groşan şi Vişniec lead to the conlusion that both writers, belonging to the eighties, were „contaminated” by the masters of the absurd aesthetics. The turmoil, the useless drifting, the species failure, the impotence of the self, they all appear in Vişniec’s plays and some of Groşan’s short stories (The Great Sadness, The Confession, The Isle). The compared analysis of the play Three Nights With Madox with the short story The Night Train brings to light a series of shared characteristics that send Ioan Groşan to the group of the writers of absurd literature where Matei Vişniec has already been tagged from his first plays. The postmodern manner of the text, the awaiting, the overexposed banality, the final suicidal intentions of the characters of both authors, all of them feed the idea of labeling both writers with the same aesthetic formula. In the view of Vişniec and Groşan, alienation has no cure and cannot be prevented.
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Staged in traditional setting, the graduation performance directed by Professor Dionisie Vitcu features several of his graduating students who, to our admiration, reveal themselves as talented, self-confident and passionate young artists. Their harmonious and skillful performance strengthens our belief that the magic and power of theatre will be safeguarded and enhanced in the years to come. We have seldom seen – even with professionals from the National Theatre of Iasi – such a captivating performance; it reached our souls so deeply that, after it had ended, we felt more enthusiastic, more curious, more sensitive, more open. But, I wonder, how many people sitting in the audience have the authority to provide these young talents with a position at the National Theatre of Iaşi or with any other theatre company in the country? Moreover, how many of those who have the proper authority really know what passionate minds are eagerly awaiting for someone to raise the curtain on them? Nevertheless, we are hoping that Harlequin's grin, for once, will not predict a tragedy, but will bring hope instead. It is in the hands of these young artists that we lay our hopes, our deepest thoughts and our most beautiful dreams ... And it is for us to offer them the chance to bring enchantment into our lives.
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