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"Collaboration, at its Heart, isn't about Control". Interview with Sougwen Chung
Interview with Sougwen Chung by Bojana Radovanović
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Interview with Sougwen Chung by Bojana Radovanović
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Испитујући позоришну биографију Михаила Димића, долазимо до података да је припадао типу старог путујућег глумца ‒ редитеља ‒ управника – драмског писца.
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Twentieth year of the third millennium is eighteen summers since the organization of the TCT-fest, a sign of recognition of the Tuzla Cabaret Theater in the wider regional theatrical and cultural context. The eighteen year run of the TCT - fest has constituted a kind of theater festival being made up of numerous factors of the theatrical act. The aforementioned period (2003-2019) is a period during which many ensembles and protagonists of the theatrical act have been identified through the projects presented at the TCT-fest and the festival stage. A special dimension of this theatrical festival is the participation of Croatian theaters on the festival stage. Theaters from Croatia took part in the first TCT-fest. Many of them, such as the Virovitica Theater or the Rugantino Theater in Zagreb, can also be considered the founders of this Festival. Throughout the eighteen years of participation, all Croatian theaters have integrated a lot of theatricality into one act that can be defined as participation in the TKT-fest and enormous effort and energy in its maintenance and duration.
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Naučno-istraživački rad Razlike između antičke i savremene tragedije, kako to već sam naslov upućuje, ima za predmet analizu antičke i savremene tragedije s ciljem uočavanja osnovnih dramskih osobitosti ove dramske vrste u naznačenim vremenskim periodima i, ukazivanja na njihova diferencijalna obilježja.
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Literary text (comedy): Зоран Ранкић, КАЛЕМЕГДАНЦИ. Српска комедија, дакле драма / Zoran Rankić, KALEMEGDANCI. Srpska komedija, dakle drama
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Драгутин Минић Карло: Као глумац на врхунцу своје каријере и зрелости, првак Београдског драмског позоришта, а пре тога уметник који је одиграо раскошан репертоар на сцени Народног позоришта у Сарајеву, у бриљантним режијама Боре Драшковића, од Професора у Јонесковој „Лекцији” до Хенрика VIII, Зоран Ранкић се, заиста, наизговарао туђих речи и наносио најразличитијих костима.
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Први професионални глумац с којим сам радио у позоришту био је Зоран Ранкић. Управо глумац какав ми је био неопходан: дивље маште, радознао, гипког гласа и тела, честит, чистог пута према гледаоцу... И то са Јонеском, (улога Професора у „Лекцији”), у време када је, тај још неодгонетнути писац, био изазов не само за Сарајево него и за Париз.
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Зоран Ранкић је рођен у Дервенти 9. августа 1935. године (Б и Х). Судбина је хтела да на самом почетку свог живота, за време Другог светског рата, буде избеглица. И то у Горњи Милановац. А онда одлази у Сарајево да похађа школу вођен љубављу своје животне професије – глуме. Уписао је и суспехом завршио Глумачку школу. Као срењошколац био је члан исте Литерарне секције у којој су били Момо Капор и Боро Драшковић. И сва тројица су поред своје основне професије постали и писци.
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Author of a literary work “inspired by myths and rooted in immediate history”, according to Bernard Magnier, the Congolese novelist and playwright Sylvain Bemba writes in 1988 his own version of Antigone: Noces posthumes de Santigone (Black Wedding Candles for Blessed Antigone). A worldwide recognized symbol of resistance, Antigone has featured in various theatrical adaptations– especially in the African drama, where she often serves as a mask representing modern and contemporary history. Although Bemba is obviously interested in the contemporary history of African peoples, his Antigone engages history in a much wider sense. A hymn to historical memory and also to drama, his strikingly metatheatrical play disguises immediate history under not a single but several masks worn by the characters, thus visualizing the power of drama to contribute to the conservation of historical memory.
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The purpose of the article is to summarize information about the ballet music of modern Ukrainian composers and its use in ballets of various theaters (National Opera of Ukraine, Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth, Kyiv Modern Ballet). The methodology of the work is based on the use of general scientific research methods. Systematic analysis is applied to typology the musical basis of Ukrainian ballets; generalizations – to summarize and conceptualize ballet music in contemporary performances. The scientific novelty of the work lies in the differentiation of information about the musical basis of modern Ukrainian ballets. Conclusions. The rethought ballet classics are presented by the interpretation of the musical basis of the famous work and the content of the literary source ("The Nutcracker"). The use of instrumental music by one author, which became the basis of the ballet score ("Crossroads"). Musical pastiche presupposes the extraction of additional possibilities in instrumental music not specially created for choreography ("The Snow Queen").
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The purpose of the article is to find out the features and conditions of the formation and development of the creative personality of the Honored Artist of Ukraine, laureate of international contests, Professor Oleksandr Petrovych Kolosok on the basis of a previously identified set of sources. The methodology consists in the application of general scientific methods of theoretical and empirical levels: analysis and generalization of scientific and theoretical bases of research, logical method, interview method. These methods make it possible to characterize the socio-cultural conditions in which the formation of a professional performer of folk-stage dance, and later the choreographer O. Kolosok in historical retrospect. Scientific novelty. The publication covers for the first time the life and creative path of O. Kolosok, in particular, his performing and choreographic activities, as well as the first source of information used - an interview with O. Kolosok, which was once taken by the author of the article. Conclusions. Oleksandr Petrovych Kolosok – Honored Artist of Ukraine, winner of international contests, professor, entered the history of Ukrainian folk and stage choreographic art as an unsurpassed professional performer, and later – director, teacher, theorist, and practitioner, whose life can be called an example of service to Ukrainian culture and folk choreography. The formation of his creative personality took place in the middle - second half of the twentieth century, when bright artists, talented personalities, whose names are included in the golden fund of folk stage choreography, created in Ukraine. Well-known figures of culture and art, including O. Kolosok, with their creative achievements, laid a solid foundation for the further development of folk stage dance and educated a whole generation of professional performers, and later choreographers and teachers.
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The purpose of the research is to reveal the artistic features of the production of S. Prokofiev's ballet The Jester (1928) on the Kiev stage through the prism of the then critical discourse. Methodology. The analysis (for understanding the reviews of the ballet The Jester), comparison (for comparing the positions of the reviewers), the historical approach (for conducting the research in chronological order) are applied. The scientific novelty. The scientific novelty lies in the reproduction of the artistic critical discourse of S. Prokofiev's ballet The Jester (1928) in Ukraine; the introduction of new materials into scientific circulation, which significantly expand the understanding not only of the named ballet, but also of approaches to the artistic evaluation of ballet performances in the late 1920s. in the Ukrainian SSR. Conclusions. The production of S. Prokofiev's ballet The Jester (1928, choreographer M. Diskovsky) on the stage of the Kiev State Academic Opera caused a wide resonance in the artistic periodicals of Ukraine (the magazines Soviet Art, New Art, etc.). Most of the attention is paid to the musical score; a wide range of assessments is presented from extremely negative to unquestioning recognition of the novelty of music. The very exact correspondence of pantomime plastics to the nuances of music was positively assessed. The ballet is accused of formalism, the absence of proper choreographic means of expressiveness, the dominance of pantomime, and lack of focus on the mass audience. At the same time, his progressiveness is noted due to the rejection of academic ballet vocabulary, the search for new means of expression.
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The purpose of the study is to identify and systematize professional preconditions for reforming the academic ballet and the emergence of new stylistic trends in theatre dance at the beginning of the XXth century. The research methodology is based on the use of historical and comparative cultural, artistic methods to identify the causes of crisis phenomena in academic ballet at turn of the XIX XX centuries. The scientific novelty consists in revealing the complex and content of the causes of the crisis of classical ballet at the turn of the XIX XXth centuries, and the factors that were contributed to its reform. Conclusions. One of the most important professional prerequisites for the emergence of new styles of theatrical dance was the crisis of European academic ballet in the early XX century. The factors that created the preconditions of reforming professional classical ballet and promote the using of new areas of theatrical dance began: the theoretical idea of «effective» theatrical dance of Zh. Novera and practical research in the field of «absolute motion» of F. Delsarte; separate experiments and purposeful research in the field of a new composition of theatrical dance of choreographers of the early XX century; «reorientation» of musical thinking at the end of the XIX the beginning of the XXth cent.; the influence of the ideas of the artists of the union «World of Art» on the formation of a new understanding of composition and theatrical dance by the choreographers.
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Purpose of Research is to recreate the panorama of the development of the pedagogical school of male ballet performance in Ukraine in the second half of the XX – early XXI century. Methodology. To conduct scientifically reliable research, a set of methods was used: analysis of literature and sources, chronological approach, comparison, etc. Scientific novelty. Scientific novelty consists in identifying the features of the pedagogical school in the field of male ballet performance in Ukraine. Conclusions. The training system of Ukrainian ballet dancers is based on a research approach, which is based on knowledge of human anatomy and physiology, the principles of continuity and consistency. The construction of a classical dance lesson by Ukrainian teachers (V. Kruhlov, V. Denysenko, V. Parsiehov, M. Priadchenko, V. Kovtun, etc.) contains the traditional scheme of alternating exercise at the "stick" and in the middle of the hall, jumping. Particular attention is paid to mastering the postures of classical dance and the introduction of "leitmovement" into the work, which are used in all structural parts of the lesson. The experience of the representatives of the Russian performing school of ballet has proved that the level of their mastery depends on the continuity in the transmission from generation to generation of the invaluable experience of academic choreography, which is provided by teachers. Thanks to innovative approaches in teaching, Ukrainian performers have always distinguished themselves by virtuoso mastery of the technique of classical dance, high plastic expressiveness and a deep dramatic component.
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The purpose of the research is to identify the features of the influence of the art-pedagogical school of the Department of Choreography of the Kiev State Institute of Culture named after A. E. Korneichuk (KDIK) for teachers of choreographic disciplines of the Terebovlya cultural and educational college. Methodology. Methods of analysis and synthesis were applied in the process of processing literature and information about the educational activities of teachers of choreographic disciplines of the Terebovlya cultural and educational college in institutions of secondary specialized education and KDIK. A chronological method was used to reliably reproduce events in a historical retrospective. Scientific novelty. For the first time, the influence of the art-pedagogical school of the department of choreography of the KDIK on the teachers-choreographers of the Terebovlya cultural and educational college was investigated; new materials were introduced into the scientific circulation, clarifying and supplementing the available information about the activities of teachers of choreographic disciplines of the named school. Conclusions. Famous teachers of choreographic disciplines H. Gordii, A. and O. Polishchuk, I. Nykolyshyn, V. Panius, P. Koval, I. Krakivska, graduates of KDIK, were guided and are guided in their artistic and pedagogical creativity at the Terebovlya cultural and educational college by the principles school of the department of choreography of the named institute. Studying with the leading figures of Ukrainian choreography (in classical dance – H. Berezova, L. Tsvietkova, T. Lazarchuk, T. Churpita; in folk-stage dance – V. Volodko, Ye. Zaitsev, V. Kamin, A. Rekhviashvili; in Ukrainian dance – F. Baklan, M. Motkov, O. Kolosok, S. Zubatov, V. Virska; ballet master's art – K. Vasylenko, M. Trehubov, O. Kolosok, L. Yermolina, H. Voronov, V. Vitkovskyi, V. Shevchenko; in the history of choreography – V. Pasiutynska, H. Borymska, Yu. Stanishevsky, etc.), they received highly professional theoretical and practical competencies, which made it possible, translating and modifying the principles of the KDIK teachers, to form their own art-pedagogical school.
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The purpose of the article is to consider the system of the newest musical and artistic means in the cycle of V. Bibik "Choral images". The methodology of the work is the principles of a comprehensive interdisciplinary approach in accordance with modern art studies, which involves such methods as system-structural, genre-style, semantic, choral, comparative, contrastive, performing. The scientific novelty is in the fact that for the first time in the analyzed cycle of V. Bibik's "Choral Images" a system of the latest musical and artistic means was revealed. Conclusions. Analysis of the cycle "Choral paintings" by V. Bibik gives grounds to claim that the system of the newest musical and artistic means is characterized by the following positions: timbre characteristics - sound color, spatial sound, the ratio of the use of mobility and statics, combining the sound of choral layers, the instability of the sound image; degree of innovation - techniques of singing articulation (stroke technique, different ways of pronouncing the text, musical syntax); choral texture (monody, homophony, polyphony, sonorica, pointillism); instrumentalization of choral parts (virtuoso passages, wide jumps of melody, clusters, metrorhythmic difficulties); theatrical techniques.
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Purpose of Research. The purpose of the article is to analyse the theoretical principles of directing in the works of famous Ukrainian directors L. Kurbas, Y. Ilyenko and V. Kisin. The methodology of the research is based on interdisciplinary approaches, which allow to use the achievements of the history of culture, theory of cinema, theatrical, cultural studies, etc. The following methods are used: a comparative method allows us to compare the principles of directing in the fundamental works of L. Kurbas, V. Kisin and Y. Ilyenko; a historian one helps to highlight the universality of the principles of the creative process; the method of analysis gives the opportunity to highlight the basic ethical and aesthetic ideas of directing, which are described in the works of L. Kurbas, V. Kisin and Y. Ilyenko. Scientific novelty. The scientific novelty of the research is the analysis of the theoretical principles of directing in the works of famous Ukrainian directors L. Kurbas, Y. Ilyenko and V. Kisin and their praxeological dimension. Conclusions: The nature of the mass spectacle includes three spaces: stage, audience and temporal. This triune space requires the synthesis of many, even at first glance, incompatible means of expression, which determines such a principle as syntheticity, embodied in a combination of styles, genres and forms. In addition, it requires from the director-myth-maker, to professional skills, erudition, awareness, competence, mastery of professional terminology. All these postulates are contained in the creativity and practical activities of prominent figures of Ukrainian culture L. Kurbas, S. Ilyenko, V. Kisin.
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The purpose of the article is to identify the essence and to analyze the artistic achievements of the Maria Zankovetska National Theater in the plan of work with modern actual drama from the End of the 1990s to 2010. Methodology. Application of methods of performance reconstruction, analysis, synthesis, comparison, generalization, as well as the use of systematic and critical-assessment approaches. Scientific novelty. The subject of complex theatrical analysis used the "topical" direction of work of the Maria Zankovetska Theater, examined the performances "Se lya vi", "Triumphal Woman", "Naples - Cinderella City" by N. Kovalyk, "The Crisis", "The Last Buckwheatseeder", ―The Clown Inadvertently", "The Abyss", "The Solo for Copper Pipes" by O. Ogorodnik for the first time. The attention is focused on the characteristic of the artistic direction, the distinguishing features inherent to it, the methodology of the director's work with the actual play, its significance in Lviv, and the Ukrainian context is traced. Conclusions. Maria Zankovetskaya Theater declares itself as a "nowadays theater", so its artists find all possible ways of "talking" with their audience. This dialogue is really happening mainly due to the modern actual drama, although in the aesthetic discourse the performances of such material have not become works of consummate, but socially important manifestos and public expression. From this point of view, a block of staged dramaturgy is both a property of the Theater and its problem.
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The purpose of the article is a comprehensive analysis of the main features and factors of the creative component as an integral part of the professional training of future stage directors. To highlight the role of professional creative education in the formation of a creative personality of the Film Director Bachelors as the future specialists of the contemporary Ukrainian event industry. The methodology of the research is to apply analytical, art-study, comparative, and systematic methods of studying the main features and factors of the creative component in the training of future filmmakers. To achieve a certain goal and to solve the tasks, the analysis of scientific and methodological sources, the generalization of scientific and pedagogical experience on the issues of professional training of future stage directors is used. The scientific novelty of the study is that it is the first attempt of systematic analysis of the creative component as an integral part of the training of future stage directors based on the author's many years of creative experience as an artist and director. Conclusions. The main features and factors of the formation of the creative competence of students' professional training in the first (bachelor) level of higher education, specialization "The Director of the Stage and Mass Festivals" of the specialty 026 "Stage Art" are reviewed; the creative abilities for the students are important professional quality and an integral part of the professional competence. It has been established that the formation of creative thinking stimulates the motivational component, which develops search independence and the ability to overcome difficulties, promotes the pursuit of the final result. It is noted that the unification of students, effacement of creative personality peculiarities is unacceptable. It is substantiated that the dominant feature of the creative component in the preparation of the future stage director is the high level of creative self-development of the personality, which is an essential reserve of its self-actualization to professional activity.
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The purpose of the article is to reveal the specifics of the actor‘s bodily expressiveness in the context of the features of theoretical developments and the practical implementation in stage practice of leading theater directors of the twentieth and early twenty-first centuries. Methodology. The study is based on modern art criticism and philosophical concepts of the study of the phenomenon of physicality. Given the interdisciplinary nature of this issue, in the process of researching and analyzing the body expressiveness of the actor, the cultural-historical method is used (to define the concept of ―corporeality‖ in the context of cultural, artistic and philosophical concepts); comparative analysis method (for comparing the methods and methods of representing corporeality in theoretical works and the practical activities of leading theater directors); typological method (to identify factors of formation of actor‘s bodily expressiveness); the method of scientific observation and analysis (to determine the specifics of the bodily nature of the means of plastic expression of an actor) and other. Scientific novelty. An art history study of physicality was carried out in the context of the specifics of theatrical art; the process of transition of understanding the actor‘s physicality from abstract to dynamic in the context of transformational processes of theatrical art is considered; identified and analyzed general and distinctive value attitudes, as well as forms of representation of acting corporeality in theoretical developments and stage practice of leading directors of the twentieth – early twenty-first century. Conclusions. Analysis of the formation process at the turn of the nineteenth – twentieth centuries. and the further development of the director's theater testifies to the unique transformations of the socio-cultural space at the level of bodily-mental changes reflected in the structural, kinetic, and plastic aspects of acting. In the process of complex synthesis, corporeality gradually turns from a means of actor‘s expressiveness, with the help of which a story is told in a theater space, into a source of mimetic meanings and meanings in the process of reproducing the art of reality.
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