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Kod mene u životu, kao ni u pisanju, ne postoji nikakva fiksna tačka…
Intervju s Ingom Schulzeom / Interview with Ingo Schulze
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Intervju s Ingom Schulzeom / Interview with Ingo Schulze
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A great composer (emblematic for the post-Enescu generation which he represents without followers), but also a great thinker of the art of sounds and of its complex relationship with philosophy and the other coordinates of the cultural and spiritual world, Aurel Stroe is undoubtedly the most original Romanian creator of the second half of the 20th century. The Mandala is, along with his last three concerts (dedicated to the violin, the saxophone and the accordion, accompanied by orchestra) and the Ciaccona con alcune licenze, one of his most important compositions. Cumulating elements from the theory of catastrophes, from the behavior of dynamic systems and immeasurable structures, gathering symbols from such diverse cultures (such as Crucifixus and mandala), Aurel Stroe realizes the unity of an exceptional work in a decrypted way in the analysis.Keywords: mandala, symmetry, Crucifixus, originality
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The four-hand piano duo is the only example of a historical chamber ensemble in which two performers play a single instrument. From this reality arises a special issue that has a unique premise for the composer-performer-public circuit, and has influenced many of the creative choices made by composers. From this perspective, this study explores some of the most important works composed for this environment throughout history, but also contemporary approaches, including a personal approach to Imago for four-hand piano, in which elements of Pythagorean philosophy of numbers are integrated into the concept, the basis of the compositional idea.
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Plurivalent personality, Mirela Zafiri, was a notable opera singer, first soloist of the Brasov Opera, chamber music performer, many awarded, received 16 prestigious awards, gave over 60 recitals in which she sang over 100 first auditions. She had a repertoire of over 25 roles, was the author of three books, eight record albums, along with numerous specialized articles and the organizer of the chamber season "Afternoon of a performer - Monday at 5 o'clock". He was also the editor of the online magazine “No14 Plus Minus” Contemporary music Journal - Sieben Publishing. Mirela Zafiri spoke Italian, French, English, Russian and Greek. He has written over 100 chronicles, essays, reviews, articles, studies, reports in specialized magazines or on the Internet. Her works, almost without exception, were dedicated to those who, like her, prostrated themselves to the same master, Euterpe musa.
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Hector Berlioz, a prominent figure in French romantic music culture, also belongs to the constellation of the great Romantic composers. Te Deum by Hector Berlioz was one of the most memorable concerts held under the auspices of the Banatul Philharmonic in Timișoara. Sacred music concerts in Banat are a constant, being received with joy and great interest by the public
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The review of: Adijata Ibrišimović-Šabić, Čehov u Sarajevu. Djela Antona Pavloviča Čehova na sarajevskoj sceni u svjetlu bosanskohercegovačke književne i pozorišne kritike; Slavistički komitet, Sarajevo, 2019.
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Doseljavajući se u Francusku dve godine pred raspad Jugoslavije, bio sam ubeđen da se ovde o “našoj” dramskoj književnosti ne zna ništa, a de se o pozorištu koje ju je okućavalo nije ni čulo. Mladen Materić je, istina, u tom trenutku započinjao francusku turneju, ali Tatoo teatar je u Jugoslaviji bila alternativna i marginalna pojava, institucionalno nekanonizovana studentska trupa koja je delovala pri visokoj glumačkoj školi, uz to će na samom početku rata u Bosni dobiti francusko sidrište, Théâtre Garonne u Tuluzu (Toulouse).
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This article offers an analysis of Tomasz Bąk’s poetry from the perspective of the possibility of reclaiming future-oriented imagination. This poetry provides a critique of post-Fordist capitalism and simultaneously explores the realm of utopian thinking. The article ponders the way in which poetry can respond to the crisis of the imagination caused by the paralysis of Mark Fisher’s capitalist realism. Bąk’s poem Bailout is a firm declaration of the poet’s belief in a positive future as a viable alternative to the process of the erasure of futurity, which is an essential paradigm of semiocapitalism and post-Fordism.
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Tema rada je performans pod nazivom „Veličina (ni)je bitna” i pop-up izložba umetnika Stefana Lukića. U daljem tekstu će se kroz kontektst dela analizirati interdisciplinarnost u savremenim umetničkim krugovima, važnost teorije u savremenoj umetnosti, fluidan karakter ovog dela i definicija savremenosti. Takođe, diskutuje se o estetizaciji umetničkog dela, dokumentaciji u medijskom prostoru i promociji umetničkog rada. U zaključku se koncentrišemo na pitanje toka vremena i sudbinu umetnosti nakon „kraja sveta”. Rad je nastao u saradnji sa umetnikom Stefanom Lukićem, prikupljanjem materijala prisustvujući samom performansu, kasnijim razgovorima sa umetnikom i brojnim posetama izložbi u Kvaki 22, kao i korišćenjem adekvatne literature.
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Byron claimed that Manfred had not been intended for the stage, but his dramatic poem was occasionally produced in the nineteenth-century theatre. In 1848 Robert Schumann adapted the poem for stage performance, composing the Overture and incidental music. Schumann’s version of Manfred was staged in Warsaw Teatr Wielki, with Józef Kotarbiński, a well-known actor, theatre manager and critic as the protagonist. The production was followed by a heated debate in the press. The central controversy focused on whether Byron’s “metaphysical drama” was suitable for the stage and relevant for the late nineteenth-century Polish audience. The aim of this paper is to examine central issues in this debate by scrutinizing the press reviews of the Warsaw production. As the reviews are by their very nature subjective, their examination reveals much more about their authors’ literary and theatrical preferences than about the performance itself, and provides an insight in the early stages of the development of the so-called Young Poland movement (Młoda Polska), with its emphasis on individualism and subjectivity, interest in metaphysics, and prevalence of lyricism. The 1892 Manfred in Warsaw may be seen as an attempt at introducing great Romantic poetry in the theatre, paving the way for the theatre productions of Polish Romantic drama, which Kotarbiński was to stage as the manager of Teatr Miejski in Kraków. The article also contributes to the history of Byron’s reception in Poland.
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Latvian theatre director Anna (Asja) Lācis and her life partner, German theatre director and theoretician Bernhard Reich, began their professional careers in Latvia and Germany in the 1920s during the period of European modernism. During the second half of the 20th century, the paths of both their private and professional relationships lead them to the Soviet Union – a place whose ideological system and theatre they remained intertwined with for the rest of their lives. Both artists were then directly affected by Stalinist repressions. In 1948, Anna Lācis returned to Latvia and began working at Valmiera Drama Theatre. In 1951, Bernhard Reich also moved to Latvia, which remained his place of residence until his death. Both internationally recognized artists were buried at the Rainis Cemetery in Riga. This article provides insight into Bernhard Reich’s unpublished manuscript titled Valmieras teātris (Valmiera Theatre), which reveals the left-leaning western artist’s perspective of the history of Valmiera Theatre in the 1950s and the 1960s as well as the art of Socialist Realism that was both surprising and, at the time, unheard of in the history of Latvian theatre.
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This paper focuses on the emergence and evolution of the so-called independent theatre scene in Latvia in the radically changing socio-political and institutional context of the 1990s. The analysis concerns the question why in Latvia the independent theatres did not become a significant alternative from the inherited institutional repertory theatre system until the second decade of the new century. Examples of the independent theatres Kabata, Skatuve and Mūris help to illustrate the general tendencies showing that a lack of a strong artistic vision and managerial strategy in difficult economic circumstances lead to the underdevelopment of a diversity of production models in performing arts in Latvia. In addition, after a short loss of direction, institutional theatres in the mid-90s started to attract nearly all artistically interesting new initiatives, especially if it already had proved itself within the independent scene. The New Riga Theatre and The Atelier of Unbearable Theatre characterize these processes, moreover indicating that the avant-garde directors of the time – Alvis Hermanis, Dž. Dž. Džilindžers, Viesturs Kairišs, Gatis Šmits and Regnārs Vaivars – were interested in a radical break with the past in terms of aesthetics of theatre, but they were not interested in politics. The comparison with the independent theatre scene in Estonia and Lithuania shows that the similar initial circumstances may lead to different outcomes.
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The breakout of Covid-19 pandemic and the related social distancing requirements closed all theatres and forced everyone to move to digital platforms and look for alternative presence solutions in public events. It also made us reconsider the term liveness in the context of screen-mediated theatrical experience and brought to hybrid solutions that would have not been accepted previously. The article tackles the development of theatre processes during the first period of emergency state in Latvia (March – June, 2020) and aims to document the experience of theatre forum organized at the beginning of November 2020 literally on the threshold of the second-wave related lockdown in culture. It aims to address to immediate impacts of Covid-19 to theatre ecosystem in Latvia and illustrate the ongoing way to inevitable changes in culture industry.
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The paper discusses Bulgarian folklore dance ensemble as cultural institution in Covid-19 reality and its impact on development. Therefore, it considers the challenges imposed by the pandemic and the opportunities that came along it. The analysis has showed that to have better and more significant impact, the ensemble must alleviate its internal weaknesses and explore new directions of creative work, different audiences, digitalization, wide partnerships, etc. Despite the increased awareness of the role of culture for local development, much can still be done to improve and mainstream across policy areas. Hence, the paper presents several clear policy measures to reinvest in culture and deliver a richer, more vibrant, and more diverse cultural sector, both at national and institutional level in order to boost its contribution to local development.
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First, the article gives the analysis of the cooperation between artists and researchers in producing the theatre performance “Fake News”. Artists of the theatre troupe KVADRIFRONS invited young researchers of the Latvian Academy of Culture (LAC) to do a sociological study of the phenomenon of fake news, its conceptual borders and its characteristics historically and today. The research served as an informative and educational basis for the transformation of the fake news phenomenon into an artistic phenomenon that seeks to problematize the issue of fake news for a broader audience. Secondly, the article presents the findings of this study, revealing why people share fake news. We find this motivation is emotionally based and is associated with emotional attachment, anxiety, comicality, or trust. People fall for fake news and share the messages that they find to be (i) thematically relevant, interesting and exciting for them; (ii) the messages that concern some emergency or crisis situations; (iii) the messages that seem to be absurd and even comical; (iv) the news distributed by a reliable source of information.
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The article presents the ways in which the diegetic world is built in adventure board games: 1) material components attached to the game, 2) game mechanics and rules and 3) co-creating history by players during the game. The article shows how the decisions of players influence the story and through that – the diegetic world. For the purpose of the article, I analysed elements of adventure board games and conducted an online survey among players to check what elements create the diegetic world. Their answers confirmed my findings regarding the adventure board games.
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Fikrat Amirov was one of the outstanding composer who left indelible traces in Azerbaijani music. F.Amirov is the creator of the symphonic mugam genre in the history of world music. The composer has a wide range of genres. F.Amirov appealed to almost all genres of music and created monumental works. These include opera “Sevil” (Jafar Jabbarlı), symphony “Nizami, “Shur”, “Kurd Ovsharı”, symphonic mugam “Gulustani Bayatı Sheeraz”, ballet “Min bir geca (Thousands and one nights)”, as well as, vocal and instrumental works. Composer F.Amirov also composed some musicals to the many theatre spectacles: İncluding İlyas Afandiyev “İşıglı yollar” (Illuminated roads), “San hamisha manimlasan” (You are always with me) , J.Jabbarlı “1905-ci ildə” (In 1905), Huseyn Javid “Sheykh Sanan”, Mirza İbrahimov “Közərən ocaqlar” (Burning hearths)”, Mehdi Huseyn “Javanshir”, Samad Vurgun “Khanlar”, “Vaqif”, etc. İn the article the author had analyzed musical works of composer Fikrat Amirov dedicated to the poet Samad Vurgun’s play “Vagif”. National poet Samad Vurgun created one of his masterpieces, the play "Vagif. After the play was created, it began to be performed in theaters. First Said Rustamov, then Fikrat Amirov compose music for the performance. Unfortunately, the first example, has not been preserved to this day.
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The article provides new insights into the principles of the methodology of actor training developed by Konstantin Stanislavsky compared with new official wave of art in the Soviet Union – socialist realism. The article explores what was required of actors as they created roles. Why K. Stanislavskis’ system was chosen as the main methodological approach is analyzed, and the features of socialist realism acting are revealed by analyzing the roles of the early Soviet era created on the stages of Lithuanian theatres.
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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.
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