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Publikacje za rok 2004
List of publications on Wadowice and the surrounding area, which appeared in 2004.
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List of publications on Wadowice and the surrounding area, which appeared in 2004.
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This paper critically reviews contemporary academic and public understandings of the changing discourse on pole dancing following its shift from a sex industry related activity to sports. Through an ethnographic approach, combined with a desk review of scarce academic literature related to pole dancing, I analyse whether pole dancing as a recreational activity strengthens or undermines women’s rights. My conclusions indicate that either pole dancing fitness classes should be observed only through the lenses of pornographic culture, as an activity inevitably perpetuating misogyny and sexism, nor would forcefully “whitewashing” them from any notion of sensuality automatically make pole dance empowering. From an anthropological and human rights perspective, this research stresses how posing our own assumptions or even prejudices on others is not only intellectually limited but can also be “objectively” dangerous and discriminating. Simple minded advocacy for women’s emancipation and attacks on “unacceptable” practices, like pole dancing, mostly presents a hegemony over id eas on gender, sexuality, liberation and empowerment. While imposing those static definitions of subordination and inequality on pole dancing and its participants, critics often end up in embracing them rather than deconstructing them.
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Remembering the essential relationship that exists between the public and the stage in the time of the theatrical performance with traditional puppetry, and the triangulation of the relationship between the viewer and the actor with the puppet object, it is the experience space and distances of play and movement between the living and the inert which are revisited. The contribution of digital arts and the use of technologies in puppet works reveal new original and innovative forms that disturb the landmarks, the presence of living, virtual or robotic bodies. An intuitive text based on a curious need to question the connections between digital arts and the arts of puppetry.
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During the last 10 years the field of Acting has witnessed an unprecedented development in Romania – now it encompasses teaching, personal development, sometimes even therapy; it has blended well with the visual field in Installations and, due to pandemic situation, it has engulfed the virtual medium. Therefore, Acting has changed – nowadays, the purpose of an Acting School is not that of forging masters of Acting, but of guiding and supporting the discovery and designing of the unicity, creativity and personality of each and every artist. Romanian theatre has fought many battles along the way – that with censorship, that with mass media and now a completely new and insidious challenge – the fight with the present sanitary situation. Nowadays, the theatres, either conventional or unconventional, are closed due to various reasons: the political wage of war, the conflict between the vaccine followers and the vaccine opponents, the gulf between the majority parties and the minorities, various restrictions and our own personal fears. Thus, nowadays artists should prove, once more, their amazing capacity of adapting themselves to these conditions. And, if our times are confusing for artists, they are even more bewildering for the Acting teachers. An Acting teacher that is a former graduate of a 4 year course of study in a form of 5-6 fellow mates, that, most likely, has a job as an actor in a National Theatre, is supposed now to teach in Bologna system to a double number of students than the one he was used to (and that even online) and to prepare them for a very crowded and diversified market place. So, what is to be done on part of the Acting teacher?
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In recent decades, the professional and artistic training of the emerging actor in the European area has required significant adjustments. Drama schools in Europe have had to respond positively to the introduction of the Bologna system, whose initial aim was to homogenize the university curriculum at European level. But we must keep in mind that these aspects are the outcome of intense transmutations of an evolving society. Under these circumstances, today's actor is no longer just a drama performer. The concept of his performance, be it artistic, is present in many fields of activity. The show is everywhere; it went out of the theater hall to be present in the street, at rock concerts, at fashion shows, at all type of events, including sports. Today’s actor is asked to perform in theater halls, but also in cinemas, or media, to get acquainted with new technologies. From this perspective, should drama schools train actors for all these fields or only for drama? Should there be a separate training for each of these categories or the initial, basic drama training responds to the new skills required of the young actor? At European level, there is a need for pedagogical cooperation in arts high education. Drama schools strive to expand their teaching methods panel, trying to facilitate the coexistence of Stanslavskian methods with the artistic practices of Brecht, Grotowski, Eugenio Barba. The phenomenon itself is accelerated by the development of international trade. Of course, there are international festivals and events that allow drama schools to present their creations, research in the field of drama pedagogy and to give students-actors of different nationalities the knowledge of various artistic traditions. Today, exchanges of students and teachers take place regularly within the European Erasmus + program. Whether we are referring to Western Europe or Eastern Europe, we find that the rapid evolution of society is naturally reflected in the emergence of new drama forms. This makes the mission of drama schools difficult. It seems complicated, but it may not be impossible to predict the type of artistic training that an emerging actor should receive in an arts high education institution. Moreover, the clear boundaries between the various fields are fading. Contemporary artists like to explore territories bordering the artistic fields, using different methods and techniques, and multidisciplinary is a predominant feature of our era. The educational institutions that train future actors prove difficulties to change their curriculum taking into account the rapid metamorphosis of reality. Could interdisciplinary intervene in this context as an alternative solution that brings together both defining and specific aspects of arts pedagogy? The answer could be affirmative provided that it represents an opening and it is understood as a means of integrating and sustaining the dynamics of each field of activity taught for the training of the future actor.
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The COVID-19 pandemic has had a major social and cultural impact, to such an extent that coping with everyday life has become synonym with exhaustion and anxiety. Highly present among the jobs that require exposure to a risky and challenging working environment, the burnout syndrome has affected different micro-communities – one of the most vulnerable being that of healthcare workers. Daily exposure to the risk of infection, extended hours, the absence of resources and the battle with a virus whose evolution and lifespan are impossible to estimate have affected the mental health of the medical personnel. The study carried out in 2021 at “Dr. Victor Babeș” Hospital in Timișoara – where hospital administration aimed to assess the level of exhaustion of their staff – showed that 56,37% of respondents had either a medium or high burnout level, 55,88% felt emotionally exhausted, 67,16% had a high stress level and 64,22% were experiencing concernment. Having identified their needs, the 9th edition of the socio-cultural intervention Art therapy by Create.Act.Enjoy (2021) – produced by the Create.Act.Enjoy Association in Romanian hospitals – focused on implementing artistic activities that contribute to diminishing the symptoms of burnout syndrome among medical personnel. Based on specific performing arts methods, the intervention was carried out by professional actors, experienced in using art as therapy. In the nine years since its foundation, Art Therapy by CAE became a unique intervention, participatory, assigned to the public health service, being motivated by the fact that well-being is the result of a well-balanced mental and emotional state – besides financial satisfaction – and a social life that enables access to culture. The paper analyses the impact and the outcome of the intervention among the medical staff in six hospitals from two perspectives: qualitative: methodology, creation and implementation; quantitative: the result of the study The impact of artistic interventions on healthcare workers in Romania during the COVID-19 pandemic, created by Create.Act.Enjoy and Cluj Cultural Center.
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We are getting more and more familiar with virtual worlds and realities. From social media to being forced to use a QR code for accessing the menu of a restaurant. This change that is happening now pushes the artists to rethink the way they are doing projects and to create new conventions. Because social media and QR codes requests a participatory involvement, the art pieces should start to have this kind of quality as well. The new generation of spectators is less familiarised with the classical conventions where they would have to stay passive and silent. There are many applications and platforms that can be used for creating more engaging and immersive projects. The choice of which kind of technology should be used it depends on the project and the type of interaction that is wanted. We can choose from motion capture systems, mobile apps or different devices that can provide different features. Even the headphones can be a tool that can be used for creating an immersive experience. The next step is to choose on what platforms we are going to create the interaction. There are many options here as well and depends also on the direction that the project has but also on the knowledge that we have, because many platforms can be used to provide almost the same tools. The one that I am focusing on is Unreal Engine, which is an open source game. This platform also recently released a new feature which is called Metahuman. With this feature we can create avatars that can be animated in real time through an application on the phone. The application makes the camera of our smart phone a motion capture device that animates the face and the head of the avatar. This can be made by either the performers or the spectators.
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We live in an era more and more attached and inclined towards a technological system which makes inevitable the fact that this system is becoming a part of the performing arts, characterized lately by impressive visual dimensions. The new concept of the 21 century, digital scene, represents just one step into a completely unknown world and at the same time, a completely vibrant world, in which we recognize the availability of the visual capacity. Through this text, we aim to define digital space, how far is it from the theatrical forms, if it can approach them in some way and how spatiality is being perceived. We investigate the possibility of the theatre to have its own leverage on this path, so we can decide if the digital transfer could determine theatre to repress its survival instinct and, in the end, to be silenced. At the same time, we aim to discover versions of digital theatre or theatrical versions of the digital world. We also speak about how theatre „speaks” or „shuts up” on digital platforms; how much theatre has transformed lately its mechanisms and if we could perceive the possibility of an ascending, so we can affirm that the theatre has become or it’s about to become a more accessible and visible art, almost being worthy of a cinema film notoriety. Silence, a rare condition of our century, can become theatre’s more characteristic and fatalist mood, a theatre that is very connected to the physical can risk its place by being out of its comfort zone and pushed into an unfinished world. If the theatrical forms have the capacity to survive in this transformational context, we could actually talk about an evolution of these forms towards ones that can determine theatre reform itself. In regards to this, starting from this point where theatre transforms its language, we can make an imaginative travel, invoking a possible future for a silenced theatre that can be silenced also by a new artistic structure, placed somewhere between theatre and film – digital theatre or online theatre.
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The article is an analysis of recent studies of non-governmental organizations (World Economic Forum) which have generated cultural strategies and which are today influencing the relationship between the society and the forms that organize and finance culture. The article also analyses the way in which the cultural strategies generated by these studies are manifesting themselves in the theatrical landscape in Romania: the polarization of the theatrical speech, the standardization of the means of expressing messages on the stage and the offensive brought by the non-governmental organizations. Starting from the context aforementioned, we need a research regarding the way ideological trends are influencing the way we represent things on the stage and are modifying the axiology of the theatre. I’m talking about notions that are necessary to establish a frame and some standards of evaluation regarding the theatrical domain: competence and relevance. How are they defined? How and who can measure them? It is also of utter importance to analyze the terms and notions that are used in the recent and most acid critic reviews of the theatre productions in Romania: independent theatre, state financed theatre, gigantic productions, alternative spaces, the under-financing of the cultural sector, management, cultural management experts, etc. Last but not least, the article mentions the way in which some of the most influent characters involved in the theatre world of the 20th century have looked to what is the problematics of researching the theatrical act: Ariane Mnouchkine and Peter Brook. Is there innovation in a multi-millennial art? Is theatre something else than an art of the present which is serving the city? We are crossing a period of time in which, also due to the restrictions generated by the pandemics, it was debated in the public space (and the authorities have encouraged that idea) to move the theatre in the on line. Starting from the premise that the theatre without an audience stops being theatre, I will analyze, in the context described earlier, the relationship between theatre and the new trends in the Euro-Atlantic culture: progressivism and digitalization.
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Printre piesele traduse în româneşte de Mihai Eminescu, cea mai veche este drama într-un act „Histrion“, de Guillom Jervitz. Avem de a dace cu una dintre creaţiile dramatice de mică importanţă („Dramatische KleinigKeiton“) publicate în 1865 de Wilhelm Jervitz...
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Since its inception in 1914, the extremely popular Takarazuka Revue, the Japanese all-female musical theater in Osaka‘s NorthWest, has proven throughout the decades both a faithful mirror of the Japanese society and a fine compass of its tendencies, subtly providing impulses for the future. This paper focuses on the dynamics of entertainment in the interplay of power and seduction as creatively displayed in Takarazuka Revue‘s show Silk Road: Bandits and Jewels from early 2021: its most particular feature is the music partially composed by Kanno Yôko 菅野 よう子.
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Kolozsvári Állami Magyar Színház. Utas és holdvilág. Kali Ágnes és Bo- tond Nagy szövegadaptációja Szerb Antal regénye nyomán. Rendező: Botond Nagy. Szereplők: Bodolai Balázs, Pethő Anikó, Váta Lóránd, Tőtszegi Zsuzsa, Szűcs Ervin, Viola Gábor, Dimény Áron, Albert Csilla, Kiss Tamás, Bács Miklós. Díszlet- és jelmeztervező: Irina Moscu. LED- és video design: Rancz András. Dramaturg: Kali Ágnes. Zeneszerző: Boros Csaba. Fényterv: Cristian Nicules- cu, Groza Romeo. Rendezőasszisztens: Veres Emőke. Gyártásvezető: Tenkei Tibor. LED-sculpture: Bardócz Botond, Buksa Péter, Fábián Mihály, Groza Ro- meo, Kerekes Levente, Kiss Dávid, Maier Sándor. Előadás-vezető: Albert Enikő.
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This article seeks to deepen knowledge about how education that integrates dance and visual arts has had an impact on supporting resilience among children in a primary school in the time of the COVID-19 pandemic in South Africa. The authors have for four years run a project in which the value of integrating dance and visual arts in different ways has been explored. The last workshop week took place in 2020 once schools had reopened after a long period of lockdown. The week included a focus on illuminating the children’s experiences of schooling during and after the lockdown. Through a hermeneutic phenomenological analysis of data collected using methods involving multi modal means of expression, it comes forth that the impact that this work has had, is that the children have learned to not just accept what is, but to question and be critical based on what they feel. They learned techniques to assist them to let go of tension and to feel and be aware of embodied sensations. They also had experiences of relating to their peers in new ways and used their imagination to create and express ideas. Based on this study it is concluded that when an embodied perspective is included in a theoretical understanding of the notion of resilience, and this perspective is implemented to guide educational practice, schools may be able to better promote environments that support resilience.
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In this paper, I am seeking to resolve a theoretical dilemma.
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This article examines creative co-research with groups experiencing homelessness and the effects of rapid urban development. It draws upon two projects which combine social art practices and a feminist participatory action research (PAR) approach. The paper argues that bridging PAR and social arts practice, whilst underutilised and under theorised together, is an approach that offers some key opportunities as well as challenges. In highlighting these challenges, the paper acknowledges the role of power dynamics and broader issues associated with artists working in urban development contexts where relationships between local authorities, developers, the culture sector and residents are increasingly complex and entangled. In analysing the difficulties and risks within creative, participatory projects, the paper calls for an ‘ethic of care’ and a focus on collectively building knowledge about unequal political, economic and social structures with groups affected by rapid urban development and displacement.
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Since modernity and relationship...
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A review on three puppet books. The year 2019 has been a fruitful one for Hungarian-language puppet literature, with the publication of three important works: the researches of Tamás Jászay and István Nánay on the history of two jubilee Hungarian puppet theatres, and a translation of former students at the University of Theatre and Film Arts, Budapest that provides insight on the training and vision of puppet, figure and object theatre in Germany.
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A review of Katalin Nászta's book: Thália erdélyi napszámosai (Thalia’s Transylvanian Day Labourers).
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A review the book "It's Easy for You, Józsi Szarvas…" by József Szarvas and László Bérczes.
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Stand-up comedy is an oral dramatic performance that is commonly enacted by a solo-performer or a duet before a live audience. Some existing literatures examined it largely from humour and entertainment to the neglect of its deeper societal values. Therefore, this paper investigates its new trend in gender discourse through its oral structural form by discussing the social responsibility of mothers on proper monitoring and parenting of the girl child. Besides, it also investigates the linguistic devices employed by the selected female comedian to reveal the roles of female comedians as the gatekeepers and conscience of society. Five digital video discs of live performance recordings of Helen Paul, a Nigerian female comedian, were purposively selected. The selected live recordings were based on the informing sociological realities and choice of satiric mode. The paper employed Schechner’s Performance, Freudian and Jungian psychoanalytic theories were used to analyse the informing sociological realities and choice of satiric mode. The data were subjected to performance and literary analysis.
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