![Parancsolatok koncertje](/api/image/getissuecoverimage?id=picture_2023_78215.jpg)
We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Yunus Nüzhet Unat's play "Haydi Suna", written in 1936, is a text showing the characteristics of Early Republican Period literature. The administrators of the newly established state made cultural propagandas to spread the revolutions among the people. One of the most important means of these propaganda elements is theatrical plays. Some writers of the period, especially names such as Faruk Nafiz and Aka Gündüz that we can include in the nationalist literature, wrote plays in accordance with the politics of the new state. These written plays were exhibited to the public all over the country, especially in Community Centers and People's Rooms. Through the propaganda in the plays, discourses were made about how an ideal individual and society should be. Yunus Nüzhet Unat's play "Haydi Suna" is a play with these features. The events in the game take place in 2023. The author tried to give impressions from the view of Turkey in its 100th year from the point of view of 1936. "Haydi Suna" play is a utopian work that takes place in the Early Republican Period plays and takes place in the future. In this study, the fictional time of the text, which takes place in 2023, will be compared with the year 2023 in real life. Time readings will be made on the data obtained as a result of the comparison.
More...
This article delves into the daring practices of the French artist ORLAN, investigating her visionary approach through the lens of a post-critical perspective. We explore the dynamic interplay between new digital technologies, such as augmented reality, posthumanism, body art, and feminism, as embodied in ORLAN’s transformative works. Drawing from a post-critical stance, we analyse the transformative potential of ORLAN’s art, moving beyond mere critique to propose constructive alternatives. Augmented reality and her surgical digital performances in which she alters her body enable ORLAN’s interventions to challenge established norms of identity, personification, and aesthetic sensibilities. Following this, she considers technology to be the extension of the human body throughout her practices. The collaborative and dialogic dimensions of ORLAN’s augmented reality installations resonate harmoniously with the tenets of a new wave of critical theories, fostering participatory environments and nurturing communal engagement. By embracing a post-critical lens, this analysis unveils the transformative vision of the artist, underscoring its seminal import within the sphere of fine art movements, feminism, and the reconceptualisation of identity, embodiment, and aesthetics.
More...
On the occasion of the round jubilee, the 100th anniversary of the cultural and artistic activities of the oldest theatre in Bosnia and Herzegovina, the author shares the historical review of the work of the Sarajevo National Theatre, from its founding days until present times, in which she highlights the most significant events in the development of all artistic segments of the largest national theatre in Bosnia and Herzegovina. The National Theatre, in hundred years of its existence had its name changed and experienced changes of ideological socio-political systems several times. The fraught history of Bosnia and Herzegovina’s capital in its complexity was also reflected in discontinuity in the cultural policy and organizational-production structure of the National Theatre. The author states that factographic voids in the historical remembrance of this institution should have been filled with a detailed and comprehensive monographic study on the occasion of the jubilee, but it has not been published to date.
More...
Katalin Ágnes Bartha's article on the premiere of The Tragedy of Man in Cluj Napoca.
More...
An opera is a complex, multidisciplinary, stage music genre that primary school pupils in the 8th grade aurally and visually recognize, differentiate, describe, and compare as part of the primary school subject Music Culture. The paper presents the contribution of the preparation and performance of an opera on the case study of Ivan Josip Skender's Šuma Striborova (The Stribor's Forest), an opera for adults and children (to the libretto by Ozren Prohić, based on the fairy tale of the same name written by Ivana Brlić Mažuranić) performed by the pupils of the Bartul Kašić Primary School in Zadar, in July 2023. It is an innovative and unique project in Croatia designed to bring opera closer to young people. The paper presents the Curriculum for the subject of Music for both primary and high schools in the Republic of Croatia, where the case study analysis methodology presents the outcomes within three domains: A – Listening and getting to know music, B – Expressing yourself through music and with music, and C – Music in context, which are realized by participating in the performance of an opera. Furthermore, there are also tasks (material, functional, and educational) that are realized through musical activities such as opera production. The contribution of this work is the possibility and presentation of the pupils’ performance of the ballet and puppet show the Šuma Striborova opera through active listening. During such a performance, the recipients are also active, while the audience reacts to the music and action. Through active listening, one is brought up aesthetically and grows both personally and culturally.
More...
Since the establishment of the state of Israel in 1948 everything related to the Diaspora (“Golah”) such as culture, language, or mentality was considered despicable and Israelis tried to keep away from it. This article is about Dr. Jacob (Kobi) Weitzner a writer, playwright and Yiddish theater director. This article is not about his academic achievements or artistic works, but his seminal activity for the preservation of Jewish culture in the Diaspora.
More...
The purpose of the work is to describe the calendar rituals of Maslenitsa (Shrovetide) in the context of cultural studies, where dance is an important factor in preserving the potential of traditions. Since ancient times, all ritual actions have been accompanied by words, singing, melody, movements, gestures – that is, by standardised ritual formulas. Thus, dance traditions reflected the worldview and were an expressive means of culture of a particular ethnic group and are still an active factor in the cultural dialogue between the past and modern culture. The research methodology is based on general scientific and special methods: a systematic approach (rituals in the cultural system are substantiated), a structural approach (dance is considered as a phenomenon in the context of cultural practices), a synergistic approach (as a complementary component of the study of dance traditions and the dynamics of their demonstration in the context of calendar rituals). It is through traditions that choreography is able to artistically and aesthetically demonstrate and organise the moving archetypes of human inner freedom and, at the same time, symbolically embody the plastic dynamics of the external world of song in dance images. The scientific novelty is that the modern character of dance in the segments of the cultural core of the traditions of the calendar rituals of Shrovetide is revealed. The idea of dance traditions in the calendar rituals of Shrovetide as a special form of presentation of cultural narratives is substantiated. Therefore, it is now necessary to intensify scientific research on these issues, to comprehend the essence of the historical process of development and preservation of traditions with their subsequent implementation both in Ukraine as a whole and in individual regions. Conclusions. The narratives of "dance in the calendar rituals" are impossible without analysing the heritage of folk traditions. Therefore, it is necessary to expand the scientific contribution to the spiritual treasury of the people, to study the historical and cultural background of the formation of national identity as an achievement of previous eras, that is, to instrumentalise cultural narratives, in particular, in artistic images of calendar rituals.
More...
The purpose of the article is to identify the peculiarities of the formation and the main trends of the development of digital theatre in the context of the specifics of contemporary Internet culture. Research methodology. The structural-functional method (to summarise the theoretical and methodological foundations of the study of digital theatre in contemporary Internet culture), the typological method (to determine the features of Internet culture), the diachronic method (to consider digital theatre in the context of the specifics of its historical development), the method of comparative analysis (to identify the common and distinctive features of online theatre and digital theatre); and the method of theoretical generalisation have been applied. Scientific novelty. The peculiarities of the formation and trends in the development of digital theatre in the context of modern Internet culture have been studied; the concepts of "digital theatre" and "online theatre" have been clarified; the main characteristics of digital theatre have been revealed; little-known materials on the development of digital theatre have been introduced into scientific circulation. Conclusions. The study has revealed that digital theatre is characterised by: the use of digital technologies as the basis of the production; various approaches of stage directors-producers to the use of digital technologies in the process of implementing the author's idea, which ensures the uniqueness and originality of each digital theatre performance; a high level of immersion, which involves the full immersion and involvement of the viewer in the theatrical action; specific interactivity (the viewer affects the development of the storyline); lack of binding to a specific venue; the possibility to attract a significant number of viewers (thanks to information and communication technologies); active combination of various techniques of theatre and film art, video games and media art; accessibility for potential viewers. Digital theatre performances presented in contemporary Internet culture on various platforms for video conferencing and webinars, social networks, and so on represent experimental forms of artificial integration of traditional elements of the performance into virtual reality, a new aesthetics of digital theatrical expression and, accordingly, lead to the transformation of professional tools. Digital theatre, which is currently in its infancy, has a powerful potential that arises at the intersection of theatricality and digitality.
More...
The purpose of the article is to study scientific research on the history of Bedřich Smetana's opera “The Bartered Bride”. The methodology of the work includes: source study – for the study of scientific literature and periodicals on the history of B. Smetana's opera “The Bartered Bride”; historical – to consider the opera at different times; generalising – for updating and specifying the basic information about the specified opera. The scientific novelty of the work lies in the fact that the analysis of foreign scientific sources and periodicals on the subject of this opera was conducted for the first time. Conclusions. The relevance of the study of scientific literature and periodicals on the opera by the Czech composer Bedřich Smetana is determined: the importance of Czech culture and musical art in Ukraine (V. Shchepakin, Yu. Zinko, S. Kalytko, A. Kravchuk, I. Pop); clarification of the authorship of the Ukrainian translation of the libretto of B. Smetana's opera “The Bartered Bride” and parallels with M. Lysenko's opera “Natalka Poltavka” (O. Smolnytska); criticism of the choreographic component in the opera from an archival source (T. Churpita). Coverage of the fate of the opera at different times: the popularity and inexhaustible source of Czech folklore (G. Palla, S. Bergmannova); emphasising the patriotism and progressiveness of B. Smetana’s work in comparison with other Czech composers (Z. Nějedla); the influence of F. Liszt and P. Cornelius on the idea of a national comic opera; the flourishing of national ideas and the activities of the C. H. Mahá circle, the reflection of ideas in the libretto of K. Sabina and its relevance to the Czech language (D. Tyrrell); criticism of the premiere performances (Josef Krejčí). Comparison of the comicism of W. A. Mozart's opera “The Marriage of Figaro” and B. Smetana's “The Bartered Bride” (G. Schenker) with an emphasis on heterogeneity, organic joy, simplicity, and charming naivety in the transfmission of content can be considered an open path to future popularity. The critic's remarks about the organic thematic development and orchestral perfection in Smetana's opera were available only to Mozart. Criticism of the contemporary opera performance directed by E. Nellis “The Bartered Bride” (G. Shpalkova).
More...
The purpose of the article is to highlight the concert and performance activities of the Ukrainian Naddniprianskyi Choir leaded by conductor Dmytro Kotko based on the materials of the Polish periodicals of 1922–1926. The research methodology consists in the use of methods of analysis and synthesis, systematization of facts, and generalisation of the materials studied. The methodological basis of the work is based on the historical and chronological, source, logical and generalising method to analyse periodical sources, study the work of the Naddnipryanskyi Choir, and identify the impact of its artistic activity on the development of musical life. The scientific novelty of the article is the introduction of new archival documents, a significant database of periodicals of that time, and publications of music criticism for a detailed comprehensive analysis of the choir’s creativity. Conclusions. The scientific article hightlights one of the periods of Dmytro Kotko's artistic activity – the management of the Ukrainian Naddnipryanskyi Choir. The analysis of his work is based on materials from Polish periodicals. Polish press has created a kind of chronicle of the musical life of this ensemble, describing artistry, exemplary stage discipline, professional vocal skills, successful selection of repertoire, original interpretations of choral works, and artistic perfection of performance. A large number of reviews, including those of well-known Polish musicologists, attest to the popularity of the creative institution and its director, Dmytro Kotko. Despite certain contradictions, biased assessments, or contradictory conclusions, the importance of these reviews in periodicals lies, firstly, in the fact that they created a kind of chronicle of the musical life of the Ukrainian Naddnipryanskyi Choir, and secondly, they stimulated the development of historical and theoretical musicology, laid the foundations of musical culture, and preserved valuable documentary facts for posterity.
More...
The purpose of the article is to reveal the symbolic foundations of Ch. Alkan's second chamber concerto op. 10, which are also the basis for the composer's subsequent opuses. Chamber concerts are not sufficiently covered by foreign researchers and are unknown in our musicology, therefore this study is relevant both as an example of early manifestations of symbolism in Ch. Alkan's work (romanticism), which was a precursor to the French symbolist composers who studied his work (for example, Debussy), and from a performance perspective. The research methodology is based on the use of systemic and structural, analytical, semiotic, hermeneutical, biographical and historical, comparative analyses to identify the symbolic foundations and indexical and iconic signs of Ch. Alkan's second concerto da camera cis-moll op.10. Scientific novelty of the study is that for the first time, the theory about the origin of Ch. Alkan's symbolic style, starting with Concerto da camera No. 2 op. 10, is presented, including the method of letter-note encryption of the composer's musical language, based on the historical and cultural perspective of such examples, which come from the combinatorics of the Middle Ages and the wit of the Baroque, biblical numerology and sacred calculus in the cultures of ancient civilisations. In addition to the Second Chamber Concerto cis-moll op. 10, the composer used this method in his other works, such as the paraphrase “Super Flumina Babylonis” op. 52 or the Grand Sonata “Four Ages” op. 33. The proposed concept of the figurative sphere of the work can be used in the construction of performing interpretations. Conclusions. Ch. Alkan's Second Concerto da Camera op.10 cis-moll is one of the first works in which we find the first manifestations of symbolism in the composer's work. In it, the composer begins to use one of the Baroque principles of endowing its constituent elements with symbolism, showing in a somewhat pathetic style (“Trois Morceaux Dans le Genre Pathétique” will appear in the subsequent opuses) the search for his place in the world and the state of his soul, the polarity and at the same time the unity of the forces that govern the universe. The second concerto da camera outlined a special thematic line in Ch. Alkan's work, dedicated to the work on the individual and the preaching of Salvation in Christ, continued in the “Grand Sonata” op. 33, as well as in “Benedictus” op. 54, in which we observe the Baroque principles of inventing difficulties, playing with numbers, notes and words for the sake of playing. The above works show the complexity of the cipher compared to the second chamber concerto, which is explained by the author's continuous deepening of encyclopaedic knowledge, his awareness of the Apocrypha, ancient manuscripts in Greek, Latin and Syriac, translations of the Bible into French, and works of Greek philosophers. The art of solving musical riddles formed the essential basis of Ch. Alkan’s language, which can only be solved by people with the same encyclopaedic knowledge.
More...
The purpose of the article is to reveal the peculiarities of teaching acting skills in children's theatre groups and to determine promising directions for improving the methodology at the current stage, to consider the specifics of the system of artistic and aesthetic education and artistic and creative activities of theatre groups for children. The research methodology consists in the application of a typological method aimed to identify and define the features of acting skills in the context of teaching in amateur theatre groups for children; a comparative method to conduct a comparative analysis of approaches to teaching acting skills in theatre groups; evolutionary method for considering the dynamics of the development of the methodology of teaching acting skills in theatre groups for children in the context of the peculiarities of socio-cultural space of the second half of the 20th - the beginning of the 21st century; method of systematic analysis and synthesis, due to which the teaching of acting skills in children's theatre groups was considered as part of modern theatre pedagogy. The novelty of the research is in the conducted comprehensive study of the peculiarities of teaching acting skills in children's theatre groups at the current stage. Conclusions. Theatre art, like other forms of art, is a form of social consciousness. Historically, its development is inseparable from the development of society, from culture in general. Currently, there are a large number of theatre communities in Ukraine. These groups are engaged in the artistic and aesthetic education of the younger generation outside the secondary school, such theatre groups are organised in the Houses of children's and youth creativity, youth theatres, Houses of culture, theatre and folklore groups. In Ukraine, modern theatre pedagogy and creative practice are based on stage theory, methods, and artistic techniques developed by leading foreign and domestic theatre actors of the 20th century.
More...
The purpose of the work is to describe and highlight the artistic and creative activities of the Meiningen Theatre and the professional skill and creativity of Ludwig Kroneck's directing mechanisms. The research methodology is to apply the art historical method for a comprehensive study and understanding of all components of the nature of stage creativity and directorial activity of the Meiningen theatre of the corresponding period, its artistic and aesthetic value. The structural method and a systematic approach in combination with the historical method are used for a thorough study of the creative experience of the Meiningen theatre and its directing, analysis of the characteristic differences in artistic activity. The functional method helped to analyse the essentially practical component of the imaginative and creative process, pragmatic characteristics of the theatre ensemble and director's explications of the German Meiningen Theatre of the second half of the nineteenth century. The analytical method was applied for considering the essence of the techniques and means of practical implementation of an artistic work, its transformation into a stage reality with the help of special professional methods and means of ideological and emotional expression. The scientific novelty of the study lies in a comprehensive analysis of Ludwig Kroneck's creative skills, the creativity of his theatre directing mechanisms and the significance of the master's professional experience for the stage professional process of contemporary theatre. Conclusions. The PR experience of L. Kronek, director and manager of the Meiningen Theatre in the second half of the nineteenth century, impresses today with its expediency in the theatrical process of stage creativity, namely: the master’s innovations in solving mass scenes of productions, performing role material by each performer with the help of all means and skills of high artistry The integrity of all methods of building a synthetic artistic and figurative stage canvas was achieved by the artist due to the complex skills of the director's ideas – light, scenery, mise-en-scene and performance of the acting ensemble. Modern theatre directing, as always, is in a constant process of inventing the latest original solutions for creating a stage form, figurative, and associative disclosure of a dramatic work as an artistic form of theatre. In their aspirations, the artists of the Melpomene stage should not forget the fruitful experience of their predecessors, who stood at the origins of the profession of directing as the main creator of visual and entertainment performance.
More...
The purpose of the research is to analyse the international cultural collaborations of the opera houses under the martial law on the examples of national operas of Kyiv, Odesa, and Lviv. The research methodology is based on the interdisciplinary approach, which includes the knowledge form cultural studies, media studies, and management of sociocultural activity. Using the comparative one, we try to highlight the main international events of the studied theatres and their role in the representation of Ukrainian culture. The scientific novelty of the research is the analysis of the international cultural collaborations of the opera houses under the martial law on the examples of national operas of Kyiv, Odesa, and Lviv in 2022 – 2023. Conclusions. Analysing the content, which in open access on the official websites of the studied theatres, we can state that the international collaborations are reflected in the participation of theatres and their artists in charitable events outside the country in online and offline formats, including a number of charity events organised by theatres as part of the “Stand with Ukraine” project.
More...
The aim of the work is to study the principles of museum communication in the processes of exhibiting works by Ukrainian avant-garde theatre artists of the first third of the 20th century in exhibition projects in Ukraine and Estonia in 2014–2023. The research methodology is based on art historical and cultural analysis. The scientific novelty of the study is related to the evolution of museum communication strategies in their focus on the transmission of national messages in the domestic Ukrainian and international cultural space to reveal the specifics of the codes of Ukrainian identity and rethink the achievements of the Ukrainian avant-garde, including the theatrical avant-garde, from the standpoint of decolonising its perception. In this context, the artistic and intellectual models of the exhibitions «Scene of the Ukrainian Avant-Garde» (Mystetskyi Arsenal, Kyiv, Ukraine, 2014), «Futuromarennia» (Mystetskyi Arsenal, Kyiv, Ukraine, 2021–2022) and «Futuromarennia. Ukraine ja avangard» (KUMU Art Museum, Tallinn, Estonia, 2023) were analysed for the first time. The conclusions state the evolution of communicative models focused on building links between the Ukrainian avant-garde and folk decorative art, the disclosure of inter-artistic relations within the concept of pan-futurism in the space of Ukrainian culture, as well as the presentation of a postcolonial view of the reactivation of the links between Ukrainian and European art in the reflections of avant-garde artists.
More...
The purpose of this study is to identify the Christian-church foundations of moral and ethical factors of the plot and compositional collisions of the opera-seria, as well as to recognise in the figurative and dramaturgical positions the continuity from the hagiographic approach of the plot of mysteries and liturgical dramas – on the example of "Griselda" by A. Scarlatti. The research methodology is based on the intonation approach of the school of B. Asafiev in Ukraine, based on the unity of music and speech, based on historical-comparative, hermetic and interdisciplinary research methods, as it is shown in the works of D. Androsova, O. Markova, O. Muravska, and others. The scientific novelty of the work is based on the novelty of reviewing the religious basis of A. Scarlatti's opera-seria as an achievement of the artist and the corresponding assessment of the super-individual bel canto lyrics in "Griselda" as a majestic possession of the religiously minded Master. Conclusions. The affirmation of the dramatic basis of the productions of A. Scarlatti's operas testifies to the mysterious core of his operatic thinking, which causes the super-individual features of the lyrics, which dominates his compositions and gives a super-personal meaning to the virtues of the heroine of the opera "Griselda", which in the demonstration of super-humility of behaviour and actions demonstrates the vital highness of her stage outline.
More...
The purpose of the article is to identify the leading trends in the activity of one of the oldest professional creative teams – the H. Maiboroda National Honoured Bandura Choir of Ukraine in the context of the development of academic folk vocal and instrumental art. The research methodology is determined by general philosophical, dialectical and historical principles, systematic and comparative approaches, as well as special musicological methods for the study of bandura instruments, concert and touring activities, repertoire formation trends, and personological aspects of musical creativity. The scientific novelty of the article is a systematic analysis of the creative activity of the H. Maiboroda National Honoured Bandura Choir through the prism of academicisation of folk vocal and instrumental art, development of ensemble bandura performance, selection and optimisation of bandura instruments, formation of repertoire principles, contribution of leading directors and conductors of the band to its professional formation, cooperation with composers and soloists, and the thematic principle in organising concert and touring programmes. Conclusions. The H. Maiboroda National Honoured Bandura Choir of Ukraine is a unique collective with a rich history, accumulation and synthesis of both folk music traditions – kobzarism and academic choral traditions. More than a century of the choir's functioning has become an expression of the cultural peculiarities of the time periods of bandura creativity and performance: at the level of improving the instrumentation, involving other folk and academic instruments in banduras, selecting male voices, choosing the texture of choral singing and instrumental playing, genre and thematic directions of the repertoire, collaborating with soloists and conductors, and a wide geography of concert and touring activities. The priority directions of the repertoire of the choir are folklore samples in a cappella and vocal-instrumental representation and composer's elaboration, original works and arrangements of Ukrainian and foreign composers, covering historical, Cossack, lyrical, humorous, riflemen's songs, Shevchenko's songs, UPA songs, and modern patriotic works.
More...
The purpose of the work is to investigate the art of illusionism in the context of modern trends in the development of creative industries of Ukraine. The research methodology consists in the application of analytical and empirical research methods to study the functioning of illusionism as a component of creative industries, which makes it possible to explain the prospects of socio-cultural and intercultural development. The scientific novelty of the study consists in the systematisation of the study of the art of illusionism as one of the relevant forms of cultural and artistic activity and practice, which is part of the stage and performative sector of creative industries. Conclusions. The art of illusionism is a rather specific type of theatrical spectacle and an element of mass culture, which usually appears in the form of an entertainment event, capable of actively influencing human emotions and feelings, retransmitting certain cultural values. Through the prism of spectacle, the art of illusionism is able to represent the context of socio-cultural space, serving as a tool of intercultural communication. At the current stage, within the framework of increasing the dynamics of the development of creative industries, the art of illusionism actively incorporates into its sphere the tools of event management, artistic techniques and means of stage-performance practices, which ultimately form the general system of the entertainment industry.
More...
The purpose of the article is to reveal the peculiarities of theatrical interactivity as a model of communication in modern culture and to consider interactive theatre as a means of social transformation. Research methodology. The terminological method, the typological method, the method of functional analysis, the method of synthesis, as well as the method of systematisation and generalisation are applied (for consideration and scientific substantiation of the concept of theatrical interactivity, identification of the characteristic features of interactive theatre as a phenomenon of modern cultural space). Scientific novelty. Theatrical interactivity as a model of communication in modern culture has been studied; analysed models of interactivity by M. L. Ryan, McIver Lopez, S. Dixon and others in the context of the interaction between the participant and the production; the theatre methodology of A. Boal "Theatre of the Oppressed" is considered (the audience is an active participant in the performance). Based on the analysis of modern European productions of interactive theatre, the main criteria of the approach to their creation are identified. Conclusions. Interactive theatre is a form of theatrical action that involves the active participation of the viewer, who ceases to be just a spectator, turning into a full participant in the joint creative process. Theatrical interactivity involves taking the viewer out of the comfort zone, from the position of an "observer" and bringing them into the sphere of live communication and perception. At the same time, this is not always synonymous with empowerment or satisfaction, and the desire to give the viewer some freedom is in some cases restrained by manipulative performances. As an alternative communication space, a place where people listen to each other, express their own thoughts – interactive theatre is a means of social transformation. They establish direct contact with their audience, who not only perceives and evaluates the productions, but thanks to the live dialogue becomes a partner in the stage action. Theatrical interactivity involves the observance of the following criteria: thinking outside the place of the performance, substantiating the relationship between the audience and the actors, moving away from the demonstration of the audience, maximum simplification and consistency. Individual practices of interactive theatre allow participants to distance themselves from social roles and bring their own values to this experience.
More...