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Theatre pre-university education must be guided by the concepts, means and methods used according to the authentic method of the Actor's Art, centered on the principle established by professor Ion Cojar – The Actor's Art is a way of thought, only then after it becomes a way of doing. The theatre pedagogue must be freed from preconceptions, prejudices, fixed ideas, „aesthetic” concepts. He is not a director, he works with a raw material of extraordinary freshness - the mind, the soul and the body of the children-actors in a continuous development-transformation. Basically, the theatre pedagogue has to relate, alive, constantly, here and now, to the living subjects in front of him and to the work material they offer. He has at hand the principles of the Actor's Art stated by the great theorists and practitioners of the theatrical art. The principle of authenticity should be compulsory from the simplest approach of the pupil and the working material to the most complex one – the theatre performance. The student must always remain himself, without asking false questions such as: How is the character? Or how does the character feel? The pupil must be taught from the first theatre workshop that the „character” does not exist, but is just a literary construction, and that we will see together „not how” but „who” he is and „what” he does. Theatre techniques must use authentic methods and aim for authentic results. Situation and the genuine relationship with the partner are the other two landmark methods for any game, improvisation exercise or theatre exercise that is attempted during the Actor's Art workshop. The article ends with a list of the skills practiced and developed with the help of theatre techniques.
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The process of teaching-learning of drama in the pre-acedemic educational system needs to be done following the main didactic principles, as, it should not be forgotten the fact that in school, the class that it is called generical Theatre or Drama does not form actors, but creative people. Using specific drama methods and techniques the teenagers’ skills can be discovered and intensified in order to create artistic and nontheless human competences.
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It is important to prepare our students for the future, yet we do not know exactly what that future will bring. What we do know is that our brains and the way they work did not significantly change in millennia. IQ is very important but our schools focus almost exclusively on it while neglecting the EQ of the student, although emotional intelligence of the individual is a better predictor of his quality of life. Taking all of this into account, we should capitalize on the learning opportunity acting workshop activities represent in this field, if chosen and conducted appropriately for that purpose. While few of the students that take pre academic acting classes pursue a career in acting, teachers that address that stage of learning must adapt and be of better service to the grown-ups their student will eventually become. Thus, high school acting classes should focus on the child’s emotional development just as much as they focus on the development of expressive skills or even more. At that age, social emotional learning is essential for the future actor as well as for the future chemist, teacher, policeman or lawyer.
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The goals of dramatic art must be rethought in the current context of education, which leads a fierce struggle with a lack of authentic values. Therefore, in order to reform the pre-university education a close collaboration with the university environment is necessary. The introduction of the theatre techniques into education makes way for an active teaching process, stimulated through game, in accordance with the needs of the younger generation.
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The relationship between the spectator and the theatre performance is mutual, influencing each other. This relationship is part of a wider social, economic, cultural and political context, whose influence acts both on the spectator and on the theatre performance, the place where people confront each other, and is also the prelude to meditations on their existence. Young audiences have their own aspirations and motivations, expressed in a specific culture, and their reactions to a performance are sometimes different from those of other socio-professional categories.
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In this article I speak about my professional observations and the importance of acting in education, since hopefully theatre will become mandatory in the Romanian educational system. On the other hand I report upon my experience and occurring questions about the use of mother tongue at the National Acting Olympiad in Romania.
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Theatre education is one of the main objectives of pre-university actor's art education. This type of education, through theatre techniques, develops the individual on all levels, develops his cognitive, physical and, last but not least, his emotional skills. From this point of view, theatre improvisation, the study of the scenes, the involvement in various situations from texts chosen by a teacher or suggested by the curriculum, helps the young high school student to configure his own personality, to recognize emotions and express them, to communicate with others, helps self-esteem, reduces anxiety, an exaggerated sense of pity, the dependence on being liked by others, eliminates inhibitions, facilitates freedom of expression overall. Another result of participation to actor's art workshops is the improvement of diction, language, communication due to Stage Speech classes and scenes work.
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The aim of the following article is to describe how devising can be used as a modern educational method for creating collaborative dramatic texts. This method is student centred, putting the focus on the pupils’ interests and needs, developing the collaboration skills, and allowing them to express themselves freely and creatively, without restraints from the teacher or the other peers. By applying this method, pupils become more self-aware and they practice coacting, which consist in abilities that forge the participatory individual both needed for the artistic area, as well as for other fields. Therefore, the method can be successfully applied in order to achieve the objectives in the pre-academic theatre education, such as: fostering creativity and triggering imagination, strengthening collaboration skills, developing critical thinking.
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Generally speaking, personal development gathers under its umbrella all the activities designed to bring well-being, balance, self-discovery to an individual, of its own physical and psychological resources, vulnerabilities, and an increase in self-control. Thus, sports activities, exercise of artistic talents and practical skills, dancing, enrichment of cultural knowledge by viewing movies or theatre plays, enrichment of literary knowledge, or general culture are part of an individual's personal development. Theatre techniques have multiple utilities in general education, especially when experienced under specialized guidance. The theatre workshop provides a learning context based on the discovery and valorisation of acting skills of both adults and young individuals, based on reflection and self-reflection, discovery and self-knowledge, continuous experimentation.
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Ovo je prvi dio rada koji se bavi aktivnostima pozorišta u opkoljenom Sarajevu u periodu od 1992. do 1996. godine. S obzirom na okolnosti u kojima se našao glavni grad Bosne i Hercegovine u tom periodu, veoma značajna činjenica jeste da su pozorišta i dalje aktivno radila. Tema je izabrana jer do danas ne postoji nikakav ozbiljan rad koji se bavi ovim fenomenom, izuzev svjedočanstava pozorišnih radnika koje je sakupio Davor Diklić u knjizi Teatar u ratnom Sarajevu 1992.-1995. S obzirom na to da je ovo jedan od prvih radova posvećenih pozorištu u opkoljenom Sarajevu, nastavak će biti faktografski jer se u ranoj fazi istraživanja nije bilo moguće posvetiti dubljoj analizi i interpretaciji ili antropološkom istraživanju.
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The article looks at the intangible cultural heritage and its importance as a resource that creates economic revenue in the context of rapid transformations currently taking place in Cuba, and integrated in a complex network of tourism imaginaries and representations. Given the increased demand for “experiential tourism” (Salazar 2011), dance practices become central not only to institutions in charge of safeguarding and promoting heritage, but also to emerging small businesses as alternative forms of revenue outside the state sector. Dance schools aimed at foreign tourists, and the increased popularity of Cuban dance genres outside Cuba, indicate how parts of the tourist imaginary are adopted and adapted in Cuban narratives about Cubanness, and how bodies become transactional in more than one way. Economic realities and social inequalities that stem from contact with foreigners result in creative approaches for financial gain, perpetuating expectations about Cuban fantasies. The phenomenon is often racially marked, as many of the darker skinned Cubans, with no access to legal jobs in the tourist industry, seem to be capable of exploiting the appearance of ‘authenticity’ in dance spaces commonly associated with blackness. The article is based on the findings of long term fieldwork conducted in Havana in 2015 and 2016 and from March to May 2018 among professional dancers, instructors and dance school owners.
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Smail Terzić (1940-1999) was one of the prominent cultural workers in Tešanj from the 1960s to the 1990s. He was a poet, photographers, narrator, actor, editor, presenter and journalist. He published a book of poetry, two books on the foundation and activity of the theater in Tešanj, as well as a book on the poet Musa Ćazim Ćatić, revealing details from his life. All of these books are extremely valuable testimonies on the development of culture in the past, but also proof of persistence, research and the work of an individual such as Terzić. The aim of this paper is to give a portrait of Smail Terzić that is as credible as possible, the account on a prominent cultural worker, while, on the other hand, the goal is to highlight and evaluate his contribution to the development of culture, with an emphasis on theater, the development of which he was a great part of many times. To be more precise – the focus is on the social and cultural life of that period. The whole engagement of this man, his activity in cultural works is marked and led by enthusiasm, he is fully committed to his work, he constantly records everything that happens and shapes a unique story from it, always putting the interest of the community first, work to affirm culture and the city of Tešanj in Bosnia and Herzegovina as well as abroad.
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The author indicates a few crucially significant issues arisen after the Second Vatican Council, namely the revival of music and singing in liturgy, particularly the role of a choir, and the questions of a repertoire, choir composition and voice arrangement during liturgy entailing the problem of women’s inclusion into the choir. Through his most exhaustive, against the paper limitations, historical analysis, the author demonstrates how the role of the choir in liturgy was understood at the beginning and how this understanding has evolved over the years. The author emphasizes as well a vital role of children choirs in liturgy, advocated by the liturgical movement which originally assumed children’s singing in a schola or a choir as a “pioneering function for singing of the faithful”. One of the main propagator of the above pioneering function of children’s singing was Pius Parsch, founder of the Volksliturgiche Bewegung. Pope Paul VI used beautiful words to describe the role of singing children when addressing Pueri Cantores: “We trust that you will become co-participants or even the pioneers of a concrete and practical liturgy revival of our liturgical assembly. Wherever children sing, the faithful pray and wherever children are silent, the faithful reluctantly open their mouths to sing”. Just like sacred music plays a servicing role in liturgy (cf. CL 112) “the primary and the most essential function of a choir or of a cantor is to serve the faithful in their singing during liturgy, not to replace them. The secondary function is to perform by the choir the singing parts which the faithful are not capable of performing on their own and on a high artistic level” (the Austrian liturgist Philipp Harnoncourt). In his letter celebrating the 100th anniversary of publishing motu proprio by Pius X on 22 November 1903, Pope John Paul II highlighted the double role of a choir: “The task of the schola has not decreased: it indeed develops in the assembly the role of guide and support and, at certain moments of the Liturgy, has its own specific role“. Pope Benedict XVI defied the exclusive singing of the faithful and of liturgical music, ascribing to the choir singing an equivalent value: „there are a good number of people who can sing better «with their heart» than «with their mouths», but their hearts are really stimulated to sing through the singing of those who have the gift of singing «with their mouths». It is as if they themsleves actually sing in the others; thankful listening is united with the voices oft he singers in the one worship of God”.
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The author presents an analysis and interpretation of a short story Transposed Heads by Thomas Mann. She also discusses its adaptations: two as films, and one theatrical. The story is a personal version of an ancient Indian legend, which was generously updated by the writer, who decided to go far beyond the original. This “metaphysical joke” became just a pretext to discuss subjects present in his other works, e.g. a predominating motive of a conflict between body and soul. It is very important that the recognition of the legend in the 20th century was thanks to Mann, and not the original story. Both avant-garde film directors and theatre director refer to Mann: Alejandro Jodorovsky in his La cravate (1957), Fernando Birri in ORG (1979), and the director of an Indian play Hayavadana (1970).
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Montažstroj’s Who is? Woyzeck is a performative history about individuals’ open wounds that will probably never heal, especially in the context of technodemocracy and liberal deprivation processes. Woyzeck is a Georg Büchner hero whose voice is not able to be heard. He is deprived, deprivileged, and his behavior/labor is socially unacceptable. He is devoid of humanity, turned into an animal, pure zoe, and thus treated like one by the system. Montažstroj’s project was, therefore, eager to explore the politics of power where the individual is subdued to numerous forms of violence and the way these violent acts resonate on the surface of human intimacy. The rhythmic changing of scenes depicted social coercion and private agony; the play questioned the world of isolated and lonely individuals. Woyzeck was presented as a pure phenomenon, as an in-dividual trapped in a Hegelian master-slave relation, thus as a non-person whose body is being occupied and used in a specific situation of violence, love, betrayal, jealousy and murder, with no way out. The performance of two men and a woman on a stage, which is supposed to function as a specific community of life, bombarded with techno and rave music, together with pure channels of associations derived from various sources, primarily from Büchner's text, which was written in 1836, is thus analyzed as a deconstructive and multi-layered re-inscription of political and discursive regimes subdued by frenetic music samples.
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This article deals with various references to William Shakespeare’s plays in Polish postwar films, both theatrical and television ones. There are no Polish film adaptations of Shakespeare’s works except for television dramas made for the Television Theater on state TV. There are, however, Polish films (mainly from 1962–1989) about actors and performing arts with fragments and motifs from Shakespeare plays. Their characters are often actors deprived by fate (or History) of the chance to play a Shakespeare role on stage and forced to play it in life instead.
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The paper is in the frame of the proposed topic about virtual re-constructions and interactive multimedia solutions especially for performance arts in the digital era and the newly opened possibilities and challenges. Examples from the world and Bulgarian practices for the emergence of different new digimodern art hybrids are analyzed.
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New directions in the political organization of the world, at the turn of the nineteenth and twentieth centuries, will highlight the social class of the bourgeois-capitalist clan under an already recognizable categorization - civil society. Direct criticism of such a society and its order will become the backbone of almost all literary forms of expression. A realistic account of all the negativities that will crystallize by illustrating family decadence: fornication, deceit, crime, will initiate the process of demystifying the social phenomenon of "harmonious and impeccable community", the basic unit of society, family. The need for absolute honesty and recognition of the truth about the real situation in which European society has found itself, will launch, in a spontaneous, new wave of artistic representation of reality, which will itself manifest itself in decadence.This paper will attempt to prove the importance of the artistic experience of the great changes that have taken place in the collision of centuries and the beginning of a turbulent time in which humanity will be found. Drama was chosen as a specific feature of the literary genre, which could explicitly present key events on the stage, thematically stay very current and in the modern age.The Glembay cycle of Miroslav Krleža was, therefore, modeled after the Nordic school of the 1990s and the avant-garde writers of that time, Henry Ibsen (family drama) and August Strindberg (dream drama), Nordics, who would launch their own conceptual forms not only in literature but also in a whole new projection of art, entirely new themes, concerning the relationship between society and family, their separation and the individual placed at the center of tragic events. In addition to the direct influence of the Nordic writers H. Ibsen and A. Strindberg, and the comparative determinants of M. Krleža's advantage over them, this paper seeks to show the influence of socio-political turmoil on the artistic creation of playwrights at the turn of the nineteenth and twentieth centuries.
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