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Trideset godina od smrti je bilo 2014. a 365 dana kasnije sto godina od rođenja Branka Ćopića. Ta činjenica je plod dvije čudne simbioze u nastanku i samo fizičkom nestanku pisca, koji je obilježio jedno i književno, a i teatarsko vrijeme. Dijalog između literature i teatra uspostavlja predstava kao kolektivni čin i scensko ovaploćenje djela. Ispoljene ≪opasnosti≫ po konačnu pozorišnu umjetničku kreaciju postoje ako se radi o dramatizacijama velikih djela i značajnih autora. Vrlo realna je mogućnost da neko veliko djelo svojom grandioznošću nadvlada teatarski čin. U takvom stanju se ogleda i dominantno prisutna tematska ozbiljnost dijaloga Branka Ćopića i teatra. Komadi koji su producirani na bosanskohercegovačkim profesionalnim scenama, a koji su rađeni po djelima Branka Ćopića imali su svoj intenzivan kazališni život sve do devedestih godina XX vijeka. Pslije toga gotovo dvodecenijski zastoj. Život i djelo Branka Ćopića su se negdje podudarali, tako da je moguće sačiniti kratku Ćopićevu biografiju gotovo isključivo da se bude vođeno naslovima njegovih djela. Ćopić poetskim realizmom, a kazališni stvaraoci teatarskim znakom su Bosansku krajinu ≪čehovljevski zapečatili≫, a Grmeč učinili velikim poetskim, odnosno dramskim simbolom.
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У познатом писму Д. В. Григоровичу, 28. марта 1886. године, млади Чехов простодушно признаје: Као што репортери пишу своје чланчиће о пожарима, тако сам и ја – махинално – писао своје приповетке... Он се жали на посао везан за рок, на књижевно надничење, где нема времена да се о делу добро промисли: не памтим ниједне своје приче над којом сам радио више од двадесет и четири сата...
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ToC: 2015, Issue 10, Volume II in Bulgarian and English
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The article is part of a study on Bulgarian theatre under socialism. It focuses on the imposition of the doctrine of Socialist Realism as an official art style in theatrical productions. Using documents, the paper seeks to establish when and how this has happened. It presents also the tenets of Socialist Realism. When Socialist Realism was imposed onto theatrical productions, this created a need for certain methods providing specific instructions not only for casts and directors, but also for stagings as a whole. Stanislavski’s system proved to be the right method. The article traces how Stanislavski’s system has been presented and imposed on Bulgarian theatre. The paper arrives at the conclusion that communist authorities used a simplified, expanded, and ideologically interpreted version of Stanislavski’s work in order to establish Socialist Realism as the only acceptable method of staging.
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The paper brings up issues about the foreigners performing Bulgarian folk music at Koprivshtitsa National Folk Festival. Certain participants from different countries are highlighted along with their repertoire choices. Attention is paid to the time and spatial placing of the foreigners performing at this cultural event compared with the selected Bulgarian participants included in the official programmes. The issues of the motivations of foreign amateurs to perform Bulgarian folk music and the psychological dispositions and attitudes of Bulgarian audiences towards them are broached.
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Diaghilev’s Ballets Russes instantly gained recognition in European cultural life soon after the dance company was established. His productions were eagerly anticipated in Paris and in extremely high demand across Europe. The quest for new repertoire, soloists, choreographers, and production designers became a permanent process with the high expectations for the company to stun and shock, showing the best of the ballet traditions and the latest trends in European art. On the eve of the World War One, Natalia Goncharova and Mikhail Larionov, major artists of the Russian avant-garde, joined the Ballets Russes. Diaghilev invited Natalia Goncharova for the stage designs of the production of the ballet Le Coq D’Or, where her designs strongly evoked Russian folk art, but held true to the avant- garde to create one of the most powerful imageries in the history of the company. Goncharova and Larionov introduced modernism into Diaghilev’s productions, leaving the idea of costumes forever changed. They encouraged Diaghilev to commission more ‘modern’ artists to design sets and costumes for the Ballets Russes in new styles. The unique imagery of Goncharova’s costume solutions was a result of melding modern art with Byzantine icon painting (the sets and costumes for Diaghilev’s Liturgie) or with the images and colours of the traditional Russian folk art (as in the ballets Le Coq D’Or, Les Noces and Russian Fairy Tales).
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The present paper concerns the performances held in open urban spaces, in places not designed as exhibition or theatre space. This creates new possibilities of use and transformation; the space may serve a new purpose. I am particularly interested in “busking”, a kind of street performance that is overtly commercial. For many, it is fun, for others a temporary way to earn a living, and also to become known as an artist. Contemporary “busking” continues the traditions of old fair shows and folk performances, which involved singing, showing tricks, dancing, juggling and other skills or animal training.
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In this article Karpowicz analyses and interprets Jadwiga Sawicka’s work through the prism of literacy practices, from a media perspective and with reference to Tim Ingold’s category of improvisation. In order to fully understand Sawicka’s works of fine art, Karpowicz argues, we must take into account not only their visual dimension but also the processes and procedures that lead to their creation in the first place. By considering these processes and procedures, which are meaning-making just like the cultural functions of the literacy practices discussed in this article, we are able to view the artist’s works in terms of replaying and problematizing the automatisms of social processes and their main mechanisms and principles, already contained within the microstructure of the process of writing.
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The paper, which is part of a larger study of acting under socialism, deals with a major principle of art in Bulgaria in the socialist era, i.e. ‘the national ethos’ (‘narodnost’) which has found its expression in theatre through experiments to present onstage the new utopian communist world. It was represented more epically in an attempt to epitomise ‘the might of the masses, history-makers’. This party ideologeme was carried into effect through inserting at the earliest convenience huge crowds of extras on stage. The orientation towards representing the rising generation is also related to ‘the national ethos’, interpreted as simplification and infantilism. These images were meant to present the new young generation, brought up in the spirit of pluck, ardour, and revolutionary determination within a paradigm of building the forthcoming bright future.
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This paper deals with the year when Liturgy for Mixed Choir by Apostol Nikolaev-Strumski was published. Was it published in 1926, as it is widely believed now, or was it in the early 1930s? Was the Liturgy republished? Did it change its significance to the historical context of Bulgarian music, quite different in the 1920s and the 1930s? This question is relevant for three reasons: first, for the sake of scholarly striving for precise information; second, in view of a more accurate timeline of the events in Strumski’s life, both biographically and creatively; third, due to the desire to trace the path of Apostol Nikolaev- Strumski’s most significant work.
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The subject of reflection in present article was Polish fashion in the era of transformation, examined as testimony to cultural and social changes as well as a proof of crystallization of new social, class and gender transformations. The first characteristic figure is “ the modern woman of the 90s” – thus defined by economic advancement and also emancipatory attitude expressed among others in the formula of the era’s guidebooks. Media created another ideal: a model reader of “Burda” magazine; she was able to combine pining for European chic with economic thrift. Jolanta Kwaśniewska is confronted with these ideals herein. Clothes, that were chosen by the changing society, were divided into two groups: “elitist” and “plebeian”. “Burda” belonged to the former. The “plebeian” current is represented in the transition period by the king of bazaar and the chav. The former exemplifies the carnival spirit and eclecticism of the `90s; the latter, the most characteristic class habitus of the decade within the meaning of Pierre Bourdieu. Equally crucial is combining the new inspirations with national traditions – most of all: longing for fantasy, independence and sumptuousness of the Sarmatians with longing for mythical America. The paper is concluded with a reflection on sartorial minimalism as a way to counter esthetic chaos of the transition period.
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Based on an ethnographic study of folklore performance in contemporary Slovakia, this paper critically engages with „performance theory”, arguing that sometimes performance can be best understood by looking beyond moments of performance to the long, often arduous work of preparing for performance and reflecting on performances past. The author proposes studying folklore (and art more generally) not only as performance but also as „organization”, that is, as a set of enduring yet always shifting social relations. This approach enables us to see the modes of collectivity that emerge out of the social experience of art and, specifically, folklore.
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No one remembers today the achievements of the Grand‑Guignol theatre, the French theatre of Horror, which scared the Parisians through the first decades of 19th century. The appearance of the slasher movie contributed to the collapse of the theatre which was unable to compete with the new means of expression. However, cinema adopted a lot of techniques, which aimed at raising fear and panic among the viewers. The Author undertook the task of analyzing three plays, nowadays forgotten, of the most fruitful writer André de Lorde who specialized in dramas concerning the pure themes of madness. In “L’Homme mystérieux” the playwright presents the story of a man suffering from persecution mania who strangles his saviour, while “La Petite Roque”, written on the basis of Guy de Maupassant’s novel, describes the case of a mayor of one town in Normandy who killed a young virgin out of lust. “Invisibles”, on the other hand, is devoted to the agony of an old lady who was kept in mental asylum for 20 years. In each of the plays the Author of the article analyzes the mechanism employed by the writer in order to create the gradation of fear which is brought with mastery to paroxysm.
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