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Riječ »apsurdno« izvorno znači »bez dna« u smislu »bez korijena«. Kao što je, primjerice, biljka bez dna kad je se ubere, kako bi je se stavilo u vazu. Cvijeće na stolu prostrtom za zajutrak primjer je apsurdna života. Pokušamo li se uživjeti u takvo cvijeće, moći ćemo osjetiti njegov poriv da pusti korijenje i utjera ga u bilo kakvo dno. Taj poriv korijena lišena cvijeća raspoloženje je apsurdna života. Namjera je ove knjige da svjedoči o tom raspoloženju.
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This article outlines the notion of censorship in affect as a principle structuring the realm of visibility of homosexuals in Polish theatre. Niziołek explores the relationship between society’s homophobia and ways of establishing the national community. This project attempts to deconstruct Poland’s dominant paradigm of national theatre by tracing counter-public queer performance in public theatre shows.
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W artykule podejmuję próbę analizy, jaki wpływ na reprezentacje Zagłady w pamięci kulturowej społeczeństwa ukraińskiego wywiera polityka historyczna. Główną tezę badawczą stanowi twierdzenie, że polityka pamięci wpływa na obecność Zagłady w pamięci kulturowej Ukrainy. W celu szerszego przedstawienia tematu sformułowałem następujące pytania badawcze: W jaki sposób dokonywała się zmiana w postrzeganiu Zagłady w dyskursie politycznym? Jaki wpływ mają instytucje państwowe na kształtowanie pamięci o Zagładzie? Jaką rolę odgrywają instytucje niepaństwowe w reprezentacji pamięci o Zagładzie w pamięci kulturowej? Jakie miejsce pamięć o Zagładzie zajmuje w teatrze, kinie i wystawach fotograficznych? Podstawowym założeniem badawczym jest przekonanie, że polityka historyczna wobec Zagłady jest częścią państwowej polityki pamięci. Mówiąc o pamięci kulturowej, odwołuję się do koncepcji Jana Assmanna i mam na myśli rodzaj pamięci zbiorowej, który wymaga upamiętnienia w formie materialnej lub rytualnej
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This inquiry focuses on the question of how the figure of the passionate Gypsy has become so fashionable lately at costume parties, in soap operas and reality shows, yet without strengthening the Roma cultural identity itself. The fact that the Roma people are missing from the Romanian theatrical palette also sheds light on how the Roma are excluded from the institutional and state-supported forms of national culture.
More...Ioana Szeman Staging Citizenship című könyvéről
Ioana Szeman’s new book, Staging Citizenship, reviewed by social anthropologist László Fosztó, discusses both the difficult socio-economic conditions and damaged cultural identity of the Roma people in Romania, as well as their performances and performative actions, carried out in different cultural spaces. The fieldwork conducted in the Roma community, depicted under a fictional name in this volume, sheds light on a series of stereotypes and representational problems associated with the Roma, as well as on the chasms in citizenship and on the cultural and political contexts of their characteristic art performances in Romania.
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If we think of depictions of monstrosity in ancient literature, the comedy would not be the first genre to come to our mind. This does not mean that the comedy does not depict mythological monstrous creatures, usually hybrid monsters. However, unlike the other genres and dramatic uses of such mythological figures the comedy does not aim to provoke fear by describing them – it usually presents monstrosity in a grotesque way. The mythological monsters in Aristophanes are not frightful, their monstrous nature is tamed and ‘normalized’ to the level of everyday experience. The current analysis focuses on the monstrous (in terms of usual mythological strategies of depiction) characteristics of king Tereus and his companions in the comedy Birds. It analyses the dwelling of Tereus, his depiction and the subtle references to ancient Thracian religious concepts related to his biographical survival after metamorphosis.
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The paper looks at different ways of performing live miracles and magic on the stage from ancient times to the present days with the development of new technologies when all magical beings could be presented on stage. The main point is that there is nothing surprising in miracles, and there is nothing magical in magic (Littlewood’s law). In the magic bowl, only innate and acquired skills, knowledge, dexterity, abilities, talents have to blend in with a lot of hard work, perseverance, effort, sustainability, faith and a bit of luck to get in the right place and at the right time. Magic art creates a new virtual reality in which the impossible becomes possible before the eyes of the spectator. Dreams materialise. In the new digital era this is no longer a big problem. However, when it comes to live performance arts, the problem of creating illusions or virtual realities is essential. The study analyses issues related to life and non-life, here and beyond, to the vertical link and the metaphysics of human presence in art in the process of interpersonal communication.
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The text offers an analysis of the role of women in art and society today and poses fundamental questions regarding the visibility of female artists in Bulgaria. This study was created in connection with the Women's Artistic Projects Fund, a project of the Bulgarian Women's Fund. The fund aims to act against the under-representation of women in the professional arts and the cultural sector, to give visibility to the creativity of female artists and to increase their access to financial resources.
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In the late 1940s, the Jewish theatre initiated the so-called performative reflection on theHolocaust in Romania, at a time when this art form simply did not exist internationally.This was possible due to the specific situation of the Yiddish theatre in Romania, includingthe large Jewish audiences which were familiar with progressive plays referring to actualissues of the Jewish community. Beginning with the IKUF Theatre, under the managementand directorship of Iacob Mansdorf, in 1945, the Yiddish theatre displayed the devastatingresults of the Holocaust upon the Jewish communities and tried to provide an artistic formulaso as to respond to the political necessity of condemning fascism, in anticipation of a worldin which anti-Semitic atrocities were no longer possible. One such plays was Night Shift (thefirst performance staged by the newly established State Jewish Theatre in 1948). Followingthe tradition of Abraham Goldfaden’s theatre from the end of the 19th century, the Holocausttheatre made use of various aesthetic and narrative, innovative forms, from Stanislavski’srealism to Brecht’s techniques, but all this faded away in the late 1950s.
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Headlines from around the region: traditions, modernity and outrage in the Caucasus; Poland and a Jewish museum; you say Romanian, I say Moldovan; three Russian sisters; and Armenians in Turkey.
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A blitz interview with Sneshina Petrova, award-winning actress and university professor, on her recent theatre and social project “Medea.”
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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.
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The ever growing and updating Shakespearian context is the topic of this article examining the almost simultaneous appearance (in Bulgaria, 2019) of a book, a film, and a theatre production related to the Bard: the book is “Nothing Like the Sun” by Anthony Burgess (translated by M. Melnishka), the film is Kenneth Branagh’s “All Is True”, and the theatre production is “Romeo and Juliet” at the Mladezhki Theatre (Youth Theatre) in Sofia.
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This article explores the general content of printed advertisement, its elements and their interaction. By making a brief presentation of the different elements involved in print advertising, the research attempts at presenting and summarizing the role in advertising of illustrations and photographic images in particular. The study will also try to give a clear answer to the question concerning the quantity of photographic images compared to other types of illustrations, drawings, collages or computer generated images in Bulgarian print advertising during the period 2000-2017.
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