![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.
The purpose of the study is to outline the historical and philosophical foundations of neoclassical ballet, investigating the artistic reasons for its origin, key features, and ideological elements that have determined its further development. Research methodology. The research involved a comprehensive analysis of the historical background of neoclassical art in the vectors of determining the role of the original classical ballet in the past, changes in social relations and culture, innovative artistic trends and the activities of the founders of neoclassical ballet itself, their creative heritage, as well as the philosophical basis in the vectors of determining the cultural and artistic basis of neoclassical dance, the influence of other philosophical movements, phenomenology and pragmatism, as well as some ideas of Sigmund Freud and Carl Jung, Henri Bergson and Michel Heidegger. Scientific novelty. In the course of this research, the essence of neoclassical ballet was revealed in the artistic plane that combines classical traditions with innovative techniques, and also highlights its role in the development of choreographic art in a comprehensive analysis of the links between the historical development of neoclassical ballet and the influence of philosophical trends of the early twentieth century on the formation and concept of this choreographic style. Conclusion. Neoclassical ballet has become a symbol of the fusion of classical concepts associated with grace and elegance, along with the energy and dynamism of modernity. As of today, all indications suggest that neoclassical ballet continues to remain vibrant and relevant, retaining its role as a "cityforming" artistic genre. The achievements of choreography and analysis of the contributions by leading choreographers who, through their creative achievements and innovations, have enriched and multiplied the significant contribution to the development of neoclassical ballet, expanding its boundaries and enriching its aesthetic spectrum, improve the understanding and appreciation of this unique art form in the modern world. The historical and philosophical background helps to reveal the context and reasons for the emergence and development of neoclassical ballet as a comprehensive artistic phenomenon, forming the basis for the further development of contemporary dance.
More...
The purpose of the article is to study the peculiarities of the influence of the latest technologies on the development of contemporary dance. The research methodology is based on the integration of art historical and technological approaches, as well as the use of general scientific methods – analysis, comparison, and generalisation. The scientific novelty lies in a comprehensive analysis of the main trends in the introduction of innovative technologies in contemporary choreographic art, the identification of the latest approaches to contemporary dance under the influence of digital technologies. Conclusions. The latest technologies have a significant impact on the development of contemporary choreography as an art form. On the one hand, openness to innovative interaction with various forms of other arts – music, vocal, theatre and drama, and on the other hand, integration with innovative technologies "such an unusual synthesis turns contemporary dance into one of the most effective means not only choreographic, but also artistic and ideological expressiveness” [7, 107]. As an art form, contemporary dance, thanks to the active development of screen, information, and virtual technologies, also influences changes in the art itself, improving it. The organic combination of different dance forms, media, styles, and digital technologies, results in innovations that have a decisive influence on the development of the entire world choreography.
More...
The purpose of the article is to analyse the sensual, bodily, and psycho-emotional benefits of contemporary dance on the example of the High heels dance style. The research methodology is based on a comprehensive combination of a number of general scientific methods and approaches integrated from contemporary art history, psychology, and pedagogy. The scientific novelty is to draw attention to the study of contemporary dance in a broad interdisciplinary context, as well as to the study of the contemporary dance style – High heels. Conclusions. High heels dance is a real kind of choreographic art, and therefore it deserves more research attention, as it holds an important reference value that can significantly influence the further development of contemporary dance. It is about the ability to freely express your true feelings, both emotional and bodily. In addition, High heels are one of the styles that allow you to look at the body, physical practices, and, accordingly, at the physical advantages of this or that performer in a different way. Besides, this dance allows you to take a different look at other styles that are included in it and become an interesting practice of complementing them with a new accessory – high heels. The popularity and importance of the High heels dance for the correction of psycho-emotional and physical condition requires the development of a comprehensive teaching methodology, including the expansion of modern choreographic education.
More...
The purpose of the study is to substantiate and reveal the cultural potential of the comedic ballet genre as an effective tool for overcoming the social and psychological traumas of war on the example of Yurii Shevchenko's ballet “The Adventures of Pinocchio”. The research methodology is based on the complex application of specifically scientific methods (historical, systematic-analytical, hermeneutic, and generalisation). The historical method is used to study the topic in its historical retrospective, understanding the origins, which helps to establish links between the studied ballet productions and the socio-cultural landscape of their creation and performance. The systematic-analytical method is applied to explain the art of interpretation, in particular, the content and semantic aspects of musical and stage works through the correlation of higher-order aggregates of different structural levels – composition, instrumental accompaniment, and the choreographic part of the production. The hermeneutic method is used to study the musical framework of ballets, which can have many different interpretations. The method of generalization is used to generalise common scientific principles and regularities, and helps to identify the overall trends in the development of ballet music in different periods of composer Yurii Shevchenko's work. The scientific novelty of the study lies in the consideration of the genre of comedy ballet as an effective tool for overcoming the socio-psychological trauma of war, which contributes to the restoration of the moral and psychological state of society, the improvement of morale, and the return of faith in justice. The ballet “The Adventures of Pinocchio” by Yuriy Shevchenko is presented, which is a vivid example of the composer's work in the context of the current conditions of the Ukrainian theatre. In the course of the study, the scientific justification of the comedy ballet genre is expanded and supplemented. Conclusions. The article reflects the significance of theatre music as an important component of the artistic and creative activity of theatre groups in modern conditions. The evolution of theatre music testifies to its connection with modernity, and also reveals a tendency to strengthen the role of art and culture in the education and support of positive social values. The direct connection of the creative tasks of theatre music with the present is observed. It is established that there is a consonance of manifestations in music of both traditional folklore motifs and new national and cultural characteristics, which allows it to become more emotional and understandable to the audience. It is stated that Ukrainian society, traumatised by war, is going through a difficult historical, moral, and spiritual period. There is a need for music, in particular, for theatre performances, which will play not only an aesthetic role, but will also become a means of restoring a positive attitude, help overcome war-related traumas, and have a powerful cultural and therapeutic function. It is shown that one of the vivid examples of the development of the comedy ballet genre in theatre music is the work of the famous Ukrainian composer Yurii Shevchenko and his ballet “The Adventures of Pinocchio”. This ballet is an apt example of how art can help maintain a positive attitude and hope for the future in difficult times of social disasters and become an important support for people during wartime. The story of Pinocchio and his friends, which is presented through classical dance, comedy ballet, grotesque, and pantomime, shows that good triumphs over evil in any circumstances. The ballet “The Adventures of Pinocchio” provides the audience not only with entertainment and relaxation, but also helps to maintain a positive attitude, hope for the future and is an effective tool for overcoming the socio-psychological traumas of war.
More...
The purpose of the article is to determine the specific features of gender identity in Chinese vocal and stage art. In particular, to analyse the place and significance of femininity as a component of the image of “tribute”, the art of male travesty is considered in accordance with its place in Chinese opera culture. The research methodology is based on the fundamental principles of historical and cultural analysis, as well as an interdisciplinary and systematic approaches to the problem. The conceptual methodological core of the study is a systematic analysis of identity, as well as the concept of gender from the standpoint of its psychological state and social construction in art, rather than its physical and biological characteristics. The scientific novelty of the study is characterised by the fact that for the first time an attempt has been made to systematise the characteristic features of gender identity in the vocal and stage arts, from the standpoint of their characteristic of Beijing opera in accordance with femininity and muscularity in Chinese culture. Conclusions. As a result of the conducted research, it has been determined that the tradition of predominantly male cross-gender dressing in Chinese vocal and stage art performs a complex cultural function of constructing and broadcasting the type of femininity that was necessary for a patriarchal society with a rigid binary gender structure. In the process of its development, this art has become a reflection of the current state of cultural philosophy from its Confucian position. It is also noted that according to the Chinese culture, which has developed in opera, femininity or masculinity is not tied to the biological definition of gender, but is flexible in accordance with the general cultural aesthetic picture of the world.
More...
The purpose of the research is to compare the forms of the representations of the opera houses in the virtual environment under the martial law on the examples of national operas of Kyiv, Odesa and Lviv in 2022. The research methodology is based on the interdisciplinary approach, which includes the knowledge form cultural studies, media studies and management of sociocultural activity. The main method of the article is comperative one because we have tried to show the form of the representation in virtual environment of the opera theatres with the same status – national, academic and being not evacuated. Scientific Novelty. The scientific novelty of the research is the comparative analysis of the forms of the representations of the opera houses in the virtual environment under the martial law on the examples of national operas of Kyiv, Odesa and Lviv in 2022. Conclusions. Basing of the content, highlighted on the researched theatres official websites and mass media, we can distinguish several indicators of the theatres’ work, which can be the markers of their virtual activity in the conditions in wartime. So, we can say about the following positions: mentions in foreign mass media, online events, a cultural product of the theatre on international streaming platforms, virtual tours, periodicals and video projects.
More...
The article is devoted to the problem of studying the conditions of development of musical culture in China, in particular, the creation of the twentieth-century model opera, as a result of the synthesis of the East-West arts. The purpose of this article is to determine the components of the opera model and to indicate the prerequisites for its creation. The research methodology is based on the use of the hermeneutic-comparative method, which allows studying the model of Chinese opera in accordance with the conditions of the historical development of musical culture, as well as general scientific methods of analytical and historical-descriptive content, which formed, among other things, the methodological foundations of the art and cultural studies accepted for the study to understand the patterns and generalisations in accordance with the definition of the popularity of the twentieth-century opera model in Chinese culture. The scientific novelty lies in the universalisation of approaches to the synthesis of art in the East-West context and the study of the peculiarities of the existence of vocal and stage art in China as a component of the country's political programme of development and as a carrier of ideology. Conclusions. It has been determined that the performing tradition and functioning of vocal and stage art in China has a synthetic character, which took shape in the 19th century, but became active in the 20th century. The concept of a model opera came into use as an exemplary component of vocal and stage art that reflected political views and was also a carrier of the country's ideology. The creation of a number of operas based on the same model did not limit the development of Chinese musical culture, but rather created the conditions for the formation of a completely individual, unique national genre, which was embodied in a kind of model opera with its numerous experiments, but at the same time, some of its initiatives were distilled and even canonised into semantic units, performance practices, and norms of musical structure.
More...
The purpose of the article is to identify the problems of creativity of auteur directors who have realised their artistic potential both in auteur cinema and in the field of stage art and to define scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of the film author in the performing arts. Research methodology. Methods of scientific analysis, comparison, generalisation, and self-analysis of the artist were used in the study. In addition, analytical and systematic methods were applied in their unity, which is necessary for the study of the art historical aspect of the problem. The scientific novelty of the study is to define the universality of directing as a specific type of artistic and aesthetic activity; to clarify the mutual influence of stage and screen arts in the use of expressive means; to determine the peculiarities of the film author's activity in the stage space through the adaptation of screen means in theatrical productions, which for the first time became the subject of a special study; in highlighting the universal activities of auteur directors who reformed the cinematic language and the language of stage staging; in identifying original principles of film construction and specific means of cinematic expression that were not only directly embodied in films and contributed to the emergence of outstanding auteur cinematic works, but also had a significant impact on auteur theatre directing, which was distinguished by the search for visualisation of stage images. Conclusions. It is proved that the stage work of film directors-authors questions the theoretical postulates about the harmfulness of the invasion of theatre culture on the screen. It is found that the visual and expressive means that provide the chronology of image creation (long shots, intra-frame editing, acoustic, light and shadow effects), the use of which is considered a high degree of skill in cinema, have their origins in the stage art.
More...
The purpose of the study is to analyse the formation and development of the musical and to determine its syncretic nature. The research methodology. The method of systematic analysis of the genesis of the musical and its syncretic nature was applied; the axiological method made it possible to generalise the place and role of the musical in the entertainment culture of Ukrainians; the empirical method is based on the study of development trends and the application of the latest practices in domestic musicals. The scientific novelty lies in the general outline of the genesis of the musical, the current state of the Ukrainian musical genre as an integral cultural model, and the generalisation of the syncretic nature of the musical, which goes beyond the established stage canons. Conclusions. The genesis of the musical as a genre is connected with the process of constant syncretism of different genres of stage art, as well as pop music, cinematography, modern technologies, and is in constant adaptation to any changes in society and its system of values. Contemporary directors and producers try to syncretise as many different types and genres of art as possible in a musical, combine circus elements, modern technologies, and social networks to create a unique stage product, to maximise the boundaries of the genre, which actually reveals the syncretic nature of the contemporary musical. Thus, it can be stated that the musical, due to its syncretic nature, reflects a system of values that correlates with the values of the majority of society.
More...
By drawing on the difference between the avant-garde and the alternative forms of art, this paper deals with the beginnings of performance art in the realm of the alternative music community in Croatia. One of the first meeting points of performance art and music in Croatian avant-garde art can be found within the punk subculture, which rejects the traditional notion of ‘melody’ while favoring noise as the predominant and desired type of sound. In addition, the fact that punk puts little emphasis on musical virtuosity and highlights amateurism as a legitimate artistic stance makes some artists prone to theatricality and performativity, either in the form of performative gests or performative acts. The article illustrates these issues by focusing on the Croatian alternative punk scene and the New Wave music of the late 1970s and first half of the 1980s.
More...
Performative methodology of the House of Extreme Music Theater led by Croatian, Zagreb-based performing artists Damir Bartol Indoš and Tanja Vrvilo is largely based on the creation, recycling and abundant use of sound objects, deconstruction of voice and text, and collaborations with alternative rock and noise musicians and multimedia artists. But precisely because of its apparently chaotic, noisy manifestation, it is easy to miss the structure and concept that is undoubtedly in the background of every performance. If we take into account the predominance of music and noise in such an open model in terms of genre, it would be appropriate to try to define theoretical and methodological guidelines for its description, which this article will try to do. Observing the work of House of Extreme Music Theater, the following questions arise: How does its “noisy” poetics affect the definition of genre and analytical approaches to it, and, conversely, how does the chosen genre framework affect the status of noise that is produced in the performances of this “theater”? In this sense, the article will refer to the previous theoretical reflections on the House of Extreme Music Theater genre coordinates while trying to expand them with the concepts of independent auditory semiotics and musicalization, closely related to the notion of postdramatic theater as proposed by Hans-Thies Lehmann. Finally, the analysis of the music theater performance Schachtophonia Accenni for Kamov will try to show how the broad and permeable postdramatic determinant shapes the interpretation of noise in theater or noise as theater.
More...
This historical review of the intonarumori noise music machines of Futurist painter/composer Luigi Russolo, along with a chronicle of known recordings of the intonarumori, contextualizes the Czech ensemble Opening Performance Orchestra’s recording: The Noise Of Art: Works for Intonarumori
More...
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...