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One of the ways to choreographically read Kantor’s plays refers to his first constructivist performances. It is also a reference to the abstract and formal dance that were started by Oskar Schlemmer with his mechanical ballets.
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A story about the amateur theatre in Bronice, including the present-day Ritual Ensemble.
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Throughout the city's history, the population of Bratislava had fundamentally restructured three times. Until the second half of the 19th century, for the geographical proximity of Vienna, the German element was determinant in the life of the city. Then, in the period from the 1860s up to 1918 it was the Hungarian language and culture that was forging ahead. After the change of state power in the years 1918-1919, the Slovak character of the city gradually strengthened. This process intensified again in the period of 1945-1948 by forced Slovakisation, rights deprivation, deportation and forced relocation of the non-Slovak (Hungarian and German) population, which was followed in the 1950s and 1960s by international mass settling of Slovaks in Bratislava. This obviously led to a restructuring of the city's ethnic character. By now, Bratislava as the capital of Slovakia and later of the independent Slovak Republic, has become an almost entirely Slovak city. Consequently, even the first hundred years of the professional Hungarian-language theatre between 1820 and 1920 had also been a now and again interrupted period of struggle for existence, for gaining ground, for finding its place, for winning its civil rights. And if we take the period of the fifty years between 1880 and 1930, when the Hungarian-language theatre of Bratislava actually began to advance, we can see that within the first four decades it suddenly - from one day to another - lost ground, its raison d'etre, then, by the end of the 1930s it completely ceased to exist. That is, in Bratislava two major switches of languages and cultures took place within fifty years - which is rare, even in a wider context. First it was the Hungarian language that gradually gained more and more of a hold from the absolute majority of the German language and culture, then, by suppression of Hungarian, the Slovak - and in some extent the Czech - character of the city had strengthened, thus providing a successful example of "nationalization of the place and the past". This study observes the initial stages of the second change of Bratislava's language and culture, respectively, the processes preceding the change. Taking divergent approaches. it examines the many aspects of the changes affecting the city's Hungarian-language theatre in the light of the contemporary press, and it also pays special attention to Hungarian and Slovak theatre historiography.
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Jurist Csongor Kuti surveys Romanian employment laws and employment possibilities in his thorough essay. With the help of examples from Hungary and other foreign countries, he offers a few suggestions with the aim to make the legal and regulatory conditions more precise, and to transform them so that the interests of often vulnerable artist employees could be better represented. He proposes the creation of a strong network of unions.
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Lorek-Jezińska examines British celebrations of the centenary of World War I in interactive theatre and artistic projects, focusing on their function in constructing and reviving the cultural trauma. She investigates strategies for including the younger generation in centenary celebrations and commemorations – strategies based on mobilizing participants’ compassion, empathy and readiness to become the medium of testimony. In this way the third memory boom stimulated by the centenary revives the intergenerational relations that formed the basis of the earlier World War I memory boom, additionally including social groups that had previously been disregarded or excluded from this process.
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The study deals with the advent and the establishing of the figure of stage director and the critical role played by him or her in creating a performance in Bulgaria’s national theatrical life in the interwar period. To this end, the work and experiments of several emblematic directors are analysed, who have been widely recognized or have made their first steps into the field of stage in the 1920s and 1930s, such as Nikolay Massalitinov (1880–1961) and Chrisan Tsankov (1890–1971). It was this group that had formed the first stage director’s generation in Bulgarian theatre. So that to give the broad strokes of the profile of this first stage director’s generation generation, the study reconstructs the theatrical aesthetics and individual styles of Geo Milev, Isaac Daniel, Nikolay Massalitinov, Chrisan Tsankov, commenting on the stage experiments of Boyan Danovski, Alexander Ikonografov, Nikolay Fol, Stefan Surchadjiev and Krustio Mirsky, who came to theatre in the decade preceding the end of WW2, as well as of the overall cultural and theatrical context, in which they came to put on their productions. In conclusion, an inference is drawn that in the 1920s and 1930s, Bulgarian theatre witnessed the advent, shaping and establishing of the figure of stage director enjoying director’s proper, i.e. modern status first of all at the National Theatre and partially, in some other companies. The end of WW2 found Bulgarian theatre as represented by well-developed and fully-fledged director’s theatre, actor’s theatre and experimental director’s theatre.
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U članku je opisano etnografsko prikupljanje građe o narodnim kolima, napjevima i tradiciskim instrumentima iz sela Mirlović Zagore, koje se nalazi u šibenskoj Zagori –Dalamcija. Građa je uspoređena s ranije prikupljenom od dr. Ivana Ivančana, koji je ovim krajem istraživao u 60-ih i 70-ih godina, te Ive Furčića 70-ih – 80-ih godina, Vidoslava Bagura i etnomuzikologa dr. sc. Joška Čalete 90-ih godina 20. st., te na temelju kazivačica i kazivača ovoga kraja, koji su u različitim generacijama plesali kola i biralice u Mirlović Zagori. Ovaj rad služi kao pisani doprinos u očuvanju folklornoga blaga Mirlović Zagore i njezinih udruga, s ciljem, da se opet plesni koraci, biralice i napjevi ožive, koje se do sada usmeno prenosilo, te su tako mnoge stvari već i nestale. Plesni koraci zapisani su u ovom radu u kinetografskom pismu. Ojkalica Mirlović Zagore zapisana je primjerima notnoga zapisa. U radu donosimo pribilježene korake i postojeće varijante: „starinsko kolo‟, „po četr’‟, „po naški‟, „kolo naopako‟, „biralica‟ , „ples na šudarić‟.
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Alina Șerban is an internationally acclaimed Roma theatermaker: actress, playwright and director as well. In the interview made by Nóra Ugron, she talks about her university experiences in Bucharest and abroad. She also talks about the difficulties experienced in Romanian theatre and about her recent performance, The Great Shame, which deals with the history of Roma slavery.
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Found Images: A multiplication of aunt Ilonka’s dream theatre: the photographs of this Gypsy woman were shot during the preparations for Csilla Könczei’s and Radu Afrim’s theatrical and filmic production. The images are surrounded by Csilla Könczei’s commentaries as well as by aunt Ilonka’s recollection and her dream.
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The paper deals with Bulgarian period drama between 1944 and 1980 through the prism of the ‘us/them’ problem. Both parts of this binary underwent a radical upending of their meanings, at times absolutely inconsistent with those of the past and sometimes fleetingly and shyly returning to them. This foretold, complicated and unavoidable confusion was a result of the political conjuncture and generally, of the unrestrained communist Soviet ideological dictates. Still, the very privileged position of the future and the fruition of the general plan of achieving it should have continually unsettle and challenge them. Under communism, ‘us’ had to be subject to the common, while ‘them’ was not allowed at all. Thus ‘us’, compromising with ‘them’, could in no way get united in the ‘own’, while ‘them’, which had to be missing and was driven out, became estranged in the natural course of events. The ‘us/them’ were initially pointed by the occupier, remaining completely out of synch with the natural dynamism and the change in the us/them relationship. The article broaches some major and well-known dramatic texts of that period, divided in three mythological cycles (the underground fight waged by communists; the period of the National Revival and the medieval period) by such playwrights as Orlin Vasilev, Kamen Zidarov, Ivan Peichev, Georgi Markov, Stefan Tsanev, Nicola Rusev, Konstantin Iliev, Margarit Minkov, etc. Highlighted are both the things in common and the substantial differences from the period drama and the ‘us/them’ problem until 1944.
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The paper seeks to offer a look into the processes of challenging the stringent dogmatic constraints imposed by Socialist Realism, that have taken place in the scenography at the National Theatre. In view of the theatrical situation in this country between 1956 and 1968, the National Theatre was no longer the authority that had set the aesthetic directions in the theatre practice. Still, several productions, though few and not that radical as elsewhere across the country, could be highlighted even there, such as Schiller’s Don Carlos, dir. Krustio Mirsky, set design by Ivan Penkov, architect Georgi Trendafilov (1955); Ivan Vazov’s Toward the Abyss, dir. in Stefan Surchadjiev, set design by Asen Popov (1958); Leo Tolstoy’s The Living Corpse, dir. Nikolay Lutskanov, set design by Asen Stoichev (1963), etc., that have broken the mould of the illusionary-likening scenographic solutions. These premieres have established a clear trend in the way the ‘Thaw’ was taking its course, viz. through modernising classic plays and primarily, through their visual expressiveness onstage. Scenography of theatrical productions was the promptest of all the elements of a performance in shaking off the burden of the dogmatic Socialist Realism imposed in Bulgaria in the Stalinist era. It was the artists who have earlier established the scenographic practice and then worked in the period under consideration for the National Theatre with all their authority and mastery to demonstrate their ingenious art that in the late 1950s and the early 1960s became the motor giving an impetus to the change in the conservative design of the theatre’s productions.
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Parallelly with the organization of the armed rebellion, with its high and low Tides, cultural activities grew ever stronger and became an indispensible need of people, military units and everywhere else on the liberated territory. With the first rebel’s rifle, so to speak, emerged the first spontaneous initiatives on the plain of cultural activities which later assumed stronger and more organized forms. Here we have in mind first of all written word, which in the form of placards, shapirographed radio news, informative bulletins, brochoures, those first predecessors of the very widespread and well organized partisan press, it emenrged and grew up together with the first partisan regements, battalions and brigades. The partisan press disseminated turth about our liberation struggle and about aha situation on the battlefields of the world and played an important role in the political mobili zation of the masses. Today we do not know how many those materials there wefe, when and where they were published, by what units and on what tarrains, since those written texts were soon destroyed and in a limited number published, owing to primitive techniques in that time a«d the rapid dynamics of the armed rebellion and the revolution. What we certainly do know is that there were many of those materials and that very few of them survived the whirlwinds of the revolution. Among those first written texts certainly »Gerilac« (the Guerilla fighter) occupies a distinguished place, being the first partisan newspaper in Bosnia and Herzegovina. It appeared immediately with our first armed actions in Bosanska Krajina, in those early August days 1941 and throughout Us publication it was not only an excellent informative but also propagandistic paper.
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This paper intends to sum up, from a contemporary critical perspective, the cultural significance of various periods of the centenary history of Bulgaria’s professional operetta theatre, focusing on the social function, the institutional and aesthetic physiognomy of Sofia-based leading private operetta companies in the interwar period and its only genre-profiled National Musical Theatre as their direct successor, which this season marked its seventieth anniversary. The main problematised assumption is that the marked trends in the repertoire polices, stage and performing practices in the centenary development of operetta art on Bulgaria’s professional stage can only be correctly brought forth on the basis of a scientifically objective, rationalised both by the dynamism of historical events and the respective shifts in the sociocultural paradigm and the topical critical reflection.
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The Musical has been developing and spreading throughout Bulgaria for more than half a century (from 1963 until now). This period is significantly shorter in comparison with the development and dissemination of opera, operetta, and ballet in Bulgaria. The reception of the musical in Bulgaria from 1963 to 2013 has been discussed by the author of the present text in the conference ‘Bulgarian Musicology – Retrospectives and Perspectives.’ Considering the provided amount of publications, however, the present text is focused only on the trends in the reception of the musical in Bulgaria in the 1960s. If another suitable opportunity for publication occurs, the reception trends of the musical in Bulgaria from the beginning of the 1970s to 2013 (and even until 2018) will be presented in additional publications. The text of the present article is based on the historical, comparative, and typological research methods.
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This paper aims at analysing the way in which the structure and stylistics of theatre review influenced the evolution of critical thinking during the short thaw that took place in all Socialist countries after Nikita Khrushchev’s February 1956 speech in which the Soviet leader exposed the crimes of Stalin’s rule. We therefore analysed the reviews and essays of some of the most dynamic and most professional young critics who published in the Teatrul Journal: I. D. Sîrbu, Șt. Aug. Doinaș, Ecaterina Oproiu and Florian Potra. Symptomatically, all the four critics subsequently moved away from this profession, for dramatic reasons related to the political circumstances, and during the following decade, they became famous writers of poetry, literary criticism, dramaturgy or film criticism.
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The following article treats the subject of first year pedagogy in the acting classroom: body-mind concept, the use of space-time in a theatrical approach, the understanding of the performer-student’s own body. In the borders of the classroom a profound research on the body and its performative actions is required alongside a personal tackle in the physical patterns of the performer-student and the constructive use of the creative process. The article is a short graphical inside of how an acting technique like Viewpoints can provide a large range of possibilities from which a student can begin to understand the relationship between one own’s body and space-time cuantum, body-mind-presence.
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Tome ljetu 2000. nisam mogla dočekati kraj. Čekao me toliko iščekivani Zagreb, dovoljno velik i dalek od trule provincije tek izašle iz devedesetih. Miris sam joj osjećala gotovo kao smrad, dobro znanu tufinu od čijeg me zadaha lovio smrtni strah. Voljela sam to ljeto jednog stalno nakemijanog, sitnog i krhkog dečka. Baš poput neke varalice koristila sam blagodati njegovog čestog ekstaziranja i odgađala svoje do mitskog Zagreba iako nisam ni sama pretjerano razumjela zašto. Ljeto je izmaklo svome kraju i ostavila sam ga iako me zbog toga boljela svaka sitna i pojedina koščica. [...]
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