![Характеристика на трансформациите в съвременния български театрален плакат](/api/image/getissuecoverimage?id=picture_2014_28047.jpg)
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Having outlined the genesis and publication history of Stefania Zahorska’s play Dragon Street 13 (1944), Osiński interprets the text in the context of various historical events – the Grossaktion Warschau, the Warsaw Ghetto Uprising and the attitude of Polish exiled war veterans towards the Holocaust. Scholarship on the play is discussed in the light of recent finding and of reviews of Dragon Street 13 in the émigré press. Thus Osiński reveals the documentary value of Zahorska’s text as well as her original contribution to Polish émigré literature.
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The aim of this paper is to present eleven to date unknown Jesuit theatre programmes, summary records of dramas performed in colleges in the Polish-Lithuanian Commonwealth in the 17th and 18th centuries: [Antiprologue], Artaban (1757), Cineres ad iustam vindictam animati (1702), Conviva bonae mentis (1700), Corona civica, Corona religionis orthodoxae (1682), Daumondus (1690), Divina iustitia scelerum vindex (1718), Exaltatio de portis mortis (1738), Flocillus (1757), Gaudia post luctus (1680). The programmes were discovered in the following Vilnian libraries: the Vilnius University Library, the Martynas Mažvydas National Library of Lithuania, and the Wróblewski Library of the Lithuanian Academy of Sciences. The analysis is based on a programme study model applied in Dramat staropolski (Wrocław, 1976). In terms of content, the programmes recapitulate plays with motives already known from the bibliography, as well as feature new themes referring to the ancient history and the history of Polish and Lithuanian territories.
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To achieve its cathartic effect tragedy must communicate and elicit emotions. Any dramatic utterance, treated as an act of communication within the represented world, rests on the interaction of two inseparable, accordant, and interrelated systems – language and emotions. Language can name and verbalize emotions in order to construct them in the dramatic world, but to create a linguistic image of a believable emotional utterance the language a character speaks must appear to be infl uenced and shaped by emotions. Further, that mimetic representation of emotion through language must be understood by the audience. To achieve this, dramatic language must either rely on conventional linguistic means used to express emotions or create its own code that will be decoded by the audience. The audience will vicariously experience the characters’ emotions by recognizing them in their language and actions. The emotionally dynamic image of Othello, one of the most passionate men of Elizabethan drama, is created primarily by the language he uses. To follow the changes in the syntax and the semantics of his language as the action of the play develops is to observe the transformation of the character from a loving and caring husband into a jealous beast that knows no mercy. The article will offer an analysis of the pragmalinguistic representation of jealousy in Othello’s language and show how his discourse changes in the text. The analysis will rely on basic pragmatic categories and consider Othello’s use of directives, assertives, expressives, etc. The emotional change in Othello will also be illustrated by a brief study of the change in his syntax and his vocabulary: from balanced rhetorics and sophisticated words to erratic speech and expletive swearwords.
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The premiere of Serva Padrona by Pergolese at the Paris Opera divided deeply the French society of the Age of Enlightenment. The famous Querelle des Bouff ons has become the nucleus of a lively debate, from which, what is to be emphasized, none of the sides was triumphant. In his treatise Guerre de l’Opéra, Jacques Cazotte, emphasizing his impartiality, stands in defense of French music. By proving the superiority of Mondonville’s works, Cazotte is aware that only strong arguments can convince the philosophers. Accused by many of being “scientific” and in consequence, being incapable of expressing all the nuances of human passions, the French music, thanks to the ability to perform rhetorical functions, reserved, as it may seemingly appear, for forewords and literature, can not only conform to the rules, but also can please and touch. The French Opera, as Cazotte poves, fills perfectly the rhetorical target of persuasio with an intelligent and effective rhetoric and expresses the spirit and sensitivity of France. The purpose of this article is to refl ect on how Cazotte defends French music from the fashion for Italian music, which had a strong infl uence on the French aesthetics of the Age of Enlightenment, as well as from the philosophers of the epoch who would discredit at all costs the work of French composers in the eyes of the audience.
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The paper analyzes the stage director’s position and his/her role in the creation of the theatrical event today – in the beginning of the new millennium, after the “golden century” of the director (the modern theatre between the 1870s and the late 1960s) and after the era of postmodern deconstructions and games with fragments and quotations. The new functions of the director in the working team and in the creative process are examined in the text. They outline the broad spectrum from the traditional conceptual creator of the performance to the team’s facilitator and to an equal participant in the collaborative work. These new functions go beyond the dramatic and postdramatic theatre as well as beyond the modern and postmodern director’s strategies.
More...Херцогинята от Чикаго“ на Калман – транснационална визия за Централна Европа между двете войни
During its first run in Vienna, Emmerich Kálmán’s (1882–1953) Die Herzogin von Chicago (1928) had 301 consecutive performances and then toured internationally, yet it remains relatively unrecognized in operetta scholarship today. With this story of a rich American woman who falls in love with a Hungarian prince, Kálmán treats the AmericanEuropean encounter as a clash of American jazz and Charleston rhythms with Central European classical music such as the Viennese waltz and stylized Hungarian folk idioms. I argue that Kálmán’s Jewish identity functioned as a survival strategy enabling him to explore the porousness between the vernaculars of American jazz and the Viennese waltz because he did not identify with the Austrian majority. By combining jazz and the waltz in Herzogin, Kálmán offers an alternative national identity to the growing hegemonic doctrine of National Socialism in the form of a culturally inclusive (transnational) vision of Central Europe.
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According to many researchers, the cultural policy model based on the arm’s length principle gives public institutions more autonomy than the so-called bureaucratic model. In line with the typology by Hillman-Chartrand and McCaughey (1989), the former is called the “patron model” and implemented in the Anglo-Saxon countries. The latter, dubbed the “architect model,” prevails in continental Europe, including Poland. The aim of this paper is to question the popular belief that the continental model, by definition, has a greater bureaucratic and political influence than the Anglo-Saxon model. For this purpose, the author has analyzed the literature describing the British practice and conducted empirical research in Poland among officials responsible for theaters and directors of public theaters. The results suggest that the difference between the two models in terms of institutional autonomy is not as clear as one could infer from the typology contained in the literature.
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In journalistic publications about cultural policy, there is a prevailing conviction that the system change of 1989 put an end to the prosperity and carefreeness of Polish theaters and made managers of these institutions face many new problems, unknown in the days of communism. In this paper, based on the study of community efforts to strengthen the position of theater managers in relations with authorities, I argue that this view is overly simplistic and idealizes the situation of culture in the communist Poland. The prolonged and complex efforts to determine the rules of theater manager’s work – which took more than fifty years (1958–2011) – are like a television “soap opera.” Hence the paper’s title (loosely) alluding to the Polish TV show Dyrektorzy, popular in 1970s, which portrays managers of the socialist industry, although the paper does not contain as many dramatic turns of events. The analysis of the sources shows the unchanging ills of the Polish theatre life, which moved from socialism to capitalism, from dictatorship to democracy. Theatre managers are still forced to negotiate with authorities.
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Usually when we talk about culture management, whether in the context of the object (reflection on what we manage in the sphere of culture: the definition of culture or/and culture goods), as well as in the context of the subject (reflection on the actors involved in this process, i.e. artists, intermediating institutions and receivers), we should be prepare for a certain ambivalence of contrasting discourses or narrations, both within theoretical scientific discourses (discrepancies between the humanities and economic) as well as pragmatic approach resulting from the individual experience of management in culture. Presented case study of the conflict in Studio Theatre in Warsaw is the perfect example, that illustrates in practice this collision (short circuit in refers to S. Žižek’ favourite metaphor) of completely different paradigms, narration, or discourses, as well as individual values, expectations and experiences, which regardless of the attempts of exit from the impasse or negotiations on both side, is still escalating and rising in power. Evoked conflict, referring both to ideological issues (different values), as well as political (different interests), is at the same time personal conflict as well as substantive one: collision between artistic vision or management strategy for the artistic theatre (repertory’s theatre) and economic vision or management strategy of project theatre (event’s theatre). In refers to difference in epistemological and axiological assumptions, creation of a common space (conceptual, analytical and research) is of the particular importance, this requires a multidisciplinary approach/discourse (scientific, public, environmental), which takes into account relationships of both sides/disciplines/ environments, while assuming both: the critical approach or competition as well as common space and cooperation, underlying their mutual diffusion within the contemporary world of „liquid modernity”.
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Oscar Wilde’s The Harlot's House presents the author’s own images of love and lust with the help of puppetry imagery; he refers to prostitutes as “mechanical grotesques”, “automatons”, “skeletons”, “puppet[s]”, “marionette[s]” and ultimately “the dead”. He could hardly find more synonyms for ‘manipulated, lifeless dolls’. Women are misogynistically viewed as objects of desire and subjected to the male glance. All these images represent in fact Wilde’s attempt to create “art for art’s sake” by illustrating decay and depravity through a disrespectful depiction of harlots, dehumanizing them and stealing them the gender identity. The women, described as phantomatic, slim and inert, controlled by a puppeteer, are in fact the representation of the true love’s decay and the lust’s increasing attraction. The female puppets/dolls try to imitate real feelings but cannot do this because of their wires pulled mechanically.
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Ko je Zlatko Paković? (Ja sam) onaj koji se ne miri sa postojećim. Redatelj, pisac, glumac, šta je od toga najdominantnije? Reditelj. Autor pozorišne predstave. Autor kritičke predstave o društvu kakvo jeste i, iako je to malo verovatno, kakvo bi moglo da bude, kakvo bi bilo dobro da bude. Kao pisac komada, ili dramaturg dramskog teksta drugog pisca, ja najpre režiram u duhu, u ima- ginaciji, a zatim, u zajedničkom radu s glumcima, pevačima, muzičarima i svim ostalim saradnicima, režiram u stvarnosti, i to u duhu onih otkrića do kojih sam došao dramaturški rekonstruišući/dekonstruišući političke-kulturalne-socijalne-psihološke osnove datog dramskog teksta kao teksta drame same ljudske komunikacije u istorijskim okolnostima. Ako nema otkrića, tog novog pogleda na ono što se uobičajeno smatra poznatim, onda nema ni uslova za autentično umetničko pozorišno delo, za taj simbolički nivo (mog i našeg) života.
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Maria Koycheva teaches various courses in the Graphic Design Program, NBU. The text presents her students’ experience of a project for a real client - The Institute for Ethnology and Folklore Studies with Ethnographic Museum. The students had to design a portable theater house for children, presenting various elements of traditional Bulgarian culture.
More...Спасова-Дикова, Й. (2015). Мелпомена зад желязната завеса. Народен театър: канони и съпротиви. София: Камея.
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A chapter from Alain Badiou’s dialogic book (with Nicolas Truong) on the condition of theatre today, its merging borders with other arts and media and its challenged perspectives tomorrow. This philosophic pamphlet is based on a public talk given by the famous philosopher at the Avignon Theatre Festival. Translated in Bulagrian by prof. Lidia Denkova.
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Philosophical commentary on Alain Badiou’s dialogic theatre pamphlet and his broader personal engagement with theatre and cinema.
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A celebration of Anri Kulev’s films at the New Bulgarian University is just a starting point for a broader overview of the work of this significant Bulgarian artist, cartoonist and film director .
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