Melankolična Evropa

Author(s): Bogdan Radica / Language(s): Serbian Issue: 05/1931

Nigde, možda, u ovo poslednje vreme, nisu snovi i iščekivanja, melankolične i razboljene Evrope dosegli vrškove paradoksalnosti i grotesknosti kao na stranama Papinijeva ≫Goga≪. Nema sumnje, medju retcima ove Papinijeve sintetičke smotre svih skretanja u levo i u desno evropskih duhovnih napora i nastojanja izražena je na j fatalni je sudbina stoleća. Ma šta kazali strastveni krstonosci jednog prividno uskrsnulog neoskolasticizma, koji veruju da se svet mora po svaku cenu da zaustavi, i da su kaprise duha — i onda kad su one pozitivni preokretaj i ili konkretna razuverenja — samo fiktivna i tendencijozna prividjenja izvesnih priroda koje neće da vide, niti osećaju koliko je istina daleka, i koliko je osvojenje istine problem boli, ispaštanja, i napora.

КОМПЛЕТНО ИЗДАЊЕ КЊИГА VIII. БРОЈ 2. 1923

Author(s): Jovan Cvijić,Ivo Belin,Slavko Kiršner,Ernest Н. R. Collings / Language(s): Serbian Issue: 02/1923

Understanding Auditory Space in Digital Games for Visually Impaired People

Author(s): Tomáš Farkaš / Language(s): English Issue: 1/2024

The article seeks to establish a foundational framework for comprehending crucial definitions and concepts related to auditory space in digital gaming, particularly focusing on audio games designed for visually impaired individuals (VI), often devoid of graphical interfaces. While existing studies often emphasize players’ interactions with interfaces and the acquisition of real-life skills, this text explores audio games through the lens of entertainment and immersion. Numerous studies indicate a demand among visually impaired players for more intricate and challenging games, incorporating elements usually used in standard digital gaming experiences. By combining definitions from both audio and traditional digital games, this article broadens the scope of sound design considerations, encompassing various aspects and classifications. It presents several auditory dimensions, consolidating them into a comprehensive dimension called attenuation, putting their roles within a game’s context. The author is a sound designer currently working on an audio game; therefore, many of the presented definitions are also a guide that will represent some of his own considerations while working on this game. These include not only the use of binaural or ambisonic sound but also understanding the ways and means of how to work with (3D) space in the context of audio and its possible functions.

Народната песен на китайския етнос нанайци „Планините и реките омаяха нанайците“

Author(s): Li Gen / Language(s): Bulgarian Issue: 15/2024

The Hezhe people (Nanai people) are a minority ethnic group with a long history in Northeast China, who are good at singing and dancing. Their music mainly records their life and daily production, especially their fishing traditions. The article analyzes the song "Mountains and Rivers Bewitched the Nanai people", exploring the musical culture and expressions of the Nanai people and focusing on the musical structure, melody, rhythm, force, tempo and structure of the accompaniment. The role of the emotions that the song evokes is also discussed. The purpose of the article is to expand the interest in Nanai folk music, familiarization with it for the further study and even better performance of Nanai music and songs.

Мисли към изложбата на Ангел Коцев „Тишина – равновесие между чувствата и разума“

Author(s): Elizaveta Boeva / Language(s): Bulgarian Issue: 15/2024

After observing the 20 photographs of the exhibition of Angel Kotzev the viewer is (I am) left with the feeling of unreality (the author presents this effect as aloofness): and no, this is not connected just with the abstract space, unusual tonality or the combination of objects. This is mainly because of the aesthetic taste – the aesthetics of ordinary objects, which are presented as a fantastic conventionality.

The Myth of the Artist – from Birth to Collapse: Notes on the Lithuanian Present-Day Novel

Author(s): Eugenijus Žmuida / Language(s): English Issue: 1/2024

The article based on the comparative principle seeks to introduce to a wide audience two novels by Lithuanian writers Kęstutis Navakas (Vyno kopija [“The Wine Copy”], 2016) and Marius Ivaškevičius (Tomas Mūras, 2022), whose authors wish to reflect on the status of the artist in the current era of excess and prosperity. The myth of the artist began taking shape in the 19th century and remained at its height throughout the 20th century, even though art itself underwent many changes. Is the artist still the representative of the elite in society in a post-modern age, when the line between art and pop, between personality and promotional image is almost blurred? These are the questions the authors ask and try to answer, joining inevitably those European authors who placed the creative person at the centre of their fictional world over the last two centuries. Anyone who writes on this subject almost inevitably becomes an author of World literature, as we have understood it since Goethe. The study seeks to reveal the diversity of literary associations, sometimes unconsciously touched upon by the authors, and the tradition of the European novel in dealing with questions of art, man, and his meaning on Earth.

Биографска драма - Радоје Радосављевић: Кућа Илића Народна билбиотека ''Илија М. Петровић''

Author(s): Radomir Putnik / Language(s): Serbian Issue: 201-202/2023

За драму Кућа Илића Радоје Радосављевић (1961) добио је престижну награду „Слободан Стојановић“ за најбољи драмски текст на конкурсу за 2020. годину. Жири у саставу Драгана Бошковић, Вукица Стругар и Срђан Кољевић једногласно је донео одлуку да Радосављевићеву драму Кућа Илића, која има поднаслов Драма о нестајању једне уметничке породице, прогласи најуспелијом.

Драгослав Михаиловић (1930-2023)

Author(s): Jelena Perić / Language(s): Serbian Issue: 201-202/2023

In memoriam to Dragoslav Mihailović (1930-2023)

“The most cooperative of writers”: Brendan Behan’s Collaboration with Carolyn Swift on The Quare Fellow

Author(s): James Little / Language(s): English Issue: 67/2024

Brendan Behan was a writer for whom collaboration was a central part of the creative process. His work for the inherently social art of theatre thus provides a fascinating case study through which to examine collaborative textual geneses, particularly when there is an archival trail that enables us to analyse these collaborations. Building on the recent turn in genetic criticism towards the study of collaborative creative processes, this article draws on the recently acquired papers, at the University of Galway, of Pike Theatre co-founder Carolyn Swift, who was central to the editing of Behan’s plays for performance. Focusing on drafts of The Quare Fellow (first staged 1954), the essay shows that Swift deleted multiple instances of violent language from Behan’s manuscript, suggesting that the play’s violence was censored by this key collaborator. Bringing the tools of genetic criticism to bear on Behan’s theatre work demonstrates the significance of Swift’s role in Behan’s collaborative creative practice and the centrality of collaboration to his aesthetic. In conclusion, the article calls for a revised reader’s edition of Behan’s plays which would take into account the collaborative nature of his theatre work.

Rowdy and Rough: Brendan Behan Sings Songs from The Hostage

Author(s): David Livingstone / Language(s): English Issue: 67/2024

Although most well-known for his plays and prose, the Irish writer Brendan Behan also recorded a number of songs, some of his own composition and others either traditional or written by contemporaries. His best-known recording, Brendan Behan Sings Irish Folk Songs and Ballads, remarkably captures not only his voice, but also his wit and distinct joie de vivre. The collection from 1960 includes not only the songs themselves (with Behan still in fine singing form), but also his introductions and wry comments on a range of subjects. The article looks at the circumstances behind the recording, the actual songs included on the album, and Behan’s ongoing commentary about a range of topics. The focus is on the first half of the recording which consists of songs from his play The Hostage, with an additional short discussion of one of his most well-known pieces, “The Auld Triangle,” which serves as an ongoing leitmotif in his earlier play, The Quare Fellow.

Театърът на Източна Европа – театър, който променя живота

Author(s): Kalina Stefanova / Language(s): Bulgarian Issue: 32/2024

The text is a foreword of the book “20 Ground-Breaking Directors of Eastern Europe: 30 Years After the Fall of the Iron Curtain”, edited by Kalina Stefanova and Marvin Carlson, published by Palgrave Macmillan, an imprint of Springer Nature, in 2021. The book is also published in Spanish, by ADE, and in Chinese, by China Theatre Press, in 2024. The text is an introduction to the life-changing theatre of Eastern Europe with a host of examples from unforgettable productions by the directors included in the book. Among the accents are: the treatment of the classics where the focus is often not on the letter but on what enlivens it; the tendency for creation of a vertical theatre reality by some of the directors who dispense with nearly all material on stage, including to a large degree the written word; an unusual political theatre that could rather be called a politics-of-the-soul theatre; another tendency with something like a contemporary type of a Chorus-cum-main-character taking center stage – sort of a dramatic (or tragic) hero in plural. The main criteria for the choice of the 20 directors included in the book are also elaborated on. Finally, the foreword touches upon the situation of the theatre in a time of pandemics.

Прекрачване

Author(s): Violeta Detcheva / Language(s): Bulgarian Issue: 32/2024

The author of more than thirty plays, Jon Fosse is among the most interesting, provocative, and staged contemporary playwrights. His drama occupies a special place between his prose and poetry. A subject of interest in this text is its genre fluidity, which – as I will try to show – makes possible the transition from the play to its prose and its poetry. The analysis is limited to one of Fosse‘s first plays – “The Name” (Namnet, 1995) and one of the last – “This is” (Slik var det, 2020), as well as on one of the director‘s approaches to staging the plays and his prose. Namely that of Luk Perceval in his 2001 productions of “Dream of Autumn” (Draum om hausten, 1999) and on “Trilogy” in 2019 (Trilogien. Andvake, Olavs draumar, Kveldsvævd, 2014).

„Вино от глухарчета“ в сетива и лета

Author(s): Sylvia Borissova / Language(s): Bulgarian Issue: 32/2024

The article examines basic philosophical-aesthetic elements in Dandelion Wine (1957) by Ray Bradbury, in parallel with the play of the same name under the dramatization and direction of Katya Petrova in the “Nikolay Binev” Youth Theater, Sofia, Bulgaria, which is being performed during the current theater season (2023/2024). The main object of study – both in terms of the novel and in terms of the play – is the specific language of expression of the senses in summer and summer in the senses: a characteristic line both of the rich set of means of expression of the great American writer and of the original dramatization, adaptation, choreography and scenography of the production. In this perspective, sensory anthropology is a methodological key both for research and for creating an artistic world.

Румънската драматургия след 1990 година – промяна на парадигмaта и търсене на нова идентичност

Author(s): Lora Nenkovska / Language(s): Bulgarian Issue: 32/2024

The article offers an overview of the Contemporary Romanian Dramaturgy written by contemporary playwrights. The following pages are centered on theatrical texts as a main driver of changes and new forms of theatrical productions in Romania, since the most recent history of the Romanian theater was written precisely with the active participation of the playwrights and the independent theater companies.

Фолклорни куклени представления на улицата: Петрушка и неговите европейски събратя

Author(s): Iliana Chekova-Dimitrova / Language(s): Bulgarian Issue: 32/2024

The puppet street theater had a vivid presence in the life of European cities from the 19th to the early 20th century. In Germany, Austria, and Switzerland during the 18th century, the comic character Kasper was well-known. Puppet play was also widespread in Slavic folklore traditions. Some German and Austro-Hungarian travelers wrote about puppet performances and left drawings of what they saw in Russian (Adam Olearius in the 17th century) and Bulgarian lands (Felix Kanitz in the 19th century). The paintings of numerous German and Russian artists provide an idea of street theater during festive and everyday occasions. This article traces the development of puppet theater among the Eastern Slavs – from the skits of the “skomorokhs,” through the lubok literature of the 18th century (folk picture books), to various forms of street theater involving puppets during Christmas and Easter celebrations in cities from the 19th to the early 20th century – “vertep”, “rayok”, “balagan”, “Petrushka”, and others. The influence of Italian, French, and German traditions on the puppet theater of the Eastern Slavs is noted. In the performances of Russian theaters of the 21st century, the skits with Petrushka are filled with new content. A Bulgarian translation of the skits from the folk comedy “Petrushka” is offered to the readers. In the Bulgarian folklore tradition, various forms of puppet theater are also known, including the “box theater”, puppets made from towels, marionettes on a board, and stick puppets. Ritual masks of the “kukeri” are adorned with puppets in bridal dresses, which can still be observed today at the masquerade carnival games in Pernik. Today’s carnival traditions in Germany, especially in Cologne, preserve the old practices of street merrymaking but also develop the masquerade tradition in the direction of the contemporary and the topical.

Разбунтуваният човек и свободата в драматургията на Кирил Топалов, Драго Янчар и Миро Гавран

Author(s): Liudmila Mindova / Language(s): Bulgarian Issue: 32/2024

Through the works by three of the most prominent contemporary writers and dramatists of Slovenia, Croatia and Bulgaria the article presents the subjects of freedom and revolt (L’Homme revolte according to Camus) in the context of the change during the 1980s years of the 20th century in the literatures that fall under the political orbit of the Eastern Bloc. In the center of attention are mainly three plays: “Rebels” (1984) by the Croatian playwright Miro Gavran, “The Great Brilliant Waltz” (1985) by his Slovenian colleague Drago Jančar and “Come and see us” (1990) by the wellknown Bulgarian scholar and writer Kiril Topalov.

Драматургът Иван Вазов – развитие на възрожденската традиция

Author(s): Nikoleta Patova / Language(s): Bulgarian Issue: 32/2024

Tracing the personal development of Ivan Vazov as a playwright most clearly represents the processes of the development of Bulgarian drama and theatre from the 1880s to the early twentieth century. This article chronologically examines Vazov’s dramatic works, from ‘Russka’ to ‘Borislav’ and then ‘Ivaylo’, the creative efforts involved in their creation, their success on stage and their public and critical reception. A consistent analytical reading of the author’s plays allows us to see the way in which Vazov’s work established the in Bulgarian dramaturgy.

„Диалог на втора степен“. Драматичният дискурс в „Страхил страшен хайдутин“ на Петко Тодоров

Author(s): Elizaria Ruskova / Language(s): Bulgarian Issue: 32/2024

The article draws on the concept of “second degree dialogue“, coined by Maeterlinck in his programmatic essay “The Tragical in Daily Life” to denote the dialogue between the consciousness and the subconscious of the protagonists in his plays. The present text examines the application of this principle in the dramatic discourse of the drama “Strahil Fearful Outlaw” by Petko Todorov in order to prove the closeness between the Bulgarian and Belgian modernist as well as the specific way in which the Bulgarian author develops this principle using the device of metatheatre.

Възкресението на „Архангел Михаил“ (От идея до премиера – разказ на един актьор, драматург и мечтател)

Author(s): Rumen Troev / Language(s): Bulgarian Issue: 32/2024

The article “The Resurrection of the Archangel Michael” describes the overall process of creating a theatrical performance, starting from the idea, going through all the necessary stages within a year to the premiere. In parallel with the theatrical process, an analysis of the dramaturgy and motivation of the group of young people who have decided to fight for their free creativity, despite the difficult times for art in our country, is made. The odyssey of the characters in the play shows how contemporary and topical the text turns out to be, although it was written more than 50 years ago, in times that are theoretically obsolete, but in practice continue, to one degree or another, to be part of our daily lives. The article aims to give a broader and more detailed view of the interaction of different arts, their use and management, so that they reach the audience. The story is from the face of an actor, philologist and co-producer who has personally participated in all the processes, which is what makes the article authentic and valuable, especially for readers who do not guess how a theatrical performance comes true.

Литературата и театърът: един за друг родени? (Анкета с театрали, проведена и коментирана от Людмил Димитров)

Author(s): Lyudmil Dimitrov / Language(s): Bulgarian Issue: 32/2024