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The author ponders on the pictorial conception of the titular spectacle and the paradoxes set into motion by Kantor’s emphasis on the fiction between the stage and the painter’s studio. In doing so, she poses questions and reflects on the reason why in Today is My Birthday the artist returned to the image and theatrical pictorial qualities conceived as a stage trick enrooted in the visual arts. Why did he introduce into the spectacle an almost painterly conception of reality, creating a stage with paintings on easels, and operate with the effect of a tableau vivant as well as spatially actuated photography?
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Kiril Tzonev in Munich – this is an infinite subject of artistic research. New research on the creative work of Tzonev led to discoveries concerning his paintings as well as archive materials. The great number of new aspects, elaborated on the basis of this material opened up new perspectives for analysis of the creative personality of Tzonev. The present study does not aim to generalize all these aspects but to underline the need of an indepth view in the details of each one of them, inspired by the portrait of Vladimir Dimitrov maistora by Kiril Tzonev. During the study of these well known facts and on the basis of the newly discovered information the analysis logically starts off with the detailed description which points out the key points of this research. The description of the components of the painting shows not only the wonderful skills of the artist Kiril Tzonev but also, comparing it with other works of the same artist, numerous stylistic characteristics. an additional contribution in widening the possibilities for interpretation of the portrait of Vladimir Dimitrov maistora were offered when comparison with the artistic works of other authors were made. The subject of the portrait is compared with images of ancient philosophers and propor- tions. Biographical data supplement the analysis of the painting. Subject of study are the close friendship, spiritual ties and fruitful exchange of ideas between maistora and Tzonev. The comprehensive description made of the painting’s details present an unknown up to now inscription on the canvas: Ecce Homo. This inscription allows for a much more complex interpretation. In order to understand it one has to make an iconographic review of Ecce Homo as a motive in art. This analysis offers a possibility for a comprehensive interpretation of a re- markable portrait painted by Tzonev. It is enriched with a mighty message but also proves the creative genius and intellectual might of the artist – a merited chairman of the News.
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This paper aims to retrace the manifold, often contradictory meanings underlying the works of the Nabis – an almost esoteric group of French artists which emerged near the end of the 19th century. Their primary sources of inspiration were, following in Baudelaire’s footsteps, remote in both space (Japanese art) and time (Medieval art). I shall attempt to analyse the manner in which several artists of this group use the medieval ambivalence of the forest in their paintings, as well as try to determine whether any major semantic shifts ensue in their treatment of this widespread imaginary topos. The paper’s main thesis is that this ambivalence is adapted to the intrinsic modernist tension between a feeling of despair, coupled with the anxiety of being faced with the positivist, essentially rationalistic explanation of existence, and an enormous desire to transform the world, so that it no longer opposes the Self.
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The article offers an analysis of the situation of black German men and women after 1989 in the context of post-unification contests of memory. In contrast to the wide-spread and relatively consensual policy of remembering the Second World War and the Holocaust, which was aimed at unification of the German society divided for 40 years, the works of Laura Horelli and Mwangi Hutter discussed in the article are examples of alternative discourses around the definition of the contemporary German identity. They question the dominant and coherent narratives present in numerous post-unification publications and exhibitions treating the specificity of Germanness and German art, and constitute an appeal to broaden the symbolic borders of Germanness.
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Der Beitrag setzt sich mit Bertolt Brechts filmischem Schaffen auseinander und beleuchtet den Werdegang des Drehbuchautors, Filmtheoretikers und Filmkritikers Bertolt Brecht beginnend im Berlin der Zwanziger Jahre und endend im amerikanischen Exil. Es werden darin Bertolt Brechts erfolglose Bemühungen analysiert, einen neuen Filmdiskurs durchzusetzen, der den kommerziellen Prinzipien der bürgerlichen Filmindustrie trotzt. Zugleich wird darin auf Bertolt Brechts Hollywood-Welterfolg – den Film Hangmen also Die – in der Regie Fritz Langs eingegangen.
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Interview with Dana Altman, curator at Westwood Gallery din New-York.
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The article aims to present the figure of contemporary artist Janine Antoni by discussing her most important performances. The author of the article pays particular attention to Antoni’s work Inhabit, which she interprets and analyzes in the spirit of arachnology. This strategy intends to present Inhabit as a kind of metaphor of feminine creativity.
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This article is an attempt to understand a new tendency of postmodern art. It is called " New Realism", which differs entirely from classical realism.The artisctic experience of today shows that art puts a special emphasis on the things when things are presented only as they are. This open belief in the world has been born as the opposite of a simulation and a game. And it requires for a special intensity of reception.
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The TV crime drama is one of the most popular genres for European audiencesand arguably also the most culturally sensitive and nuanced. The authorin his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics whilech aracterizing this concept. In the course of analyzes, however, he notices thatthe "Jordskott" series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: "Nordic noir", ecological thriller, horror orfairy tale.
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Artiklis käsitletakse probleeme, mis kerkivad "karmi stiili" kunstiajaloolise tähenduse ja rolli mõtestamisel Eesti kontekstis. 1950. aastate lõpul olulist kunstiuuendust tähistanud, kuid tagantjärele Hruštšovi ametliku kunsti staatuse saanud nähtus toob esile vajaduse dünaamilisemate analüüsimudelite järele, kui seda pakub ametliku ja mitteametliku kultuuri vastandus. Vaadeldes "karmi stiili" nõukogude uuringute distsipliini laiemas kontekstis, tõstatatakse kunstnike agentsuse küsimus. Toetudes hilissotsialismi uurija Alexei Yurchaki pakutud teoreetilisele skeemile, kirjeldatakse Leili Muuga maali "Kahtlejad" (1957) näitel "karmi stiili" asendit ja rolli nõukogude diskursuse muutustes.
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Maria Janus focuses on theatrical adaptations of Neil Gaiman’s "Coraline" in Polish puppet theatre. The analysed performances were directed by Włodzimierz Fełenczak in Teatr Miniatura in Gdańsk with a stage design by Mikołaj Malesza (opening 2009) and in the Białostocki Teatr Lalek with a stage design by Joanna Braun (opening 2011) and directed by Karolina Maciejaszek in Teatr Pinokio in Łódź with a stage design by Anna Chadaj (opening 2013). In addition, the Author discusses the performance of Rozalinda, written and directed by Krystyna Jakóbczyk in the Teatr Dzieci Zagłębia in Będzin (opening 2012), which was inspired by Gaiman’s novel. Janus presents this performance in the context of copyrights and difficulties of obtaining licenses for use of texts written by popular authors (especially from the Anglo-Saxon region). The author compares the adaptations of Neil Gaiman’s novel written by Fełenczak, Maciejaszek and the translation of the novel’s narration by Jakóbczyk (theatrical situations and visual narration vs. the narration performed live on-stage). Maria Janus also highlights theatrical references from the novel considering meta-theatrical elements that enhance the performance. Janus compares theatrical media used in performances from Gdańsk, Białystok and Łódź with special consideration to the stage design and puppetry techniques. In the second part, the author focuses on the popularity of Neil Gaiman’s Coraline among theatrical directors despite little interest in horror fiction. Puppet theatres in Poland do not produce performances based on modern epic literature, especially those nbased on fantasy. Classical fairy-tales and modern dramaturgy containing fairy-tale motives are still more popular. Furthermore, Janus reflects on the possibility of a change of the herein discussed situation. She further refers to the arguments of Bruno Bettelheim, Stanisław Grzelecki and Katarzyna Slany considering young spectator benefits from the contact with theatrical representation of youth horror literature.
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„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.
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This essay presents Jay Wright’s play Lemma as a historiographical challenge and also as a piece of idiorrhythmic American theater. Consonant with his life’s work of poetry, dramatic literature, and philosophical writing, Lemma showcases Wright’s expansive intellectual framework with which he constructs vivid, dynamic, and complex visions of American life. The “America” conjured here is steeped in many traditions, traditions typically kept distinct by academic discourse, such as West African cosmology, Enlightenment philosophy, jazz music theory, Ancient Greek theater, neo-Baroque modifications of Christian theology, pre-Columbian indigenous ways of knowing, etymological connections between Spanish and Gaelic, the materiality of John Donne’s poetry, and the lives of enslaved Africans in the New World. What is the purpose of Wright’s theatrical conjuration? How do we approach a text with such a diverse body of intellectual and literary sources? The author answers these questions and ends with a call to treat Lemma as a much needed point of view that opens lines of sight into Black and American theater far outside the well-worn territory of the Black Arts Movement.
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The article focuses on the history of Estonian art history writing, examining the older written scholarly heritage of Sten Karling. The author analyses the art theoretical ideas that influenced Karling's research, and discusses Karling's texts and activities as the basis for art history studies in Soviet Estonia.
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Interview with Joanna Pańczak, by Waldemar Rapior
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