!["Maszerują chłopcy, maszerują... a śmierć im pod stopy się miota". Wybór recenzji i opisów spektaklu "Wielopole, Wielopole". 1983-84](/api/image/getissuecoverimage?id=picture_2015_22045.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.
This sketch briefly outlines the theme of musical improvisation considered in Internal Ear, a musical documentary by Magdalena Gubała and Szymon Uliasz (2016). The context consists of reflections by Tadeusz Sławek (in particular the “cautious hospitality” formula and the Derridean ”unlimited hospitality” formula) and Cezary Wodziński (the Hospitality formula). The text also refers to inviting the Other to share a place at a table, envisaged as a possibility of meetings and conversations, not only musical, within the open-attitude gesture. Internal Ear is a sui generis musical film essay, and the author of this text (who is also the film’s co-director) brings the reader closer to the essential aspects of thinking about it and the circumstances in which it was created.
More...
Influenced by the components of everyday life, contemporary theatre is undoubtedly subject to multiple transformations. Theatre needs a new lease on life, new subject matters. Without minimizing the importance of modern theatre, but out of sheer fondness of Commedia dell’arte, we have tried to outline certain characteristics, traits that impart colour to this provocative genre, regardless of space and time. Of course, only time will verify its future dual value as spectacle, as spectacle – performance and practice. Considering all these aspects from a musician’s perspective, it was only natural to emphasize the important position music occupies in Commedia dell’arte and its role as binding agent that in this way creates a balance between modernity and tradition.
More...
The beginning of the 21st century is characterized in Romania by the emerging of a new generation of playwrights. Numerous actors or people coming “off the stage” begin to write drama, so that the playwrights become authors of the texts played on the stage. Thus, the playwrights join a trend that is common in Europe, being part of a category named by Bruno Tackels “les écrivains de plateau” – the writers of the stage. Nowadays, we witness a change in the way the young artists view drama – they do not only want to change the way of writing and performing drama, but they also want to change the world they live in. The contemporary performance has gradually lost its specificity by blending itself with visual arts, dance, music, technology, becoming a project. In our modern society the artists do not look for something meant to last forever, so the work of art becomes a continuous work in progress. Therefore, a bridge is being shattered – the bridge between nowadays and posterity.
More...
Theatre, in the notional complexity to be undertaken, updates and in this update it feels more pronounced the tendencies of increasing the performing spectrum. Writing about theatre inevitably leads you to set on something, on that attribute bringing the conviction that around its analysis the appreciative matters get interesting and reveal assumptions for future analysis.The article we propose approaches theatre in the cardinal ambiguity of meanings, namely in what we call here interval. We assume an approximate delimitation of this range, balancing and improving the center-periphery relationship, and then establish ourselves to turn the performance itself into a phenomenon, with a double implication. Making a connection between the audience and the performance is not something new, but if the significance, the midpoint of this relationship is fractured in the process transmitter-receiver, can we not think of the possibility of the interval/range as a deconstruct refuge of meanings?This paper asserts that if hiding the meaning becomes a phenomenon itself, it will be possible to read the performance by averaging this interval in which will be found, in the articulation of the public’s reception, the association of the cultural and theatrical codes.
More...
In modern days, new acting spaces have become popular through the artistic expression and diversity of means they offer to the actors so that they get closer to their audience, sometimes ignoring the dramatic text and using it more like a pretext in a given context. The act of creation is now motivated by the possibility it offers its creator to artistically acquire new knowledge and discover new forms of expression to render aspects of contemporary life. Art is not a product, it is a perpetually changing process in time and space. All the artistic research arises from unanswered questions, from an unrefrainable need to express oneself in the new context: cinema, artistic films, documentary films, modern and contemporary performances, visual culture and associated culture, body and space, public space, video editing/processing
More...
Our study tries to answer questions such as: How is kitsch disguised in a contemporary theatre show? How does it manifest in the art of acting and staging? What does the kitsch look like in the audio and visual universe of the show? What do the kitsch-actor, the kitsch-stage director and the kitsch-spectator look like in the world of XXIst Century theatre? Can kitsch still be avoided or is this fight permanently lost?
More...
The stanislavskian system arises in full development of the realist current. Starting from the word, the actor expresses through gestures, intonations and mimics. The pre-stanislavskian actor is dominated by dilentatism and emotional “accidents”, the balance is tilted to an act full of clichés and crafts. Perhaps the most important lesson that Stanislavsky gives us is that for the actor in his work to reach a credible character, he must go through all states, sensations and feelings required in building a character. We cannot forget, however, that Stanislavsky devised a new method of representation also due to the emergence of Chekhovian texts. To give effect to the new ways of writing, the attention must focus on the actors, without neglecting the scenography. Stanislavsky wants to convince the actor that if he doesn’t want to use tricks to present truth, he should be just like a painter or musician, to devote his whole being, “body and soul especially” in the creative process.
More...
The end of January in Iaşi is like the beginning of January. Meaning that it is also very cold. Director Radu Afrim is in rehearsals at Teatrul Naţional with Măcelăria lui Iov (Job’s Butchery) by Fausto Paravidino and he is accompanied by his scenographer, Irina Moscu. They are on the fifth collaboration after Naïve, Completely Frivolous Details in yhe Life and Death of the Audience (Teatrul Maghiar de Stat in Timişoara), Suntrack (Teatrul Maria Filotti in Brăila), Everything’s Alright between Us (Teatrul Naţional in Bucharest) and The Retro Bird Hits the Block and Falls on The Hot Sand (Teatrul Naţional in Târgu-Mureş).
More...
Starting from the assumption that a dialogue of the means of expression specific to various arts should aspire, in the theatrical representation, to symbiosis, I’m looking at the performance with Job’s Butcher’s Shop, by Fausto Paravidino, directed by Radu Afrim, performance which recently had its opening-night at the National Theatre in Iaşi. I’m referring to the confluence of live music, acting and video images, proposing possible connexions and echoes one might consider.
More...
Being a reading performance turned into a stage representation, the text Iubirea la oameni (Human Love) signed by Dmitry Bogosvlavski is a love radioisotope into an oppressive cloister space of a Belarusian isolated community. The show with the same name created by Bogdan Sărătean surprises the stage valence of the emergence, the evolution and the extinction of this feeling, from the sacrificial love of a mother, which often conceals the faults and the sins of the children, to the brutal love that snatches what it believes as deserved, to the strength to believe in love as salvation, as redemption, as many forms to illustrate and to dramatically represent such an old theme, yet always different. The personal approach of the double distribution formed by the young 3rd degree actor students, probing their own interiority and sensibility, nuances and enhances the evolutionary line of characters’ destiny on stage in an extremely profound performance.
More...
This thesis is focused on to description types of collection items mobility. The main storage place for collection item in museum is the depository and because of that, thesis contains description of types of collection items mobility from depository. The aim of the thesis is to approximate process of manipulation with collection items for the purpose of pre-servation/restoration and rental of collection items for other museums in Slovakia and abroad. One of the main points of this thesis is to review the purpose of collection mobility for museums. Aim of the thesis is also to define possibilities of collection items protection during their mobility- legal and physical protection. An important part of the article is an analysis of collections mobility in Slovak museums created with the help of questionnaire survey and summary of the annual reports of Slovak museums.
More...