Elnémítás: lágy és öncenzúra
A magyarországi előadó-művészetek esete
An essay on the issue of "soft" censorship in the field of performing arts in Hungary.
More...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.
A magyarországi előadó-művészetek esete
An essay on the issue of "soft" censorship in the field of performing arts in Hungary.
More...Beszélgetés a 2021. évi Arany Maszk fesztivál online Russian Case szekciójában
Summary of one of the discussions in the "Russian Case" online section of the Golden Mask Festival, with Marina Davidova, Zhenya Berkovich, Alvis Hermanis and Timofey Kulyabin.
More...Szemelvények a bukaresti Concept folyóirat cenzúraszámából
Summaries of three articles of Concept magazine.
More...Cenzúrajáték a Magyar Színházban egy évszázaddal ezelőttről
An essay on "Danton's Death" by Georg Büchner at the Hungarian Theatre from the last century.
More...Kérdőíves kutatás a magyar színházcsinálók öncenzúrájáról a kétezres években
An essay on self-censorshop of the Hungarian theatre makers in the twenties.
More...Kérdőíves kutatás – a kritikusok válaszai
An essay on the theatre critics' self-censorship.
More...Megfigyelt női színházcsinálók a kommunista Romániában
An essay on the observed female theatre-makers in communist Romania.
More...Egy közösségi interetnikus színház története reverzben
A short history of the community interethnic theatre project of Tranzit House, "Rromanative&Co" in Cluj and the acting career of Aunt Ilonka (Ileana Lăcătuș), a Roma woman from Mierra, Romania.
More...
Reality becomes a hybrid construct in the context of global communication. Direct perception is no longer the criterion of veracity, but the convergence of opinions about all aspects related to some kind to a given existence. Relating to the truth is the stake of the era and its contemporaries, each citizen dedicating himself to activism in all areas of personal or universal life. Performing arts naturally adapt to social change. Film and theater reflect the phenomenon by developing new styles and contaminating genres with various influences. The series signed by Oliver Stone, Putin’s Interviews represents an example of this phenomenon. It offers a new approach to the performing arts relationship with the current reality and opens up new perspectives on new ways to enter into dialogue with the fast-paced history of the early 21st century. The hybridization of the classical genres thus seems to be a formula for taking their final redefinition. Included in the ongoing dialogue between society and the creator, the performing arts become players in a global flow of information.
More...
This essay discusses some of the most popular theories about adaptation and transmedia storytelling and argues that the two terms have come very close to meaning the same thing in the contemporary era of fiction and filmmaking. This relation becomes especially significant at a moment in time when arts require to be perceived from a hybrid perspective. They interact with one another through the adaptation of the same text in different media. The main ideas stated in the paper contradict the false perception of many critics that have analyzed adaptations strictly in relation to their original source and that have theorized that adaptations should remain the same in all types of media in which they are adapted.At the same time, the essay is also focused on the implication of this hybridity upon the cultification of specific cultural materials or objects such as films, books, manga or video games – depending on the socio-cultural context of the audience. By using specific examples both contemporary and from the past, it becomes easier to support the theory that there is indeed a tight relation between the notion of a “cult classic” and those of transmedia storytelling and adaptation.
More...
This essay deals with the reception of the concepts of History and the individual in the dramaturgy of Iakovos Kambanellis. As the current year marks the 100th anniversary of the author’s birth (1922-2022), it is a good opportunity for one to walk in the paths of his most brilliant work. Using the tools of the genetic interpretive, sociological, and socio-semiotic approach, an attempt will be made to render the most appropriate way of reading and receiving Kambanellis’ works, always in relation to the concepts of History and the individual and in comparison with the social and historical context of his time and his contemporary authors, Greek and European. The aim of this essay is to pay even the slightest tribute to this so talented and great playwright, who throughout the course of his writing career did not stop looking for new ways of artistic expression, giving as a gift to modern Greek literature, through his works, his wisdom for Man, life and History.
More...
Classic pedagogy can be perfected by teaching theatre in the classroom, contributing to the liberating dialogue that allows the transformation of the educated from passive receiver to an active participant, under the guidance of the teacher as a co-participant and guide. A new approach to the issue of school theatre, theoretically (pedagogically) settled today and practically (socially) implemented, can lead to the elimination of existing blockages at the level of common aesthetic consciousness. K.S. Stanislavski was the first to offer a theoretical-applied essay in the field of performing arts, and the development of students’ skills through Drama, by integrating theatre into the classroom is manifested through the ”Theatre in Education” movement, strongly promoted at the beginning of the last century. Improvisation for the Theater, the reference work of the great American teacher Viola Spolin, is still used today in university art education, as well as in the organization of dramatic, formal and non-formal activity projects in preuniversity education. In Romania, master Ion Cojar left us as a legacy his Poetics of the Actor’s Art, a textbook / guide with rules valid for both the vocational and the optional school theatre, which can be integrated in the curriculum at the school’s decision.
More...
Starting from the word “luck”, the article shows the multiple meanings of the term and tries to find possible answers to the question: what exactly does “being lucky” mean? The analysis proposes ideas and answers on how the actor could influence his own luck and shows how bad luck can be changed into good luck. The article proposes a science-based reconsideration of the idea of luck.The fact that intuition exists has been scientifically proven, and the article proposes the idea that the actor might have an advantage in influencing his luck because he has at his disposal a tool trained for years in working for the stage: his own intuition. The research uses references from philosophy, psychology, films, TV series, examples of Hollywood actors considered lucky, and analysis of Chekhovian lines on luck. In conclusion, the research leads to the idea that the actor’s actions to generate his own luck could be based on the actor’s courage to listen to his intuition.
More...
The treatises on drama and performance, Poetics by Aristotle and Nāṭyaśāstra by Bharata Muni reveal archaic elements, valid even today, offering two different perspectives on relating to artistic experience and understanding the body - mind binomial. Whether the steps of a theatrical method are described, or the rules of a technique are postulated, the practice behind any performance or performative action will, however, remain constant. Artistic practice is linked to a working philosophy and an awareness of the ideological structure on which an artistic product is built. This is one of the most important elements that a performer can use, because knowing what and why you act in a certain specific way is the very path to a self-definition and an articulation of the new languages of performing art, encountered more frequently in performative spaces.
More...
Laura Mulvey’s 5 decade old polemic essay Visual Pleasure in Narrative Cinema had long been the cornerstone of feminist film theory. Using Freud’s theory of scopophilia she posited that the passive, helpless and usually eroticized female characters on screen only exist to drive the male characters to act, furthering the narrative and pleasing the male spectators. Her stance on the matter of the inescapable male gaze only persisted with the bibliography that followed. But what if a film’s self-reflexively uses the heavily eroticized but active characters to consciously exploit the male gaze and ultimately assert their personal power? Investigating Harmony Korine’s controversial 2012 film Spring Breakers through a third wave feminism lens and challenging Mulvey’s paradigm on the exclusively sadistic gaze, this study aims to explore the nuances of female agency and question the feasibility of a film simultaneously having strong and active female characters and appealing to the male gaze.
More...
Film festivals are a key element in the film’s industry ecosystem. Film festivals are not a distribution channel and they do not exactly fund film projects and yet they are essential in the development of local film industry.This paper aims to analyse the specific role of the biggest South-East European Film Festivals in the local industry. Their focus is not only on celebrating great cinematographic works, but also on providing a place where the filmmakers can network and find support for their upcoming projects. These events provide the perfect situation in which a filmmaker can assess the future of cinema, by fitting their personal experience as a key piece of a huge puzzle.
More...
Interview With Director And University Teacher Sanda Manu
More...
Interview with actor Daniel Tudorică.
More...
This paper addresses the aesthetic appreciation of indigenous creative practices, with a focus on the mental processes at play in such acts of appreciation. My hypothesis is that to develop an understanding of human cognition through art, it might be useful to look at art more expansively, by considering creative practices that are not usually within the purview of Western philosophical systems. More specifically, I will draw on examples from indigenous societies of the Pacific Northwest that encompass everything from utilitarian objects to ritual artefacts used in ceremonial circumstances and dance performances etc. to argue that aesthetic appreciation is shaped by a shared cognitive repertoire1 of processes and capacities.
More...