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Theatre review of: "Ruszei Sava Ognyanov Színház. Eltűntek – Elise Wilk drámája nyomán".
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Art review by Dóra Mărcuțiu-Rácz: "Utazás anyag és lélek legmélyére"
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Review of: Tár, színes amerikai film, 158 perc, 2022. Rendező és forgatókönyvíró: Todd Field.
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Review of: Temesvári Csiky Gergely Állami Magyar Színház. Robert Icke: A doktor. Rendező: Andrei Șerban.
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Reviews of: A császárné (The Empress), színes német filmsorozat, 2022. Rendező: Florian Cossen, Katrin Gebbe, Katharina Eyssen; Fűző (Corsage), színes osztrák–német–francia–luxemburgi film, 113 perc, 2022. Rendező és forgatókönyvíró: Marie Kreutzer.
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Review of: Kolozsvári Állami Magyar Színház. Kosztolányi Dezső nyomán: Édes Anna. Rendező: Szabó K. István.
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The development of technology after 2000 is characterized by two important moments in photography: the emergence and mass entry into the life of digital technology and the rapid development of online space - the avalanche expansion of social networks. This has led to significant changes in the figurative language of the phenomenon - moving away from visual virtuosity and pursuing pictorial effects at the expense of focused and detailed narrative, which, however, works much more precisely with the contextual environment of the reality object, thus visibly recognizable and documented. The International Fodar Biennale Photo Festival - appeared on the art map of Bulgaria in 1999 in Pleven and so far there have been 11 editions, through which you can trace these changes in the visual language over the years in the work of over 1,700 photographers from more than 50 countries. Photography, once again, emphasizes its documentary nature and, stepping back from it, searches in the obvious for both the epic chords of existence and the subtlest movements of the spirit.
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In this study are treated some specifics of the author’s translation of children’s songs and various issues related to this process. The words, their meaning and comprehension by the children, the observance of the musical line, rhythm and rhymes would be a huge challenge for the translator in order to achieve maximum understanding of the translated text and emotional satisfaction of the young listeners and performers. How successful would the translation be compared to the original? What techniques would give the necessary result to provoke interest from thetarget groups – children from three to ten years old? Do some differences in the cultures and traditions of different peoples matter?
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The study addresses the main aspects related to forms of contemporary art defined as autobiographical and socially engaged performance. These conceptual forms rely on the empathic connection between the author and the audience during the creative act. The two directions of activity are briefly considered – the one towards oneself and the sharing of one’s own problem with the audience and to other one, the aim of which is to engage the public attention with the socialissues of modern society. Examples of Western art from the 60s and 70s of the twentieth century have been used, as well as some of the Bulgarian contemporary art in the 90s.
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Each historical epoch in art can be described through its specific connection with the idea of immortality. It can be speculated that, in the Western tradition, art is a historically variable concept that functions as a substitute term for visual immortality. The emphasis on the presence of the soul remained a prominent principle of European art for thousands of years. The idea of art as a representation of the soul was followed by the idea of art as a representation of consciousness, which has become a major prototype of the infinite nature of works of art. This process originated in Romanticism but found its ultimate expression in Modernism with the invention of “pure abstraction” and the “white cube” as ideal modern constructions, which represent the absolute models of consciousness. Modernism, Postmodernism and Contemporary art have discovered the idea of visual immortality in different ways. The aim of this article is to show how, in post-contemporary art, the temporality of the visual categories interacts with the idea of visual immortality without replacing it. This article introduces a new art theoretical experiment called “transtemporal art” as a radical form of post-contemporary art.
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The current study presents the competence approach as a method for conducting music education in accordance with the new realities. Basically, this reading analyzes the attempt to clarify the nature of the competence approach in the context of music education in general education. All reference points in the present research are based on the goals, tasks and expected learning outcomes, which are the ground of the pedagogical efforts of the music teacher. In addition, the results of the already conducted research, in which active music teachers participated, are presented here. This in turn argues the evidence for the application of the competence approach in their pedagogical process, the role and importance of interdisciplinary reciprocal action and last but not least, the subject of music in the context of the aforementioned modus of teaching.
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The theme examine peculiarities of musical performance activity as a basic vision of the classical musician in society accorded to characteristics of music as a kind of art, personality traits, according to the person haves a gut feeling for such work and high principles which determinates taking on this high social mission of existence as a life being consciousness that withstanding provocations on the way to own dynamical progress. The instrumentalist takes the first steps in his training of the piano as an artist – to listen your sound appearing how it`s heard from side, he is simultaneously performer and strictly critical listener. For him all means of expression are social communicative form of sounding of the opus even then it is instrumental entirely. In contrast to in the sheet music of the composer, where they are fixed, similarly a literature form of drama. In this way the pedagogue of instrument is artist-pedagogue even then is only teacher, he grows from the practice on the stage and teaches performers, unlike others, including musical pedagogues.
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Present study is focused on the history and decoration of the St. Demetrius church in Varbitza, Shumen region. It is one of the few impressive in size and decoration Orthodox churches built in the mid-nineteenth century. Its construction was authorized by Sultan Mahmud II under the patronage of his secretary – Vasil Vlaev (Turko Vasilaki) from Varbitza. On the icons here are present the signatures of the Tryavna masters Krastyu Zahariev (the Elder) and priest Dimitar Kanchov, of the Yambol master Alexander Popgeorgiev, of the Shumen painters Nikola Vassilev and Vasil Hristov Bedelev, together with their partner at the time Anastas Karkklisiyski. The signatures of Vassilev and Bedelev found in this church are of exceptional significance for the chronology of their work, expanding the hitherto known scope of Bedelev’s activity. The surviving mural fragment in the apse proves that at some point the church was partially or completely decorated with wall paintings. Built and adorned without a lack of funds, the St. Demetrius church at Varbitza possess valuable liturgical objects and books, some of which carry important information about the history of the city.
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The present study examines sound design in the dichotomy of physical-acoustic interpretation of sound and subjective-psychological reactions by listeners (conscious or not). Sound design is both a technologicaland a creative challenge related to the sound designer's ability to create the right sound, in the right place, at the right time, in the right way, knowing the objective and subjective categories of human auditory perception. Objective perception refers to the physical characteristics of sound and the studiеs indicate its sound qualities –intensity, timbre, pitch, rhythm, tone duration and how they are transformed into subjective sensations, meanings and interpretations. The mechanisms that our brain uses in subjective perception are formulated in several concepts known as gestalt principles – originally developed in terms of visual perception, but finding an adequate equivalent in auditory perception.
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The colors in art influence through the power of the symbolism embedded in them, which in the past historical epochs was the key through which the artist has noticeably approached the spiritual, the unified and complete world. Some color values from the past are preserved for a long period of time, while others are transformed with a certain meaning in time, depending on various factors such as religion, cultural traditions, geographical location, etc. In modern times, the symbolic meaning of color is rethought with a new content, often uniting those laws that were once the basis of ancient knowledge.
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The study focuses on the matter and the nature of performance art and its unchanging basis. The basis is presented as an internal stimulus to self-presentation and the need for expression through the human body and its inherent movements. The author gives examples connected with famous world and Bulgarian performances.
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The main theme of the first movement of Concerto for Piano and Orchestra No. 1 (1956) by Dimitar Hristov (1933-2017) contains fundamental features of the composer's style developed over his 60-year career: Suggestive distribution of elements of the texture similar to roles in a dramatic work; rhetorical structure of the melodic; idea of freedom from tonality and metric; sparing construction by adding, subtracting and correcting only one tone from the opening motif; repeated repetition of a short motif with a different rhythm; embedding one's identity through musical depiction of temperament, gestures, speech, coding letters of the name, etc. The method of composition includes: borrowing classical structure and transforming it by freeing it from the conventions of era, nationality, genre, purpose, etc.; replacing the means of expression with Bulgarian national ones with a folk sound; creating distinctive compositional approaches, devices and forms.
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