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The text summarizes major trends in interpreting Othello, and then shows a possible new angle to it, by applying findings from E. M. W. Tillyard's study The Elizabethan World Picture.
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Theater is the one of the oldest arts. With the advancement of technology at the end of the 19th century, theatrical art gained its antipode - film art, which strives to take over theatrical achievements and certain already learned principles. The initial hypothesis of the work is that although the basis are similar, theater and film, along with different directions of development and the technology on which they are based, have developed different spatial and acting solutions that lead to different artistic results. The key research question is how and which elements of theater directing get a different implementation on film. The aim of the paper is to determine which approaches in the theatrical solution of space get a reduced form in the film and which are not only technical, but also of an acting nature. The examination is performed using various methodological apparatuses, primarily historiographical and comparative analysis.
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This essay examines the ways in which Adina Pintilie’s 2018 film Touch Me Not contains a critique of ableism or compulsory able-bodiedness. Placing the film in a larger, generative context of global disability culture, or crip worldmaking, the essay also provides a close reading of the role of disability activist Christian Bayerlein in it. The central figures in Touch Me Not, until the end, largely represent a discomfort with their own bodies and intimacy. Bayerlein, in contrast, explicitly rejects such discomfort and articulates a love for his own body and for sexuality that ultimately serves as a model for other figures in the film. The idea “you are another me” runs throughout Pintilie’s work, and this essay suggests that this phrase should be read in a way that affirms difference: you are another me but we are also different from each other, and the differences between us should be celebrated and might in fact be understood as pleasurable.
More...A Dialogue from and within a Unique Urban Context
The Venice Biennale is arguably the world’s most important art exhibition, with the 2022 edition attracting over 800,000 visitors. The rich artistic offer of the event stands against the backdrop of a UNESCO World Heritage city whose historical, cultural and artistic values are both its blessing and its curse—a place like no other, where the murmur of water echoing along the canals is often drowned by the sound of swarms of tourists, much to the despair of locals, who are driven to leave their city. How does an event like the Biennale juxtapose with such a setting? To what extent, considering its environment (or not), does it become a form of cultural heritage in itself? How does it address the tension between the attempt to capture the essence of relevant contemporary social issues and the duty to upkeep a certain legacy? And how could this reflect on the city, its heritage or its inhabitants? This paper aims to open a discussion at the intersection of cultural heritage and arts.
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Interview with Professor Liviu Lucaci by Mihaela Beţiu;
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In a comparative analysis of Moliere's Tartuffe and Shakespeare's Measure for Measure, the author examines the elements of plot composition, showing that writers use different motivational procedures to explain the relationships between dramatic characters. In other words, the motivation comes from scenic, theatrical reasons, and not from the logic of dramatic actions. The common denominator for both dramatic texts is the deus ex machina, the solution that brings the end of the theatrical play to the expected, but no doubt, to "lame happy ending" that, according to the established custom, belongs to comedy.
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¿Cómo se vinculan los lenguajes gastronómicos a las estéticas y procesos creativos del arte, sus elementos simbólicos, expresivos y comunicativos, a partir de las interrelaciones poiéticas de actores y gestores del circuito gastrocultural de Bogotá? Esta pregunta estima los siguientes propósitos investigativos: a) identificar un corpus epistemológico - metodológico para la exégesis de los procesos creativos asociados al arte – alimento en gastronomía; b) analizar la relación arte, gastronomía y diseño a partir de procesos creativos donde convergen arte - alimento como elemento para la construcción de nuevos lenguajes gastronómicos; y c) mapear los procesos artísticos asociados al arte – alimento en el contexto de actores y gestores del circuito gastronómico de Bogotá. El carácter cualitativo de la investigación denota un enfoque de interaccionismo simbólico apoyado en las técnicas de entrevista, cartografía social y grupo focal y sus consiguientes instrumentos: guía de entrevista y grupo focal y mapas sociales. La población que se abarca corresponde a actores y gestores del circuito gastrocultural de Bogotá representado en los siguientes territorios: Zona G, Zona C, Zona T, el entorno de la Plaza de Usaquén; y la Zona M, a la cual se aplican (3) tipos de muestreo: voluntario, de conveniencia y por oportunidad equivalente a un total de (40) personas. Los resultados esperados se condensan en la gestión de: a) espacios artísticos - culturales que promuevan experiencias dialécticas en torno al alimento como objeto de reflexión y pensamiento crítico; b) escenarios dialógicos transdisciplinares que repercutan en el contexto cultural de los sectores intervenidos; y c) un horizonte potencial para el desarrollo de estrategias formativas enfocadas hacia disciplinas emergentes Food Design, Food Art y “puestas en escena gastronómica”. En conclusión, esta investigación, permitirá la generación de nuevo conocimiento en torno al arte – alimento a partir de la consolidación de un escenario estético – expresivo de la gastronomía como transdisciplina.
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The article examines the contemporary notion of role and acting. In contemporary theatre, actors dealing with different directing strategies tend not only to apply or to adapt but also to even deconstruct the classical acting systems of the twentieth century. Yet theoretical discourse still lacks any substantial and clear methodological analysis of these creative strategies that would allow us to clarify the contemporary notion of role and acting. The article uses the perspective of acting and memory theory to consider the interaction between the actor and the character. By analysing the well-known Polish performance (A)Pollonia (dir. Krysztof Warlikowski, Nowy Teatr, 2009), it is argued that the exposed interaction between the actor and the character has become an essential part for creating the role and for the performance itself. The intention is to show that by absorbing the elements of the Brechtian tradition, the actors reveal themselves in the role beside the character, thus expanding the structure of the character beyond the limits of its traditional form. In addition to that, of equal importance becomes the actors’ relationship with themselves, their self-consciousness and self-creation through the creation of the role.
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In this article, the object of study is the concept of the devising/devised theatre practice, which recently became a quite popular creative practice in Lithuania. Despite rising practical interest in this model, there is still a lack of research that would help to comprehend and apply it properly in practice. It has been noticed that the term ‘devising/devised theatre’ is often used to emphasise the novelty of the creative practice or the originality of the performance and it is used as a ‘catchy’ concept in contradiction to the conventional theatre practice. Moreover, the notion of devising/devised theatre is frequently perceived as a self-evident experimental practice and thus it might prevent the further development of new creative strategies and concepts. The aim of this article is to define the main principles of the devising/devised theatre practice by distinguishing the specifics of creative strategies and positions of the roles. Three main characteristics, which are the pillars of the devising theatre practice, are distinguished: (1) the structure based on a horizontal hierarchy, (2) shared authorship, and (3) dramaturgy devised during the creative process. All these characteristics are analysed in comparison with the conventional theatre practice in order to define the limits of the devising theatre practice. The attempt to identify the boundaries of this practice or its very notion should rather be perceived as a stimulation for a discussion about possible (ab)use of this term or its insufficiency than as an attempt to reveal its limitation.
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