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The topic of the paper observes processes in Bulgarian theatrical life and especially – the metamorphosis of the stage language. One significant focus in the paper is to define the main characteristics in the text – performance relationship through the stage realization of dramaturgical, collage, scenario, documentary texts, born in the course of the performance through the period. The paper will present the influence of all stage repertoire and cultural policies. It is even more important that the opportunity for the stage performance of the created texts also increases at the period, as repertory theaters, alternative spaces, national and international festivals and forums change their cultural policies during the period. The goals of such a paper are to focus attention more onto the altering forms of theater realized on stage in Bulgaria or in another specific space, based on dramatic text, performance, and documentary and devising theatre by Bulgarian authors from the beginning of the 21st century until the end of 2022.
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The dynamics of social, cultural and technological processes induce significant changes in the conservative Bulgarian animation practice. There has been a strengthening of the producercentred approach in a number of successful models that have changed the paradigm of authorship in cinema. From an individual and one-off act of creation, this process is transformed into the con-stant search, stimulation and dialogue with the audience. The producer establishes himself as a key figure responsible for the process of globalization and transmedia transformation of the individual work in search of its specific audience. This opens up previously non-existent horizons for Bulgarian animation. The professional approach to production creates the conditions for the metamorphosis of Bulgarian animation from a marginal and encapsulated creative activity to a national creative industry integrated into the European cultural exchange.
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The text analyses the differences between film and TV serial adaptations; their various artistic approaches, as well as the distinction between international and Bulgarian examples. The metamorphoses of Bulgarian TV adaptation are studied through the breaking down of the plot of the Bulgarian historical TV series War of Letters, 2023, adapted from the novel by Ludmila Filipova.
More...Laczó Júliával Kovács Kinga beszélgetett
Júlia Laczó has two seemingly different professions. Besides her acting career, since 2013, she has been working also as a chef. She could be seen cooking on various occasions, in performances and joint events. Kinga Kovács was also curious to know how these two professions work together, how permeable the boundaries are between them, and what experience can be transferred from one to the other.
More...Szántusz Noémivel (Noyával) Kedves Kriszta beszélgetett
This interview introduces Noémi Noya Szántusz, performer and actor, with whom Kriszta Kedves initiated a discussion primarily focusing on her performance entitled A Nagy Kacsashow (The Big Duck Show). However, Noya’s academic journey, her current performances and future plans are also discussed in the interview.
More...Büféfelhozatal a romániai magyar színházakban
Let us introduce our theatre buffets. We made a survey among the Hungarian theatre companies in Romania asking a few questions about what employees and theatre-goers can quench their thirst or appetite with, in addition to the intellectual nourishment provided by theatre performances.
More...14. dráMA – kortárs színházi találkozó, Udvarhely
Orsolya Marton reports on the 14th dráMA festival, which, in keeping with its mission, aims to draw attention to the staging of contemporary texts often overshadowed in repertoires by the representations of classics. This year, the motto “Home... are you?!” was the common theme of the performances, which mostly focused on belonging and the need for community. Over 6 days, festival-goers had the opportunity to see 13 main stage, studio or pub theatre performances, followed again by professional discussions this year.
More...8. Lurkó Gyermek- és Ifjúsági Színházi Találkozó
The 8th Children’s and Youth Theatre Meeting “Lurkó” was organised again last year after a gap of several years. This year, the first part of the 8th edition of the “Lurkó” Festival, held in September, was aimed to appeal to teenagers. The report by Kincső Szakács analyses the productions seen, grouping them in three unequal, subjective categories: classroom performances, educational performances and the stand-alone musical standup entitled 1v1.
More...VI. Fux Feszt – Erdélyi Magyar Hivatásos Bábszínházak Fesztiválja, Nagyvárad
Every two years, the Lilliput Company of the Szigligeti Theatre in Oradea organises the Festival of Transylvanian Hungarian Professional Puppet Theatres bearing the name Fux Fest. The festival, which took place for the sixth time between 7 and 13 October 2023, included performances with various techniques and themes. Zsuzsanna István interprets them according to four criteria: musicality, the staging of old and new tales, the appeal to teenagers and interactivity.
More...Alter-Ego Nemzetközi Színházi Fesztivál, Szófia, Bulgária
The “Alter-Ego” Theatre Festival, having a fifteen-year long history in Sofia, welcomes primarily non-verbal or English-language productions from all over the world. Leonidasz Purosz spent two months in Bulgaria as a volunteer for the organiser, the Alma Alter Theatre Workshop, and, in addition to his organisational duties, wrote reviews of all ten performances participating in the festival.
More...Nemzetiségi Színházi Kollokvium, csíkszeredai szakasz
This year, the Figura Studio Theatre of Gheorgheni organised the 14th edition of the Colloquium of National Minorities’ Theatres between 18 and 31 October 2023. Katalin Gyürky visited one of the “outsourced” venues of the festival in Miercurea Ciuc, and reports on four productions that may at first seem disparate in style and genre, but prove to be interlinkable in many ways.
More...Az aranyórán túl. A Reactor Alkotói és Kísérleti Egyesület, valamint a Váróterem Projekt koprodukciója, Kolozsvár
Beyond the Golden Hour, a new piece in the series of Transylvanian theatre productions that explore Hungarian-Romanian relations after the regime change, is not the first, nor the last theatre project that dissects the issue of Hungarian and Romanian national identity. Tünde Kocsis considers this a timely topic since, in her view, there is hardly any adult in our world, regardless of nationality, who has not experienced the fears associated with belonging to a minority.
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In this study, depictions of two races, shaped as dog-headed people and soft-legged people, lived on Sagsar Island in some Arabic, Persian and Turkish copies of a cosmographic and geographic work Ajā’ib Al-Makhlūqāt wa Gharā’ib Al-Mawjūdāt by Qazwīnī (d. 1283) from different periods in domestic and foreign libraries are researched. In this context, it is understood that the creature of mixed races from humans and animals was one of the most prevalent monster species in the literature of the Middle Ages. Especially among them, the dog-headed creature named Cynocephalus is identified as one of the most extensively mentioned exotic human races. Discussions about this subject frequently by travelers like Marco Polo and Ibn Battuta in their travel books refer that odd creatures aroused how much interest colloquially. According to these travelers, the dog-headed people who lived on one of the islands of the Indian Ocean were wild, assailant, cannibal and naked creatures. In the second article of Ajā’ib Al-Makhlūqāt wa Gharā’ib AlMawjūdāt which includes four introductions, two articles and an epilogue, respectively, the sphere of fire, atmosphere, hydrosphere and the earth are presented with detailed informations about people living in various islands, sea animals, mountains, rivers, springs, wells, mines, stones, trees, plants, men and women, djinns and animals. Stories about two different races called the dog-headed people and the soft-legged people from Sagsar Island in the sea of Zanj, are mentioned in the sublunar sphere-themed second article of the work. Information and depictions about the people of the Sagsar Island are found in the Jazirah al-Sagsar section under the Bahr al-Zanj (Sea of Zanj) title in a great deal of copies of the work. But in some copies, there is information about these people living on two different islands named Sagsar and Duvalpa. Besides, the dogheaded people living in Crystal Kiosk, visited by Zulqarnain with his soldiers, are mentioned in the Jazirah al-Qasr (Kiosk Island) section under Bahr al-Hind (Indian Sea) title in the second article of the work
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The Gothic churches in Zolná and Horné Jaseno are among the medieval rural sacral buildings in two nearby regions – in Zvolen Hollow Basin and Turiec Hollow Basin, which are often considered to be architectural or art historian circles regions. The architecture of both churches remained somewhat in the shadow of their wall paintings or the problems of monument restoration. The research so far records the basic architectural contexts as well as the fact that they are characterized by certain common features. However, a deeper analysis is lacking and the dating of both buildings is ambiguous, ranging from the second half of the 13th century to the beginning of the 14th century. The church in Zolná is indeed one of the valuable examples of medieval sacral buildings, for which we have available written sources illuminating their origin. Paradoxically, however, this does not make the interpretation of architecture easier, but puts us in front of a methodological problem, whether we prefer the statement of building forms or documents. The purpose of the following post is a more detailed analysis of this problem.
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Environmental factors in workspaces affect employee productivity and satisfaction, particularly in call centres. One of the most challenging issues in contemporary offices is overcoming the problems of concentration on work, despite adverse effects such as insufficient lighting, inappropriate acoustics, or inadequate ventilation. The challenges increase in open-plan solutions. This paper presents a case study from Turkey that elaborates on strategies to improve environmental performance in call centres. It is inspired by a questionnaire conducted among employees of a call centre, identifying existing design lacks. Based on the results, acoustic quality calculations of the physical workspace follow, and initial computing outcomes reveal that the conditions do not meet the standards for call centres. The authors propose strategies to improve acoustic performance in the workspace and apply them to a virtual model. Results reveal that the proposed solutions allow for meeting the standards. Based on the findings, the authors suggest several other strategies for improving the physical environmental quality of the place, thus forming a guideline for the architectural design of call centres. The study derives information from a specific case and context to propose universally applicable solutions. It fills a gap in the literature as it exemplifies the characteristics of call centres in Turkey, which have not been studied before.
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Only few studies consider characterizing the coopetition formation stage, especially from the perspective of cultural institutions. A review of the literature, as well as observation of the functioning of cultural institutions in economic practice, allows us to notice the dichotomy of coopetition strategies, expressed in the simultaneous establishment of coopetition relationships by a given institution in both an emerging and intentional way. This article focuses on mechanisms of setting the intentional and emergent coopetition strategy on the example of cultural institutions (the coopetition strategy is considered here at the interorganizational level). Mechanisms are understood in this paper as causal pathways to the emergence of motivation to coopetition. The article is conceptual in nature and is based on a narrative approach to the literature review within strategic management. As its main contribution, this paper offers conceptualization of the mechanisms of setting the intentional and emergent coopetition strategy on the example of cultural institutions, which are examples of public and non-profit organizations.
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