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This text evokes the school bench from „The Dead Class” by referring it directly to the Holocaust of the Jewish pupils of the secondary school in Tarnów, attended by Tadeusz Kantor. It also discloses similarity to a vision in a story by Jan Bielatowicz, another graduate of this school. The author interprets Kantor’s object via an impasse in the representation of the “absence of the absent”, with the saved depicted as the accused. Following this approach, the author initially outlines within Kantor’soeuvrea map of the “towns of death” connected with the Holocaust.
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The article discusses the border-like object in the theatrical world of Tadeusz Kantor while going on the assumption that such objects divided the world into two spaces and are situated between reality and the imagination. They include funereal objects that conceal and camouflage death and tell about life after death as well as semiotically ambiguous objects possessing an obverse and a reverse. By applying the reflections of anthropologists of death and the image – Jean-Didier Urbain, hans Belting or Alfons di Noli – the author evoked examples of such objects and their role in the Theatre of Love and Death.Among Kantor’s border-like objects (door, window, photograph, ladder, grave, and coffin) the grave, conceived as the artist’s most representative object, and the window, envisaged as a medial one, were selected for particular analysis. The presented reflections demonstrate that in Kantor’s theatre border-like objects deprived death of its power to destroy the continuum and granted a conviction that there exists another side of reality by becoming a visible sign of life after death. In doing so, they provided a feeling of creating eternity in mortality.
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An introduction to the English edition of Wielopole, Wielopole (Tadeusz Kantor, Wielopole, Wielopole, ed. by G. M. hyde, trans. by Mariusz Tchorek, London: Marion Boyars, 1990).
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This interview with Katy Bentall, widow of Mariusz Tchorek, contains several motifs generated by the situation in which the conversation took place, namely, while examining the archive of Mariusz Tchorek, which Katy Bentall created and placed in the former studio of Karol Tchorek, father of Mariusz. Its common axis is a translation of Wielopole, Wielopole, a task that took Mariusz Tchorek almost ten years. One of the discoveries made in Tchorek’s archive is a letter addressed by Tadeusz Kantor to Mariusz Tchorek, in which the former described his first inspirations for creating this particular play. Another essential motif involves the life and works of Mariusz Tchorek, art theoretician, translator, and therapist.
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Top Russian politicians cry foul after Ukrainian singer takes home top prize at Eurovision.
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Symbolic concert honors victims of terrorism, as Russian and Syrian dignitaries look on.
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One of the last projects of the late architect Zaha Hadid is a big step closer to reality.
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The transformation of a Soviet-era airbase into an ethnographic museum has been controversial, but just won international recognition for its innovative and environmentally friendly design.
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The Pristina-based group Gipsy Groove is more than just about music.
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Repertoire choices are a time machine of a kind, making actual texts from the past and in the process, making current images, stylistics, and language registers. This paper seeks to answer as to which of the historical layers were revived by Bulgarian theatres’ repertoires after 1989. The anthropological interest in the remote past and in the primitive authentic culture gave birth to memorable Bulgarian stagings. It was a strong trend, and typical too, of the auteur director’s theatre, especially of the 1990s. The interest in the Bulgarian classics and playwrights such as Vazov, Strashimirov, Todorov, Yavorov, Yovkov persisted. Some of the productions based on plays by these playwrights discovered more universal intuitions, contained in their plays, bringing them out of the readings closed within the regional/national contexts. Of the period of Socialist Realism survived the plays that have been composed outside the ideological clichés: these by Radichkov, the children’s plays by Valeri Petrov, some of the dramatic works by K. Iliev, B. Papazov, St. Stratiev, St. Tsanev. The basic line discernible in the repertoire choices of plays from the shelves in the virtual library of Bulgarian dramatic works was that of opting for texts highlighting Bulgarian identity. All the plays, The Outcasts after Ivan Vazov, Yovkov’s Albema, Radichkov’s Lazarus Up a Tree and Nirvana by K. Iliev, though so different from one another, were interpreted in the same vein. They were used to reconstruct the lost story of Bulgarian community.
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All stories are told, now it’s important, how do we tell it – that’s what contemporary writers believe, experimenting with form and style of writing. In 1986 written play “Me, Feuerbach” by T. Dorst and U. Ehler-Dorst tells a biographic story of one actor, but writers have chosen an interesting non-linear storytelling, using various tools for expressing the narrative. That’s why the aim of paper ‘Narrative Travelling Through Time at Play‘me, Feuerbach’’ is to examine and create theoretical approaches towards analysing the time of drama. According to G. Genette, three layers of time collide in every storytelling: story (the events that are recounted), narration itself (either written or oral discourse through which the events are presented), narrative action, or narratives (the creation of the discourse being narrated wherein the storytelling is presented). Narratologists analysing prose state that not in every narration can one record the act of tell-ability (it is most often implied); therefore, in conducting the time analysis, based on G. Genette’s narratology, it is proposed to investigate the relationship between two layers – story (the events that are narrated) and narration (allocation of events in a text). Suspending certain information that is closely entwined with the reader’s / the audience’s attitude towards a character, actor Feuerbach manipulates not so much the character (he is also of the narrators), but the perceiver – certain items of information are concealed from and revealed to him which help to maintain and enhance the intrigue. One refers to the shifting of time in a play's narrative so as to the character’s state of mind. That’s why a deeper methodological glimpse will be used to analyse the play “Me, Feuerbach” through the glasses of narratology, applying theory of analepsis, prolepsisand elipsis.
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This article is an in-depth study of an understudied aspect of the artistic out- put of eminent Bulgarian painter Ivan Penkov (1897–1957), i.e. his work as a designer of theatrical scenery and costumes at the National Theatre and Theatre Studia in the 1920s in Sofia. my work on this aspect of his oeuvre and career included research conducted in museums and art galleries across Bulgaria such as the National Art Gallery, Sofia Art Gallery, Kazanluk Art Gallery and Stara Zagora Art Gallery as well as a number of private collections and archives, mostly the painter’s archive kept by his heirs and that of the National Theatre. In this context, the archive of Christan Tsankov, kept at the Central State Archives, is of paramount significance providing a number of documents, sketches of sets, reviews and photos of performances designed by Ivan Penkov. The work of Ivan Penkov at these two Sofia theatres is treated in this article as closely related to the innovative processes within the 1920s Bulgarian theatre, influenced by advanced European theatres and mostly, by the innovative ideas of Reinhard and Meyerhold. Graduating from the Royal Academy of Arts in Munich, Ivan Penkov was very well acquainted with the existing art trends in drama. Thus what is witnessed in the 1920s scenographic work of Ivan Penkov is on the one hand interweaving of Symbolist concepts with the concepts of Sezession and on the other hand, expression of constructive scenographic solutions and artistic laconism, while in the late 1920s, the decorative stylised trends subsided gradually in his work as a whole and in his scenographic solutions in particular. In the 1930s, Constructivism got the upper hand and prevailed as an art movement in the scenographic work of Ivan Penkov.
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The article outlines and comments on the dramaturgical style and theatrical aesthetics of one of the most topical, radical and prolific playwrights and directors in Germany. It highlights the grounds and the manner of problematizing and the critical use of the form of drama in his theatrical texts. The latter is defined as a keynote anti-dramatic theatre, ceaselessly questioning drama conventions and functioning beyond the principles of the objective-mimetic theatricality. The article dwells on the definition of the aesthetics of the dramaturgy and the stagings by René Pollesch (almost exclusively of his own works) such as ‘pop’ or ‘discursive theatre’. An important particularity of his theatrical texts lies in that they are subject to a specific scenic concept, reaching their final version in close cooperation with the actors, with a view to whom they have often been composed. At times their own names are used or fictionalised roles are assigned to them. They are unalterably acting as ‘speaking heads, extreme talking machines’, who, lingering over philosophical theses, theoretical articulations, are hysterically attempting to reflect on the conditions of their existence; the mechanism of building a subject in the context they are thematising, the theatrical situation they are producing. The assumption that René Pollesch’s theatre is a kind of a gesture of desperation at the complexity of the contemporary world and at the ignorance of coping with the problems faced by each individual, is treated in such a context. Using the dramaturgical analysis of René Pollesch’s Cappuccetto Rosso, the article explores the underlying idea of drama and of strategies of transforming the form of drama.
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The study seeks to analyse the criteria applied by theatre reviewers regarding set design in the period from the end of World War Two until 1968. It was a time when a number of specialised articles was published searching to both rehabilitate the innovative movements that have established themselves in the pre-war period and to familiarize readers with the specifics of stage design. The author refers to a number of thematically grouped works of the day; reviews on certain productions, where the reviewers give their opinions about the set design; reviews commenting on productions through the stenographic solutions alone; overviews of exhibitions and/or fairs of set design; works, both Bulgarian and foreign, on scenic techniques and their historical development and of course, keynote articles evaluating the development of Bulgarian set design. The study deals also with some of the most intriguing productions of the National Theatre such as The Young Guard (1947), Toward the Abyss (1958), The Living Corpse (1962), etc. It was about these scenic solutions that reviewers saw themselves forced to abandon their traditional succinct notes on stage design and focus their analyses on the visual aspects of the productions.
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The paper is part of a study by the same author dealing with the earliest Bulgarian musical films produced by the authorities under communism. Made in 1970, Rangel Vulchanov’s musical based on a romantic-adventurous plot and abounding in songs and dances (music by Ivan Staykov, choreography by Bogdan Kovachev) was promoted by the media as the first Bulgarian musical feature film. Indeed, the impulse to flee the conventional everyday grind can be traced at all levels of the production: from the building of the storyline and the active plot to the cinematic rationalisation of individual episodes and scenes including songs, actor’s gesture and plasticity, various ensemble dances with a stylish choreographic solution. In a general sense though, the keyword flight predetermines entirely the behaviour of a couple of romantic characters in the context of the comically covert conflict between the individual and the society: their attempt at ‘purification’ through another kind of communication in the non-urban scenery on the banks of the Ropotamo. Ivan Staykov’s music was composed mainly in the vein of the festival Bulgarian pop songs of the 1960s and the 1970s, applying the principle of improvisational variations (especially in the parts of purely orchestral episodes or offscreen reminiscences, related to various situations. Furthermore, variation is the general compositional approach adopted in the cinematic rationalisation of the songs, where each further repetition relies not only on typical emotional nuances in the arrangement but also on respective changes in the meaning of the lyrics, rendering them the necessary association with certain screen representation. The most memorable in this respect are the variations of the leit- theme ‘Moments come unexpectedly...’ (lyrics by Rangel Vulchanov and Ivan Staykov), performing also the function of a musical envelope. The same is true of the love ballad/duet The Two Banks (lyrics by Marko Ganchev), which at the time topped the charts.
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