Around the Bloc: Sarajevo Museum Puts a Fresh Perspective on Traumatic War
New attraction is not so much an exhibition of past ordeals as an evocation of the power of a child’s imagination.
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New attraction is not so much an exhibition of past ordeals as an evocation of the power of a child’s imagination.
More...Do wybuchu II wojny światowej – część druga
At the time of sound film (to the outbreak of the 2nd World War), Polish historical themes appeared in several German, French, Austrian and American feature films. Especially Germans involved in filmmaking were interested in the issues of Polish history, particularly at the time of the Third Reich, when the cinema was controlled by the government. Temporary thaw in Polish-German relations brought some film productions favourable to the Poles and their fight for freedom. Engineered by the authorities, some were even a co-production as a result of negotiations, ase.g. August der Starke (1936). The analysis of historical Polish themes in the American and European cinema shows close relation between cinema and national literary and artistic tradition of the time. It was a general rule that subsequent transformations of popular themes were appearing, along with changing meansof expression and technical capabilities. In that tradition Polish themes were rare and not many of them could be found in plots of contemporary historical films. Apart from that, common historical memorials” turned the attention of filmmakers to Polish themes, i.e. moments when Polish history crossed with their own historical events. In other cases it could have been some direct incentives from the part of the totalitarian authorities willing to show good relations with Poland or, for instance, to justify the occupation of its territory. In that “nationalized” cinema, which needed legitimisation of its propaganda, a strategy of “factual camouflage” appeared – borrowing of historical props (e.g. the crown of Charles the Great), hiring consultants, etc.
More...Where Sex and Memory Intertwine
This paper analyses pornographic representations of sex and attitudes with respect to homosexuality in Game of Thrones. By relying on what Astrid Erll calls a media conscious approach to cultural memory, I hope to link the pornographic conventions used when filming sex with the memory of the civilizing mission, and the stigmatization of homosexuality with the memory of the early modern negative stereotype about the regions around the Mediterranean. In the former case I am interested in the way the film repurposes pornography in order to shed light upon the shifts in the power relations between Kahl Drogo, the Dothraki leader and Daenerys Targaryen, his wife from Westeros, while in the latter I am interested in the way homosexuality is used as a marker of difference and decadence for Doren, the extreme southern part of Westeros.
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Zdenek Lhotak is a Czech photographer, artist, and a photographic project organizer. In 1986 he won second place in the Sports category of the World Press Photo contest and holds the Qualified European Photographer title. His work now focuses on black and white and colored self-portrayal of human body. Both beauty and ugliness, the symbolism of both male and female are put in relation in his pictures. In his installations can be found humor, parody, even ironic self-reflection.
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Pavol Breier ( *1952 Bratislava) graduated from the Prague Film Academy of the Performing Arts (FAMU) is a Slovak documentary photographer. Ever since the end of the 70s he has been regularly producing cycles of photographs featuring mountain regions, concentrating thematically on the life of people in the mountains and on mountain landscapes and wildlife (cycles about Orava, the Pamirs, Himalayas, Tibet and other regions). He has often presented his work at group or solo exhibitions in Slovakia and abroad (solo exhibitions in Slovakia, the Czech Republic, France and Belgium), he is the author or co-author of a number of photographic publications (e.g. The Pamirs, The Little and White Carpathians, On the Roof of the World, The world of Tibetan Buddhism, Labrang: The Universe of a Tibetan Monastery, Shepherds). He teaches photography at the Pan European University and at Comenius University in Bratislava, Slovakia.
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S fotografiou sa môj život spája u ž nieko ľko rokov. Aktívnej šie som sa ňou za čala zaobera ť po čas strednej školy, kde som si ju vybrala ako odbor môjho štúdia. Nadobudla som tam mnoho teoretick ých poznatkov, ktoré mi ukázali rôzne mo žnosti jej vyu žitia. Uvedomila som si jej potenciál - moc - ného komunika čného a vyjadrovacie - ho média. Navy še ma v ždy zaujímal dosah tak ýchto médií na spolo čnos ť v šeobecne.
More...Vasile Alecsandri - ein Vergessener? Kann man Kleintheater von Anno 1843-1870 wieder auf die Bühne bringen?
Vasile Alecsandri (1821-1890) is an established personality in the Romanian literature. Unfortunately, a great part of his work has been forgotten by the large public. This holds true also for his comedies and vaudevilles, which were extremely popular in the 19th century. This presentation proves that these comedies are not mere occasions for entertainment, but also documents on the transformations which took place in the society and mentality of Moldavia of the 19th century, especially in the world of the village. In comedies we find elements of modernisation (with its burlesque aspects): getting rid of the old elites, the emancipation of peasants and gipsies, the coming in of some professional minorities from abroad. Like in towns, especially in Iasi, the capital of Moldavia, in villages too a multiethnic and multilingual society was born. This is evident in the intermingled arias and dialogues from Alecsandri's plays. They are written in Romanian, Greek, French, German, Turkish, Russian, Armenian and in Romanes. Making use of these languages or only of fragments written in them proves both their being known partially by the population in the Moldavian villages and also the peaceful cohabitation of Moldavians with the old and new ethnic groups. In his comedies, Alecsandri offered a model of peaceful cohabitation of various ethnic groups in the Moldavian villages, which did not exclude the caricatures proper to the literary species of comedy and to their characteristic personages. In this multilingual society, which was lively and active, in which tolerance is predominant, Alecsandri's plays remain of contemporary relevance.
More...Die Repolitisierung des Theaters. Das Dokumentarische als Erinnerungsstrategie im rumänischen Theater
The analysis focuses on contemporary Romanian political theatre exemplified by two plays: “Tipografic Majuscul” by Gianina Cărbunariu and “Capete infierbântate” by Mihaela Michailov. The two authors and directors make part of a young generation that revitalized the Romanian theatrical landscape in general and political theatre in particular. They work as a collective and critically treat political, social and historical topics. The analysed plays take a look back on events of the recent past that have long been a taboo and which they approach in the form of a political documentary theater. But they do not intend to only document the past, but they seek to play an active part in shaping the present and the future through their plays.
More...Peca Ștefans interaktives Theaterexperiment. Das Theater als Diskussionsforum globaler Fragen
The research-play The Clock Is Ticking. 60 Minutes Older of the Romanian playwright Peca Ștefan, integrated in the so called two-year project „The Art of Age!(i)ng”, ended with its presentation at the 1st European Theatre and Science Festival in Timișoara (16–19 April 2015). The aim of the creative research was to question the ways in which people „age”, but also to underline the importance of the theatre as a forum where essential actual questions are put on stage in form of a debate between plawright, stage director, actors and audience. Peca Ștefan’s intensive investigative research, consisting in interviews with people from two cities, Timișoara and Karlsruhe, both being linked as partner-cities on political, social and cultural level, resulted in an interactive theatrical experiment, interpreted by a mixed cast of two theatres (Teatrul Național Timișoara și Baadisches Staatstheater Karlsruhe) in Romanian, German and English language. A comedy featuring four actors, two German and two Romanian performers, inquire through unexpected dialogue, spoken and sung parts diverse questions. Nine self-contained scenes of the written text wait to be interpreted by the four protagonists, while the audience is asked from the beginning to vote which scene to be played, and thus they generate the flow of the performance. Three questions with three multiple-choice answers determine the structure of the interactive theatrical experiment. Thus the audience becomes a co-participant in the process of consuming 60 minutes of life - a perishable meditation on life, time passing and especially ageing.
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The article is seeing as being build the cultprosvetrabota for the prewar years in Kyrgyzstan. It was the great time for many urban and rural clubs, which at-tached to the creativity of the population have become a solid foundation for fu-ture theater staffs.At the end of the 1930s, Philharmonic and 16 theaters were already actively functioning in the Soviet Kyrgyzstan. They worked in different fields: cities and regional level, state and collective farms. They staged their productions in three languages: Kyrgyz, Russian and Uzbek. The regular holding of parades and cre-ative competitions boosted artistic level of performances, mastery of artists expanding the repertoire theaters.The most important step in the preparation of national professionals was opening of musical, artistic, musical and choreographic schools, choreographic studio in the capital of republic. For the prewar years markedly increased choreographic art of Kyrgyz groups. The clear evidence was the Kirgiz musical perfor-mance of classical choreography “Cholppelia”, “Rivals” and the first national ballet “Anar” in the Kyrgyz Ballet Theatre.The Kyrgyz ballet “Evening of Ballet” included some of the compositions of the Kyrgyz and the other nations dances, few classic passages of Russian and foreign authors.Russian choreographers Holfin N. Kozlov, composers V. Vlasov and Fere, painters J. Shtoffer producers Vasiliev, K. Dzhantoshev and many more actively worked on Kyrgyz scene. The skills of Kyrgyz ballet and opera artists A. Umet-baeva, A. Moldobaeva, K. Niyazalieva, M. Ryskulov, and A. Mamakeeva continu-ously improved.
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The article deals with the fate of Polish cultural heritages in Eastern Borderlands from the establishment of Ukrainian Soviet Socialist Republic in December 1922, to its collapse in December 1991. The first part of the article ends at 1945 (end of Second World War). Under international law in relation to Soviet Russia and Ukraine the issues of repatriation and revindication – after the war in 1920 – was normalized by 11 Article of the Treaty of Riga (18 March 1921) with executive instructions. Lithuanian Metrica, however, did not return to Warsaw, but remained in Moscow, while the Polish side received a summary of the Metrics Lithuania (made in the years 1747– –1750 in the royal Office) held by the former Chief of Staff Library in Leningrad.On September 17, 1939 Soviet invasion completely surprised Polish authori-ties, evacuation plans did not provide for such an eventuality. Ukrainian SSR au-thorities took control not only of museums, archives and libraries in the areas oc-cupied by the Red Army, but also have taken over the Polish heritage evacuated to the area before and during the war with the Third Reich. Quite often Polonica were destroyed or put to scrap paper.The German occupation in the Eastern Borderlands of the Second Republic lasted from 22 June 1941 until the summer of 1944. At that time – in fear of the approaching Red Army – the German occupation authorities started the evacua-tion of Polish cultural goods to Krakow and Silesia.Along with the Red Army returned the Soviet authorities. In Lvov organiza-tional state of archives, libraries and museums of 1941 was restored. Many Poles were released from positions in these institutions, and the newly appointed direc-tors were reluctant to refer to anything associated with Poland. In the years 1944– –1945 all cultural goods in areas beyond the Bug River – after numerous robber-ies carried out by the Red Army – went to the central or regional USSR archives or museums.Polish preparations for the restitution of cultural property continued through-out the war. Office of Cultural Losses Revindication was formed in the Ministry of Congress Works of Polish government in exile. It was directed by Charles Es-treicher Jr. (1906–1984), who managed to get to France and, at the beginning of 1940, formed the nucleus of the Office of Cultural Losses Revindication under the Ministry of Information and Documentation. It gathered information from ar-chivists, museum curators and librarians from the occupied country and trans-ferred them to the Central Institute of Art and Design at the National Gallery in London – formed by Polish initiative in 1941. In the spring of 1944 Poland was the only country that had prepared the materials and developed methods in the field of revindication. In 1945 in Warsaw Office of War Revindication and Compensation was established in the Ministries of Education and of Culture and the Arts, with Karol Estreicher Jr. as their expert.
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Minionej jesieni na YouTube zaroiło się od filmów poświęconych fotografiom, a czasem materiałom wideo, „których być nie powinno”. Są zatytułowane dokładnie tak albo podobnie. Internauci — bo są to zazwyczaj produkcje amatorskie — zestawiają w kilkuminutowych felietonach zdjęcia, które ich zdaniem nie zgadzają się z naszym obrazem rzeczywistości.
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The Jazz Singer (1927), a film based on Samson Raphaelson’s short story, “The Day of Atonement,” published in 1922, and inspired by the life of one of the most successful twentieth century Jewish actors, Al Jolson, played an important role in the film industry, as it anticipated the end of the silent film era, and it also managed to offer a closer look at the atmosphere of the Jewish American life, illustrating the main issues that the Jewish American families had to deal with at the beginning of the twentieth century. Later on, three more films were made, and they adapted the original story to the realities of the periods when they were shot, the 1950s, and the 1980s, respectively. The aim of this paper is to highlight the way in which the film industry addressed intergenerational dynamics in Jewish American families during the 1920s and the 1980s, respectively, by comparing and analyzing the original Jazz Singer (1927) and its 1980 remake, with respect to the arising conflict between tradition and ambition, to identity issues, and to the relations established between family members, in conversation with critical sources by Vincent Brook, Joel Rosenberg, and Stephen Whitfield.
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Marianne Csáky in Conversation with Tamás Hofer. Cultural anthropology was one of the disciplines introduced with the support of the Soros Foundation as part of the educational reforms at the Eötvös Loránd University in the fall of 1990. Tamás Hofer is one of the professors teaching at the program, which has proved immensely popular, drawing between one and two hundred freshman applicants each year.
More...Un Shakespeare german în Franţa: opinii în presa germană şi franceză despre Othello şi Măsură pentru Măsură în viziunea scenică a lui Thomas Ostermeier
The paper compares German and French press reviews of two productions by the German director Thomas Ostermeier. It deals with his stagings of William Shakespeare’s Othello (2010) and Measure for Measure (2011), which were shown both in Germany and France. Reactions in these countries differed widely and the paper endeavours to explain these differences.
More...Ein deutscher Shakespeare in Frankreich: deutsche und französische Pressestimmen zu Thomas Ostermeiers Othello und Maß für Maß-Inszenierungen
The paper compares German and French press reviews of two productions by the German director Thomas Ostermeier. It deals with his stagings of William Shakespeare’s Othello (2010) and Measure for Measure (2011), which were shown both in Germany and France. Reactions in these countries differed widely and the paper endeavours to explain these differences.
More...Jean Anouilhs Theater im Lichte unserer Erfahrung
The paper deals with the plays Colombe and Le Nombril by the French playwright and director Jean Anouilh (1910-1987) and their stagings at the Comédie des Champs-Elysées by Michel Fagadau (2010 and 2011 respectively) on the occasion of the 100th birthday of the author. Anouilh’s place in French theatre history is briefly described and the question raised what plays can be of interest to a contemporary audience.
More...Teatrul poetic al lui H. C. Artmann
The Austrian author H. C. Artmann is wellknown for his exotic texts and especially for his puns of words. The present study explores the dramatic texts, the so called “poetic theatre” that had been analysed very seldom. Artmann's theatre is due to its structure and items very close to the baroque literature, but has also similarities with surrealism and dadaism. The grotesque situations, present in his plays, can be identified as fantasy-plays, placed in exotic locations, with protagonists coming from the traditional theatre as Columbina or Pierrot, real persons as Lincoln or Jules Vernes, or fiction as Donald Duck or Dracula. The „poetic theatre“ is characterized by the mingling of different traditional poetic techniques with new elements, created by the author with the aim to find new ways of artistic expression.
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