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Стилът кежуъл е един от най-модерните съществуващи стилове, тъй като в него високата мода намира своето отражение. Той въплъщава в себе си естетика и комфорт и с това си качество натрупва световно одобрение. Чрез него едновременно оживяват практичност и комфорт, фантазия и простота, спортна линия и елегантност. За кежуъл са в сила три основни правила – простота, функционалност, универсалност. Този стил присъства в гардероба на всички независимо от професията и дейността, с която се занимават, без значение от пола и възрастта. Има няколко ключови направления в стила: Street Casual, Sport Casual и Smart Casual. Кежуъл стила дава възможност на своите почитатели да бъдат модерни, отстоявайки себе си, и без да се отказват от комфорта. Casual облеклото не е ограничено в избора на цветове, материи и силуети. Този стил е еднакво силно застъпен както в гардероба на възрастните, така и на децата
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“You saw nothing in Hiroshima. Nothing. / I saw everything. Everything” – this dialogue between the main protagonists of Alain Resnais’ film: Hiroshima Mon Amour and the book by Marguerite Duras perfectly discloses the paradox we tackle while attempting to present the unforeseeable. With the Resnais film as a point of departure the author deliberates about relations between inability and the compulsion to depict, the ways in which the cinema and photography face the tragedy of Hiroshima, as well as, predominantly, that, which images of destruction and, more generally speaking, ephemeral traces from the archive of destruction, “say” to us today, from an emotional and time distance. Does this mean that there is nothing to imagine because there is nothing – or almost nothing – to see? Certainly not – wrote Georges Didi-Huberman in Bark, an essay endeavouring to reflect on the ability (inability) to behold in Auschwitz. Are we capable today of taking yet another look at the titular piece of bark and the dust left behind by History?
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The leitmotif of this analysis of Amereida, a phenomenon recognised to be one of the most interesting in contemporary Latin American culture and identified predominantly with the avant-garde architecture of the “Valparaiso School” and the Open City, created in 1971, in which the foundation of multicultural objects is composed of poetic acts (phalànes), is a question about the part played in their emergence by a literary journey, the so-called Travesía. This journey conducted in 1965 by a group composed of ten persons was described as ”mythical”, “foundation-like” and “a new act of founding America”. The author enquires about the effectiveness of literary journeys within the domain of culture, the dependence of decolonisation upon the European heritage, and the ambivalence of utopian undertakings in the Open City at the time of the Pinochet dictatorship, as well as the limitation of media mediating in the journey (poem, diary, photograph). The framework of the reflections is composed of deliberations concerning a new deciphering of the poetics of Mallarmé, in which the restricted impact of language – comprehended as L’action restreinte – does not exclude the political qualities of poetry. Despite such an interpretation and the fact that for Amereida the oeuvre of the French poet comprised a source of essential inspiration, a juxtaposition of both utopias makes it possible to extract the principal difference in the limitations of poetic activity.
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With seven holes (perde) and nine nodes (boğum) ney carries on traditional fret movements to present. These movements are made to carry on frets to higher-pitched or lower-pitched and these movements are important for solving performance problems. Fret movement is a part of the leverage-pratice transformation progress. Therefore it’s aimed to analyze frets which constituted differences in the performance of mathematical position. First of all, ten historical neys were selected and then their fret measurements were applied on the plastical and reed materials (re-production). Thus, the relationship of the fret movements and intervals in the performance was analysed. As a result the data about the relationship of the frets movements with intervals on the performance was provided. The relationship of the fret movements with melodical distances, will be researched on this data in the article.
More...A Kortárs táncelméletek című tanulmánykötetről
Ferenc Csuszner reviews Contemporary Dance Theories (Kortárs táncelméletek) edited by Ádám Czirák. The volume published in 2013 in Budapest contains translations of studies. The texts can be ranked in the field of contemporary dance and movement, but beyond themes of the body and movement we can also meet psychological, critical behavioural as well as sociological aspects in them.
More...Ungvári Zrínyi Ildikó Képből van-e a színház teste? című könyvéhez
Katalin Deák writes about the volume published at the UArtPress publishing house of the Universiy of Arts in Tg-Mureș in 2011. In is the Body of Theatre Made of Image? (Képből van-e a színház teste?) the author, Ildikó Ungvári Zrínyi makes us practice concepts of contemporary theatre theory on contemporary performances from Transylvania. The author of the review created a YouTube channel to accompany her writing, attaching 21 videos to quotes from the book, where she asks the readers to transform their reading into a multimedia experience by posting their comments and becoming members of a collective multisensory reading.
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Csaba Székely burst into the Hungarian theatrical world a few years ago with his Mine-trilogy about the Transylvanian environment and his plays have been translated into several languages since then. His drama published in this issue, The Sand Monster (A homokszörny) steps away from the themes imposed by the environment and explores relationships between lovers, spouses, sex-partners. The order of scenes seems to follow the dramaturgy of an endless cyclic movement. Pairs of women with names of fruits and men with names of colours appear in dramatic moments that are sometimes spectacular, at other times hidden and defying silence. Whether relationships are dominated by emotion, carnality or social conditions, the feminine and masculine roles unite and separate as in a dance. The very same dance carries the sadness of relationship-paradoxes, while the carefully balanced playfulness and irony of the text keeps a distance from the characters, actually watching human nature from that distance.
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In the social gender and the concept of identity, feminism including subjects such as queer, ethnicity, racial difference, got importance especially after 1960s and with the postmodernism and has been the subject of many studies such as philosophy, sociology and art. Of course, these concepts are not new. The concept of social gender, even if it wasn’t named before, has been an issue that is explicit or implicit in the context of history, sociology, philosophy, economics, and politics, an issue whose effects and presence are experienced and discussed today as in the past. The issue of woman is the foremost one in the context of the concept of social gender. In this text, both the position of women in the field of art with the same importance and the reconstruction of social gender and the concepts of gender and the reflection of them in the contemporary art will be examined.
More...A Teatrul Companiei Socìetas Raffaello Sanzio című kötetről
Éva Patkó presents the Romanian language volume The Theatre of the Socìetas Raffaello Sanzio Company (Teatrul Companiei Socìetas Raffaello Sanzio). Answering the questions of two critics, Romeo Castellucci, Chiara Guidi and Claudia Castellucci address seven subject areas: space, dramaturgy, illusion, rehearsal, composition and the company’s future. In the volume, they refer mainly to the series of performances Tragedia Endogonidia. The book issued in Romanian in 2013 is the partial translation of an English volume published in 2007. The editor and translator is Cristina Modreanu.
More...B. Fülöp Erzsébet A színházi hermeneutika alapjai: a Gesztus mint hermeneutikai tett című könyvéről
Márta Bodó reviews the book of Tg-Mures based actor and teacher, Erzsébet B. Fülöp, entitled The Basics of Theatrical Hermeneutics: Gesture as Hermeneutical Action (A színházi hermeneutika alapjai: a Gesztus mint hermeneutikai tett). The volume begins with a general presentation of hermenutics and continues with the hermeneutical approach to the basic gesture of the actor, based on Brecht’s concept (Gestus). Further on it presents the spectator’s perspective and follows the actor’s gestures in five performances: it analyses Zsolt Bogdán’s Faust in The Tragic History of Doctor Faustus at Cluj, Judit Rezes’s role in Katona József Theatre’s Kafka adaptation, Tibor Pálffy’s performance in Othello at Sf-Gheorghe, Leander Haußmann in the Munich Romeo and Juliet, and Lear’s death gesture in Peter Brook’s production.
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Contemporary German playwright and media-artist Felicia Zeller’s Conversations with Astronauts, translated by Beáta Adorjáni, was nominated in 2011 for best new German play at the Mülheimer Theatertage. The location of Zeller’s text-event with nonlinear dramaturgy is Ditchland, the characters are Au-pairs who work there and the families who have taken them in. Playing with geographical identification, the language makes real references ambiguous, sketching the experience of foreignness, as well as the small, humiliating, ordinary situations of sub- and super-ordination. The tension of Zeller’s drama is constructed on the linguistic situation of the infantilized status of a foreign language-learner that is related to several other – cultural and economic – gestures of power. The ironic linguistic perspective, much like Elfriede Jelinek’s similar texts, also raises the problem of (self)-expression: struggling and developing, random speech opens the space for the minor characters of social discourse.
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Interpretation of the meanings and symbols used in the Reyog Ponorogo equipment has several different meanings and differences of views in the society, players, community leaders and warok. The point of view, importance and approaches used in the interpretation and meaning are the reasons for the differences. Differences of interpretation on the Reyog Ponorogo equipment due to various interests can lead to eroded cultural values and threaten national integrity. The indications that lead to the erosion and erosion of values and meanings have begun to be felt by the society, for example, the writing of REYOG in Barongan is changed to REOG for the sake of development, the use of Jathil woman in the stage is considered far from the original meaning of the role of Jathil and the claim of ownership of Reyog art by other countries is a clear proof that there is a threat to national integrity. The difference between meaning and interpretation is the basis of this research to explore the philosophy of the Reyog Ponorogo art equipment. The specific target in this research is the compilation of a philosophy book of the Reyog Ponorogo art equipment. The technique of data analysis is descriptive qualitative through processes, induction-interpretation-conceptualization, field data will be analysed by refining rough empirical material into field report, simplification of data to achieve detailed information but already focused in original expression respondents (indigenous concept) as the appearance of its emic perspective, so that what the mind has hidden behind the story of the respondent (interpretation) and finally a concept can be found. The concept of the purposes and meaning of the Reyog set from various perspectives has finally been summed up to be a philosophy of the Reyog Ponorogo art equipment.
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