ZASTAVENIE SA PRI TVORBE SCÉNOGRAFA VLADIMÍRA SUCHÁNKA
Review of: Dagmar Podmaková- Dana Janáčková: Vladimír Suchánek: Scénografia. Senica : Záhorská galéria Jána Mudrocha v Senici, 2013. 208 s.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Review of: Dagmar Podmaková- Dana Janáčková: Vladimír Suchánek: Scénografia. Senica : Záhorská galéria Jána Mudrocha v Senici, 2013. 208 s.
More...
This study provides an analysis of manners of staging of the theatre plays which focus on the personality of Ľudovít Štúr and which were premiered in Slovak professional theatres in 2015. Most of them were dramas which very often combined with elements of theatre of poetry or theatre of documentary. A few were theatre shows with elements of pantomime and puppet theatre or scene series. No operas, ballets, musicals or pure puppet shows were produced. The analysis focuses on seven productions which premiered in the year of Štúr’s anniversary.
More...
Review of: Martina Borodovčáková - KROČANOVÁ, Dagmar. Výkrik – voľba (Vojnová a povstalecká téma v slovenskej dráme 20. storočia). Bratislava: Divadelný ústav, 2014. 263 + 543 s.
More...
Автор романа «Зулейха открывает глаза» Гузель Яхина, наверное, могла бы по праву претен- довать на звание «Мисс/миссис литературный успех 2015», если бы таковое существовало. Молодая, малоизвестная писательница пишет роман о судьбе женщины, попавшей в тяжелые исторические обстоятельства, «просыпается знаменитой»: получает сразу множество престижных литератур- ных премий. После выхода своего дебютного произведения в 2015 году Гузель Яхина стала лауреа- том премии «Книга года», премии «Ясная поляна» и премии «Большая книга», призовой фонд кото- рой составляет 6 миллионов рублей [3]. Кроме того, её роман вошел в число финалистов «Русского Букера» и в лонг-лист премии «НОС (Новая словесность)».
More...
In many cases, Lithuanian historical dramaturgy in the end of the 19th and the beginning of the 20th centuries absorbed Polish romanticism's Lithuanistic thematic and modified it according to the ideology of endless national pride, which was formed during the years of the uprising. The dramaturgy adapted and completely changed the not-so-positive perception of the Lithuanian, Lithuania, and its history, which was found in Polish literature. Instead of viewing Lithuania as a nostalgic, memorable concept, as suggested by Polish romantics, it adapted the pathetic persuasions regarding Lithuania's joyful future. The image of the Lithuanian suffering from dramatic desires and far from becoming a civilized European was replaced by a brave, noble, and civilized knight impressing Europe with its physical and spiritual powers. In this way Lithuanian historic drama quasi embodied the Lithuanian society's unreal dream of that time, which was to become a full-fledged European nation. Yet it inevitably gained a rather primitive, plain, dramatization character, based on reckless requisitions of Lithuanian heroism and not possessing any complex inner experiences. On the other hand, this historic drama, pinned with poses of ancient heroic knights, became a therapeutic means to calm the feelings of inadequacy and strengthen the spirit in the Lithuanian community, which began to form in the not very hospitable Vilnius in the beginning of the 20th century and was constantly abused by foreigners. Yet this project of a heroic Lithuania, created in the historic drama, did not prove effective. The Lithuanian amateur stage of the past did not possess enough creative potential to implement this seemingly primitive idea, and so it simply profaned, caricaturized, and made a circus out of the glorious and valiant image of Lithuania by diligently composed playwrights.
More...
It’s spring. Nature jubilees. Wedekind tries to find a concordance not only through the title, but also through a collateral allegory, that of a flower bud, full of vigour, ready to explode. The young adolescents bustle with excited nostrils, breathing the warm and staggering air of the neurotic season. The play Spring’s Awakening fascinates through innocence, calm redeeming in opposition with dullness and conformism of the mature people. The excitement of the adolescents, their gnostic ascent and the naivety in front of the essential mystery impress both the reader and the spectator.
More...
The book review presents the reception of Parzival's myth in contemporary literature, being present in narrative and dramatic texts.
More...
Örnek, Sedat Veyis 1969 “Pirinçler Yeşerecek”, Yeni Türk Tiyatrosu içinde, (Haz. Püsküllüoğlu, Ali) 106-137
More...
Örnek, Sedat Veyis 1969 “Manda Gözü”, Türk Dili Dergisi, Nisan, Cilt XX, Sayı 214, 521-532.
More...
Sedat Veyis Örnek’in çevirisini yaptığı Tankred Dorst’un yazdığı Sur Dibinde oyununun metni Devlet Tiyatroları Arşivi’nden alınmıştır
More...
Motokiyo, Seami 1963 “Kagekiyo (Bir Japon Nô)” (Çev.: Sedat Veyis Örnek), Türk Dili Dergisi, Cilt: XII, 140, 448-452
More...
Sedat Veyis Örnek’in çevirisini yaptığı Slawomir Mrożek’in Polisler adlı oyunun metnini bularak bize ulaştıran Prof. Dr. Fuat Bozkurt’a teşekkür ederiz. Elimize ulaşan daktilo metninde okunamayan yerler [...] ile gösterilmiştir. [TÜBİTAK SOBAG 114K576 Sedat Veyis Örnek Sözlü Tarih, Biyografi ve Belgelik Çalışması Proje Ekibi]
More...
The article carries out psycholinguistic analysis of internal monologue in a drama work by which a full and deep understanding of the inner state of the hero is achieved, which is the main point for the following linguistic, and stylistic analysis. On the basis on the results of the analysis, one can also identify what circumstances and actions can really change the psychological state of the hero, and where his response was "conditionally emotional": which means that his words convey some emotions, status and motive of action, but emotionally the character is set to something quite different.
More...
As a product of cultural industry, digital games taking place more and more in daily life activities and with its dramatic potential, being subject to theoretical discussions shaped by the researches from different scientific disciplines during 90’s, are accepted as the new storytellers of ‘new media’ which come forward with its interactive quality. Looking at digital games from a ‘narrative’ perspective, J. Murray(1997)’s ‘cyberdrama’ and M. Mateas’ (2004) ‘interactive drama poetics’ concepts, evokes ‘interactive drama’ definition shaped by technological possibilities of cyberspace. Within the scope of this research, it’s aimed to follow the formal transformation to cyberdrama of a selected story presented in reading, watching and playing activities both in historical process and today. As the sample determined within this research, the novel ‘Alice in Wonderland’ (Carroll, 1865), and its cinema and digital game adaptations’ (Burton, 2010; McGee, 2011) narrative structures are analysed. The study’s main problematic is to question the transformation of ‘narrative’ (epic) structure to the ‘representative’ (dramatic) structure on film screen and to cyberdramatical structure on game screen with its interactive images and story. To question if the digital game text, calling continuously the user activity, is bringing or not a contextual changing in the basic story’s coming to prominence for this research. In this context, archetypal character and plot structures and dramatic structure components are used as notions referenced for narrative analysis and comparison of the adapted texts.
More...
Ususret kazališnoj sezoni, u HNK Zadar je u četvrtak, 6. listopada 2016, u 20 sati na programu bila predstava “Hasanaginica”, prema istoimenom djelu Milana Ogrizovića. Predstava je nastala u produkciji Otvorena Scena Obala iz Sarajeva, režirao ju je Admir Glamočak, a u njoj glume studenti Akademije scenskih umjetnosti Sarajevo: Nadine Mičić, Martina Mandek, Deni Mešić, Nedim Džinović, Zoran Dragićević, Fatima Kazazić, Tea Šimić i Maja Mirela Jurić.
More...
Ovo je novi-stari pozorišni komad. Novi po svojoj formi, a stari po sadržaju i tematici. U nešto drugačijoj formi, napisao sam ga prije sedamnaest godina. Od Boga je bilo određeno da komad ostvari veliki uspjeh, a potom da se negdje zaturi i da ga ne mogu više pronaći. Naviru mi sjećanja na 1949. godinu kada sam bio jedan od učenika koje su „lovački psi“ oteli i bacili u kazamate Haksetib i Džebelu-t-Tur u Egiptu. Svetili su nam se samo zbog toga što smo pozivali ka ispravnom islamu; islamu koji u sebi harmonizuje religiju i državu, obrede i vođstvo, namaz i džihad, Mushaf i mač!
More...
The article points to the ways of creating the depicted world by the playwrightsof the 80s and the 90s of the 20th century. It also indicates the next stages of the developmentof contemporary Russian drama, referring to the works by, among others, Yevgeni Grishkovetz, Ivan Vyrypaev, and the Presnyakov Brothers.
More...
The paper is devoted to a phenomenon rare for the modern Russian-language drama: playsparables by the Ukrainian playwright Aleksandr Chirkov. They represent the author’s reflection on the reasons of the contemporary tragedy of existence, and a study of the connections between those who govern historical events for their own benefit and those who follow the will of others without thinking of consequences. Artistic generalization is revealed, which allows one to see in them the author’s models of conventional–metaphoric type of epic drama.
More...
The article discusses the creative dialogue into which the newest Russian drama and theatre works enter with Anton Chekhov’s dramaturgy and his personality. Yelena Gremina and Vadim Levanov move along different trajectories to interpret the writer and his characters. Still, those various methods of creative reception help both playwrights to understand Chekhov’s philosophy and rethink it in the context of contemporary life and contemporary art.
More...