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МИХАЈЛО ДИМИЋ И ДРАМА „НАЦИОНАЛНЕ ХЕРОИКЕ”
Испитујући позоришну биографију Михаила Димића, долазимо до података да је припадао типу старог путујућег глумца ‒ редитеља ‒ управника – драмског писца.
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Испитујући позоришну биографију Михаила Димића, долазимо до података да је припадао типу старог путујућег глумца ‒ редитеља ‒ управника – драмског писца.
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Twentieth year of the third millennium is eighteen summers since the organization of the TCT-fest, a sign of recognition of the Tuzla Cabaret Theater in the wider regional theatrical and cultural context. The eighteen year run of the TCT - fest has constituted a kind of theater festival being made up of numerous factors of the theatrical act. The aforementioned period (2003-2019) is a period during which many ensembles and protagonists of the theatrical act have been identified through the projects presented at the TCT-fest and the festival stage. A special dimension of this theatrical festival is the participation of Croatian theaters on the festival stage. Theaters from Croatia took part in the first TCT-fest. Many of them, such as the Virovitica Theater or the Rugantino Theater in Zagreb, can also be considered the founders of this Festival. Throughout the eighteen years of participation, all Croatian theaters have integrated a lot of theatricality into one act that can be defined as participation in the TKT-fest and enormous effort and energy in its maintenance and duration.
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Katarina Kotromanić-Kosača, posljednja bosanska kraljica, autorice Marice Petrović, monodrama je što ju je režirao Vlado Kerošević. Predstava je nastala u koprodukciji Teatra kabare Tuzla, Matice hrvatske Tuzla i Studentske scene pri ADU Tuzla. Ulogu Katarine Kotromanić Kosače ostvaruje mr. umjetnosti Ivana Milosavljević. Predstava je dobila preporuku Pedagoškog zavoda Tuzla za igranje učenicima viših razreda osnovnih škola i učenicima srednjih škola. Ovo je ujedno bila i praizvedba teksta domaćeg autora koji je pisan hrvatskim jezikom i plod je brojnih kalemova, kombinacija umjetničkih, tradicijskih, svjetovnih i religioznih tekstova.
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Трудот се осврнува врз творештвото на македонскиот современ писател Јордан Плевнеш од аспект на неговите жанровски координати, односно се обидува да ја аргументира испреплетеноста на поетскиот и драмскиот дискурс во неговиот богат творечки опус. За таа цел анализата започнува од препрочитување на неговите две поетски збирки Теорија на отровот и Уби поезија иби патрија, за потоа да ги лоцира пунктовите во драмските остварувања кои кореспондираат со мотиви, слики и стил што се присутни и во неговата поезија. Во фокус на интересот се драмските текстови „Еригон“, „Мацедонише цуштенде“, „Подземна Република“, „Безбог“, „Среќата е нова идеја во Европа“ и „Вечна куќа“. Вообичаено Плевнеш се карактеризира како драмски писател, а се минимизира неговата поезија. Но, во овој труд се доаѓа до сознание дека поетското искуство е иманентно и особено важно за интегралниот креативен свет на Плевнеш, така што и неговите драмски текстови, а и самите театарски претстави создадени врз нивна основа, можат да го носат предзнакот „поетски“.
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This paper analyses Black Hole, one of the most emblematic and complex plays of Goran Stefanovski, written in 1987 and announcing the end of an era – the fall of communism and war in ex-Yugoslavia. The play rereads the story of “Siljan the Stork” by Marko Cepenkov, resetting its initiatory talein the context of agonising socialism. Deconstructing the initial teleological and didactic matrix of the story, the play questions the sense of its redemptive ending in the context of a post-ideological and devastated world. The paper further considers the rupture marked by Stefanovski’s dramaturgy in regard to the traditional normative concept of drama. The play’s hybrid and open form, which constantly reinvents and deconstructs itself, is approached as representative of a new “rhapsodic” poetics of modern contemporary drama.
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W artykule bliżej przedstawiono temat tłumaczenia teatralnego, które w ostatnich latach podlega dynamicznemu rozwojowi. Tłumaczenie teatralne to rodzaj tłumaczenia artystycznego, które umożliwia społeczności Głuchych uczestniczenie w otaczającej ich kulturze słyszących. Artykuł szczegółowo omawia kilka rodzajów tłumaczenia teatralnego: pozycyjne, strefowe, cieniowe oraz eksperymentalne. Główna uwaga poświęcona jest tłumaczeniu cieniowemu – specjalnemu rodzajowi symultanicznego tłumaczenia języka fonicznego na język migowy, wykonywanemu w taki sposób, że każdemu aktorowi na scenie towarzyszy jeden tłumacz. Podczas tłumaczenia cieniowego tłumacze są w pełni włączeni w występ, poruszają się razem z aktorami – są ich cieniami. Tłumaczenie cieniowe jest dla osób Głuchych bardzo komfortowe, widzowie mogą się skupić na grze aktorów bez konieczności odrywania wzroku od artystów. W Polsce pierwsze próby zastosowania tej formy tłumaczenia podjęto dopiero w 2015 roku. Artykuł porusza również temat przygotowania do tłumaczenia, trudności związanych z każdym z opisanych rodzajów tłumaczenia oraz specyficzną rolą tłumacza.The article explores the topic of theatrical interpreting, a type of interpreting that has been developing dynamically for the last few years, enabling Deaf people to participate in the surrounding culture of the hearing society. The article discusses in detail a few forms of theatrical interpreting, such as position interpreting, zone interpreting, shadow interpreting and experimental interpreting. The main attention in the article is given to shadow interpreting, a special form of simultaneous interpreting from spoken language to sign language, whereby each actor on stage is accompanied by one interpreter. During the play, sign language interpreters are an integral part of the performance – they follow the actors and become their shadows. This form of interpreting is very comfortable for Deaf viewers as they can fully concentrate on the actors’ performance without the necessity to split their attention between the artists and the sign language interpreting. The first attempts to apply this form of interpreting in Poland were made only in 2015. The article deals also with the topics of preparation for interpreting, challenges connected with each type of the interpreting described in the article as well as the specific role of an interpreter.
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Splićanin Vedran Matošić poznat je kao vodič po Splitu, direktor Turističke zajednice, autor tekstova poznatih zabavnih pjesama, glumac Dioklecijana, ali i autor nekoliko mjuzikala... Na natječaj za Nagradu Marin Držić Ministarstva kulture posao je dramu Ribareva kći koja me kao članicu povjerenstva oduševila.
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Theatrical play by Nada Đurđevska (writer) and was directed by Anela Križanac.
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The early works of Ibsen – which concentrate on historical issues from the old Norwegian past, using material from sagas, folk-tales, and songs – give us a picture of an author who is focused on a national programme. In accordance with the Romantic philosophy of history (historism), Ibsen uses its main categories of causation and explanation of the national past, mainly posit-ing individual ideas as a major shaping force of the course of history and the impact of great personalities. At the same time, Ibsen presents the path for Norwegians to build a strong and independent nation, and the conditions that have to be fulfilled for that to happen.
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The overwhelming sarcasm and the taunting satire are certainly the feelings that accompanied the American revolutionary period. Approaching both the struggle for independence and the American Revolution, it is discovered that the colonists' sense of laughing and ridiculousness became more pronounced and readier in recognizing the weakness of its enemy and presenting it to the world through the biting laughter of satires. Many satires of this character did not suddenly appear. Their appearance leads to a period many years before the outbreak of the War of Independence and the famous Bacon Rebellion in 1676. Nevertheless, what cannot be denied is that by the approach of 1776, dramatic creativity started its rapid development. Immediately after the first war blow, satires began to be published in nearly every newspaper in the American colonies. American dramatists took an active part in the struggle for independence. At first, the potential, and later, an inevitable revolution made dramatists from the ranks of patriots and loyalists define themselves, their opponents, and the nature of the conflict itself in a way that remains intriguing and powerful over two hundred years later
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This is an interview with a Canadian artist who does not like to be called a writer even though he works with words and who moreover does not like to be called a photographer even though he captures images with his camera. What was he doing then, as an artist, before and even now? In his words, he simply worked at re-enchanting his world and daily life.
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Zadnjih par mjeseci smo se po medijima nagledali i naslušali izvještaja o raznim “tragedijama” vezanim za pandemiju Covid-19 koja nas je zadesila. Ima neke gorke ironije u tome što je virus korona, sa svojom sklonošću ka svakodnevnom štancanju tragedija, takvo ime dobio zbog oblika virusnih čestica čiji obodi podsjećaju na krunu. Sama riječ pandemija etimološki upućuje na to da se tu radi o događaju koji se tiče svih naroda na planeti, onako kako su se u tragediji događaji u kraljevskim porodicama uvijek ticali najšire društvene zajednice i povezivali se s kosmičkim principima. [...]
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This essay places Glengarry Glen Ross in the context of David Mamet’s oeuvre and the whole of American drama, as well as in the context of economic capitalism and even U.S. foreign policy. The author pays special attention here (for the first time in English-language scholarship) to the subject of salesmen or selling as depicted in Mamet’s drama and earlier in Arthur Miller’s Death of a Salesman, Eugene O’Neill’s The Iceman Cometh, and Tennessee Williams’ A Streetcar Named Desire—each of which also features a salesman among its characters.
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This paper provides an overview of the political, religious and popular anti-Semitism specific to the mid-19th century Romanian society, as reflected in the novel „Dima’th ashuqym”, written by David Yeshayahu Silberbusch. The novel succeeds in highlighting the tumultuous condition of the Jewish community members, torn apart between the struggle to be formally recognized as Romanian citizens, and their resistance to the discrimination and violence that was widespread among the political-administrative agents – starting with the government and ending with the major of the village – and within the larger society, at a civic level – neighbours, friends, customers and so on.
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For a range of reasons, there has been a tendency to preach a dearth of interest in the ways writers assert their authorship, constructing individual and collective writerly identities to voice their authorial intentions. While some theoreticians and philosophers, evoking the ghost of biographical positivism, promoted anti-authorialism, postmodernity was immersed in intertextual studies. Though the announced death of the author assumed a significance matching the earlier death of God, the author returns as “writer,” scriptor or “function” in the writing of Roland Barthes and Michel Foucault, as the process of becoming (Gilles Deleuze and Félix Guattari) or as a performative concept (Gérard Genette, Erika Fischer-Lichte). The aim of the article is to examine a narrow selection of writing authored and co-authored by three women playwrights—Deborah Levy, Djanet Sears and Tanika Gupta—who set out to speak on why they write, aiming in that way to articulate their authorship in essays, notes and conversations which have the status of diverse paratextual forms. The article starts by exploring the relevance of discussions on authorship as well as the implications of institutional policies in regard to women writing for the theatre. Further on, on a tropological level, the article analyses the figurative rendering of self-reflection as a passage from roots to routes, from a concept of fixed identity to mobile, performative concepts converging on epistemological alertness and openness to recognising the ontology of writerly identity as becoming.
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The meaning and problematic of ›form‹ in Lukács, most of all in his early writings, unfolds in three ways. Essayism is understood as an intellectual action that responds to a modernity perceived as difficult (1). Literary modes of speech and representation are an expression of life that has become form and connected with their own interpretations of the world qua form, as they gain their contours in drama and the novel and are linked with respective signatures of the philosophy of history within the framework of an unfinished modernity (2). The ascent to form which Lukács carries out in three steps – drama, novel, essay – is finally related to and contrasted with the thought impulses of postmodernism (3).
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