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The post-partition period of the Polish literature is characterized by a diversity of forms and styles of literary expression. In this period, one can observe a distinct correlation of Classicist and Sentimentalist elements (often within a single work) or even a tendency of crowding out the former by the latter, which would lead straight to development of a new era in the history of Polish literature, namely, romanticism. For many years, literary history studies defi ned the entire literary output of late 18th and the first two decades of the 19th century as preromanticism (as a separate literary period). This article attempts to prove that some early-romanticist tendencies did function, but only in the form of literary phenomena manifesting themselves within the assumptions of late sentimentalism. Unquestionably, many studies of sentimentalism of King Stanisław’s era have already been written, and the works of outstanding representatives of this movement have been subject to multiple analyses and interpretations. However, the literature of late sentimentalism remains a poorly studied area, requiring in-depth literary-history studies. It is the problems around the issues connected with the post-partition sentimentalism which become the subject of inquiries by the author of the article.
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The present study is a review of works of several Lithuanian composers of the middle and younger generation (J. Janulytė, R. Mažulis, E. Medekšaitė, R. Motiekaitis, R. Kabelis), which have links with the aesthetics of minimalism. The aim of the study was to reveal how the composers develop separate features of minimalist music and what their ties with other stylistics are. Constructive ways of implementing ideas are emphasised, and the continuity of separate composition principles is demonstrated.All investigated compositions are characterised by a concrete idea, the discipline of thought, the use of very definite limited material and a complete “exhaustion” of its potential possibilities, although often everything happens in the zone of silent music and requires close attention on the part of the audience. It seems that the composers who rethink conventional canons try to play with old stereotypes. The study of sound becomes the composers’ favourable occupation. The visually tangible form lends a very definite direction to the process of listening. Most of the works investigated can be linked with the reaction to the importance of sound which has been lost. The emphasis on static tonality or, on the contrary, on the dazzling slide through the “rainbows” of related accords demonstrates the level of composing techniques, which has grown considerably. Post-minimalists usually do not employ the arpeggio of accords typical of minimalists. Sometimes attempts are made to complicate the linearity adored in many compositions with denser accords.Works by many post-minimalists contain a perfectly formed crystal of thought, as though drawn in time, whose sound expression can be often converted into a graphic figure which usually is not simple. Often, it contains a “counteraction” of various sizes. In the post-minimalist period, many links with the previous prevailing trend can be traced. The phenomena that appeared in the post-minimalist period under the influence of minimalism often employ different sound parameters.
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This paper reviews seventy drama seasons in the Košice State Theatre, which is celebrating an anniversary. Just like directors’ productions can be accessed from different points of view, also approaches to reflections of critics can vary not only according to a personal lens, but also from the point of view of another experience or knowledge of practice in an internal environment. The author was a former dramaturge of the dramatic theatre company. In his post-dramaturgical postulates he has tried to capture pluses and minuses in stages which were formed without his participation,but also in those in which he participated.
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Mariana Popescu, through her portraits of musicians, explored a cultural dimension, meaning, Bessarabia, a Romanian land. What resulted was a profound research work in what concerns Romania’s distinctive artistic values. In the 19th century, when Bessarabia was ceded to Imperial Russia (1812), the Romanian identity suffered a devastated social, cultural, religious and spiritual transformation. The Union with Romania in 1918 initiated the reconstruction and consolidation of a fragile culture. The musical education during the Greater Romania and in the 21st century reestablished the trust in Bessarabia’s consciousness and the cultural values. Each portrait includes details regarding music education, mentions of shows, concerts, recitals, significant photos and artistic evidence that marked the modern and contemporary history of Bessarabia and the rest of the countries that hosted or enjoy the presence of the already mentioned musicians.
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During the Soviet period of rule Lithuania was often called “the theatre republic”. Data from the 90’s indicates that eleven Lithuanian professional theatres showed more than 4000 performances per year, which were attended by 2 million spectators. Today thirteen state theatres show 2,500 performances and have about 600 thousand spectators. Quantity is not the best indicator for the arts, but as the author assumes, in Soviet times the popularity of theatre arts in Lithuania was based not only on aesthetic factors, but also on the influence of rituals. The Soviet ideology neglected religion, folk holidays, so the theatre remained the only official institution with a high potential for rituals.In theatre, a ritual could be expressed in four spaces: on the stage, in the hall, in the lobby and in the buffet. Comparison of the changes of the ritual in these spaces shows that growth of the accessibility of the theatre and the loss of its “deficit” status contributed to the decline of theatre rituals. The other factor is the expansion of the possibilities of ritual activities after the collapse of the Soviet regime. Such a situation created new possibilities for the Lithuanian theatre: losing so-me ritual background allowed the aesthetic potential to strengthen.
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Patrycja Cembrzyńska claims that the merging of the body and metal armour rooted in the image of the indestructible soldier finds its continuation in the image of the war veteran with metal prostheses. The author analyses the cultural presence of prosthesis wearers on the basis of, among others, Otto Dix's paintings, Alexander Solzhenitsyn's accounts or Ernst Friedrich's anti-war initiatives. She juxtaposes Michael Stokes' nudes of the veterans of the war in Afghanistan, organised by military rhetorics, with Bryan Adams' works from the album Wounded. The Legacy of War, showing mutilation in a blunt way. Cembrzyńska also writes about Krzysztof Wodiczko's projects, which give voice to veterans talking about the experience and trauma of war, as well as the life after returning from the front.
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This paper gives insight on Christiphor Crnilovich's multilayered and valuable painting art, lectures and ethnographic work, along with his biography. Within context of psycho-social environment in which Crnilovich has lived and created, as well as within context of this environment's relation towards an artist and a researcher, motivation of his local nickname"Kica Pustood" is being analysed.
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As a result of the development of science, biotechnology the man found himself at the moment in which he can hold the living cell in his hand and create all kinds of forms with it. This possibility led artists to the laboratories. Artists, for whom modern biology and biotechnology has become an artistic inspiration, and the artistic medium mostly living: microorganisms, plants, animals, cells, human tissue, are called as the artists of bio-art. Presenting the bio-art works according to their characteristics, I am showing how the DNA molecule and tissue culture shaped the artistic form.
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The aim of this review was to explore, through a systematic search of the literature, the relationship between art and well-being and the key elements involved. A relevant conclusion drawn from our findings is that participation in an artistic activity encourages personal well-being because it permits a direct and sincere connection with the individual’s emotions. Such a process implies a threedimensional strengthening: social (I am in a relationship); emotional (I am well); and cognitive (positive thinking). Another conclusion is that whilst many of the studies are relatively recent, the positive relationship between art and well-being is well supported by the literature. Further research is required, however, to provide greater validity to our findings.
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The paper discusses the performative and constative dimensions of NicolasBourriaud’s theory Relational Aesthetic. Intention is to locate decentеred discoursesin this theory, throughout the classification and argumentation of possible influenceon its formation, by means of deconstructionist tradition of Jacques Derrida.
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In the twentieth century, the presence of all mainstreams in European art were applied and developed in the poster design. However, the poster is hardly mentioned in the literature which provides detailed description of Serbian art in the first half of the twentieth century. Among a small number of poster designers a few masters stand out such as Mihajlo Petrov, Dušan Janković, M. Babić and Pavle Bihali.A thorough future study of this form of applied arts should include the following question: how many anonymous and gifted people were preoccupied with the poster design at the time.
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These reflections concern film acting, or to be more exact, the canonical three-stage research scenario, i.e. description, analysis and interpretation. They require a methodological interdisciplinary confluence of multiple strands, beyond the confines of a monolithic methodology.At a certain stage of the methodological reflections on acting (performing) there emerged a tendency to employ various disciplines. I would like to call it “the general theory of the actor and acting” or “the theory of performing”. The theory of performing, in fact, brings together such realms as anthropology, semiotics, phenomenology, aesthetics, the theory of literature, the psychology of perception of on-stage and on-screen representations, and, in a narrower sense, also studies on facial expression, diction and prosody, gesture and kinetics. However, in the most rudimentary sense it does consider the fundamental role of the actor and acting to be the focal point of discussion - the question of the very performance.Does the theory of performing explore the phenomenon of film acting (performing), and if so, to what degree is it the case? Two reference points for this issue seem to emerge.The first concerns the very choice of the object for analysis, involving such dimensions as relational networks of multiple actions regarding the actor and the process of acting, resulting in the creation of the character in a given film.The other, directly related to the first, concerns the very point of departure in the exploratory research process. How does the profile of the actor emerge due to such procedures as camera-work, montage, dubbing or motion control? It seems that what should be at the very center of attention of the general theory of actor and acting is the actor-as-a-real-person, the interpreter of his own role-play, and also the subject of the actions involving the constructive process of a given film role, which results in the final on-stage/on-screen effect. We ought to pose the question of whether or not he is merely an acting element inhabiting the situation of the shooting within the confines of the camera-work. The theory of performing is not so much focused on the actor as an analog of a real human being (the fact that should be considered positively), but is focused on the actual acting process, the process of performing, first and foremost, the autonomous performer. Hence, another question arises: who is the character in the on-screen mode of existence? What is his real identity?The general theory of the actor and acting strives to answer this question from multiple viewpoints, from the viewpoints of anthropology, structuralism, deconstruction theory, as well as in terms of the most promising approaches (in my opinion), namely the cognitive and phenomenological stances. Here the floor is open for discussion.
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The author presents the circumstances related to role construction, which can be formulated in the following questions: who, when, where, why, what for and how. The author utilizes the technique of five questions created by Konstanty Stanisławski to develop his own method designed for the STAND UP COMEDY convention. He analyses various theater roles, taking into account time and space, as well as the other characters’ motives for action.
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The author analyses various aspects of acting in the context of Peter Brooks theory of acting. This discussion takes into account role construction, the authenticity and originality of the character, the problem of the actors identification with the character and the importance of cooperation between the actor and the director in the pre-production process and on the shoot.
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What does an actor do in a biographical film? This question may seem insane, or at least less than serious; however, the terms frequently used to describe and assess the actors work in general - to embody a character, to play them, to play a role - suggests the existence of a certain designate, which is the point of reference for the role. In the case of a fictional story, we may ignore the semantic multi valence of such terms. In a biographical film, however, the existence of a real originator of the role gives additional, almost ontological meaning to phrases such as “embodying a character” or “playing a role”. In my reflections, I use as my starting point the assumption that the actors performance in a biographical film and the “conception of a character” result from two basic components: 1. Interpretation of the role - constituting a proposal to analyse the hero character. It is usually supposed to extract more profound meanings and senses out of the biography. To put it more simply, the interpretation of the role is supposed above all to help the viewer to answer the question of who the hero was (what they were like) and why? 2. Adaptation - this includes the physicality of the character: their appearance, body language, facial expressions, voice (the tone, modulation, accent, phrasing, dialect - if the authentic person used one, etc.) In my article I try to answer the questions: Where should we seek the essence of biographic acting? How can we avoid exaggeration and falsehood, which could kill the role?
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The author presents the thesis that despite the cloistered character of the interwar era Yiddish cinema, Polish actors left their mark on Yiddish productions. Their participation in two silent films, which didn’t survive the war - Jeden z 36 and W lasach polskich were connected to the topic of assimilation, the community of faith and the historical experience of fighting with the invaders, as well as the main idea of rapprochement between the two nations. Polish actors’ roles were connected to non-Jewish characters, although one very important exception to this rule was the role of Berek Joselewicz. The Yiddish cinema of the late-1930’s, which was dominated by escapist stories detached from the contemporary social-political reality, does not contain any trace of cooperation with Polish actors. As the public press from the interwar era as well as from the years after the Second World War shows, its subject-matter was, however, rendered taboo by some Polish participants of interwar-period Jewish film productions, even though the initiative for creating the films ostensibily to break down prejudices and stereotypes was in, in fact, Polish.
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Andrzej Wróblewski (1927-1957) was one of the most important Polish modern painters of his time, closely connected both with key issues of the 20th-century European avant-garde in art, as well as socialist realism in post- war Poland. The article is a sui generis gloss to Wróblewskis retrospective exhibition “Recto/Verso” presented in Winter-Spring 2015 by the Museum of Contemporary Art in Warsaw.
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