Teatr to dla mnie rodzaj jogi
Iwan Wyrypajew in an interview with Paweł Dobrowolski and Sebastian Duda
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Iwan Wyrypajew in an interview with Paweł Dobrowolski and Sebastian Duda
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Sztukę można uznać za barometr zmian w życiu duchowym. Co powiemy na tej podstawie? Podczas gdy ta tworzona do kościołów znajduje się w stanie stagnacji i uwiądu, poza murami świątyń – w galeriach i muzeach – rozwija się ona w najróżniejszych kierunkach. To tam właśnie zdarza się doświadczać epifanii.
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Dalia Kirkutienė was born in 1959 in Kulautuva (Kaunas district). In 1977, she graduated from Kulautuva Secondary School. From 1977 to 1980, she worked as a weaver at Kaunas "Dailės" factory; from 1980 to 1983, as an artist in Kaunas Commercial Advertising Bureau; from 1983 to 1992 as a painter at the textile haberdashery factory "Kaspinas". In 1979, she started textile studies at Vilnius Art Institute. She graduated from this programme in 1986. In 2010, Dalia Kirkutienė was admitted to the Klaipėda branch of the Lithuanian Artists' Union. Now she lives and works in Klaipeda. The artist participates in personal and group exhibitions in various countries. In 2019, she participated in an exhibition with a sculptor Klaudijus Pūdymas at the Montparnasse Gallery in Paris. Her works have been acquired by various art galleries and museums. The works are characterized by an embossed style of painting, elegant coloristic, and a mystical sense of depth and movement. In 2012, the artist Dalia Kirkutienė published the collection of short stories "In the Queue to Happiness" and founded an art studio for those who want to get acquainted with painting.
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Modern consciousness was strongly fascinated by the idea of progress. As a consequence, tradition was abandoned and marginalised. Traditional architecture as well as traditional ways of building were marginalised by the vanguard aspirations and modernist practice. However, during recent decades, especially after the arrival of postmodernism, the situation of traditional architecture has changed and a new phenomenon – modern traditional architecture has come into being. The article provides a discussion of this important shift. The author of the article suggests that current concerns about sustainable future provide an impetus for traditional architecture to be reconsidered and consequently to regain the lost ways of traditional building.
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In the Grand Duchy of Lithuania in the second half of the 17th century main power, income and significant possessions were concentrated in the hands of the Pacas family. The most magnificent Baroque buildings in the Grand Duchy of Lithuania were built at that time the Camaldolese Monastery of Pažaislis and the Monastery of the Canons Regular of the Lateran in Vilnius Antakalnis. The first one was financed and supervised by the Chancellor of the Grand Duchy of Lithuania, Kristupas Zigmantas Pacas (1621– 1684), and the second one was built by the Grand Hetman of the Grand Duchy of Lithuania and the Voivode of Vilnius, Mykolas Kazimieras Pacas (1624–1682). Despite the fact that both constructions were carried out by members of the Pacas family, and that they were carried out at the same time, the artistic solutions were quite different. The Pažaislis Church is characterised by its unique architecture and luxurious decoration fulfilment decorated with various materials – marble, stucco, frescoes, while in the Antakalnis Church, stucco moulding predominates. The article raises the question – are these buildings really so far and different from each other? In his will of 1665, K. Z. Pacas appointed M. K. Pacas as his main inheritor. There is no doubt that he trusted his relative who would not only receive his wealth after his death, but also would complete his works. So even though M. K. Pacas was not directly involved in the construction of Pažaislis, he was well informed not only about the activities of the patron of Pažaislis, K. Z. Pacas, but also about his thoughts, ideas and plans he would have had to carry on after his relative’s death. The article expresses the idea that that this is what led to the fact that the church in Antakalnis was consciously and purposefully built differently from the one in Pažaislis. However in Antakalnis, innovations were also applied: for the first time, a stone church and monastery were built in a suburb of Vilnius, and for the first time, stucco moulding was used so extensively to decorate a whole building. Therefore, in the article the conclusions are drawn that the significant differences in the patronage of both Pacas were primarily due to the close communication between the two men and the fact that they were aware of each other’s construction in sufficient detail.
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Jan Lauwers (Needcompany) is a model of postmodern performativity. The experience of The Deer House presented in the Sibiu International Festival of Theatre (2013) is a climax of energy, unleashed by the relationship with the audience, as art is an exchange of energies. The company includes performers of different nationalities, aspect which underlines the theatricality centered on identity. The performance will always wear the stylistic hallmark of the geographical perimeter who creates the artist: the director's work is full of Flanders, as that space is his cultural context. The performance has a composite structure from unexpected directions (influenced by Joseph Beuys or brechtian alterations), in a performative organism where the music has a substantial part and has the ability of charging the performance with energy.
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Starting from the multiple theories which operate with the distinction between places and non-places and which derives from the opposition of the place with the space (Michel de Certeau, in the paper L’invention du quotidien), we tried to foreshadow in the following paper the notions of place and space, analysis which represents a compulsory preceding. We do not interpose “places” to “spaces” as we do not interpose “places” to “non-places”. The space is a “practiced place”, “a crossing of mobiles”: there are the passersby, the actors/characters, in this case, those who convert the road, geometrically defined as space by the urbanism.
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The text summarizes an argumentative debate around the concept of “intercultural dialog” in theatre. Starting from the short description of the European project “Cities on Stage”, realized in collaboration with Radu Stanca Theatre in Sibiu, the text questions the necessity of intercultural dialog in arts and its use and application in cultural policies in European Countries. The case of the Romanian Cultural Institute is being used as an example of how Romanian cultural policies are being designed and applied in comparison to countries like The Netherlands and Belgium. Finally, “intercultural dialog” is being addressed as a defining phenomenon of the process of Europeanization, whereby the role of art is that of constant interrogation and validation of the concepts proposed by cultural policies.
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Active art is the form of art generated by the meeting of the members of a community with the artists who propose the possibly of representation through community actions and artistic products. The main thing in an active art process is the attention to each other, the need of being together with other people, the diminishing of any kind of differences, of instincts generated by ego and the need of annihilation of the hierarchies and of the urge for power. All these aim to reveal the work of art in each of us and the harmonization in relation to the other and with the elements that create the identity of the community one is part of.
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The absence of communication between spouses and the estrangement of man from God bring to a tragedy that disintegrates the family. It is the story of ”The Banishment”, a movie Andrey Zvyagintsev, built on several levels of meanings and symbols, leading to biblical references and deep Christian understandings. The aim of this study is to unravel the cinematographical language of the Russian film director, correlated with the Orthodox Christian spirituality, to which it subordinates according to the great tradition of Russian cinematograpy of Christian structure, from Andrey Tarkovski till nowadays.
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George Banu's article is focusing on a theme that has always been present: the true meaning of applause and the way it is used in performing arts. On the premise that the applause is the start of a progressive absolution from the character, the author is analyzing its function in Oriental cultures, during William Shakespeare's age or during the avant-garde of the 1960s. For George Banu, the applause is a greeting between actors and audiences by which the cast is strongly affirming the solidarity of the actors. In the same time, during the applause, the audience is apprehending the success or the failure of the performance. Eventually, during the applause, an actor may be able to briefly give with the eye to a member of the audience and this is a very interesting situation, as it becomes a discrete and distinct individual greeting that is placed right in the heart of the group.
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Peter Stein draws from his own 50-year-old experience as a theatre director to evaluate the importance and value of classical texts in the process of acknowledging the eternal nature of humanity, as opposed to the superficiality of ideas and common language of more contemporary texts that are gaining popularity in the German theatre production. Through the mature understanding of classical plays, such as Faust by J.W. Goethe or the Greek tragedy, by learning from the inner rhythm of these texts and by avoiding the urge of deconstruction and modernization in the sense of applying one’s personal experiences and obsessions, theatre can assert the higher sense of communion between actors and audience. Peter Stein’s process of developing large productions, apprehended as an act of construction, is intertwining with his experience as theatre founder. His conviction that spatiality is the theatre’s core, made way to the construction of several venues that could organize the life of the performance, but could also accommodate the needs of the public for as long as the performance lasts.
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In the following paper, Gigi Căciuleanu explains the process of creating and the act of perceiving a dance performance, based on terms such as space, steps, energy, group, or discussing references and inspiration, giving as example the performance Mozart Steps and his first experiences as a dancer. The dancer is defined as a funambulist, suspended above the ground, always trying to reach equilibrium by the continuous act of recovering himself in a life and death situation. Dancing is achievable for each human being, as it uses the body, but beauty and seduction are achieved only through an intelligent body that has the knowledge to manipulate its own energy and the state of mind. The basis of each dance is the simple steps, one learns in childhood, and a dancer must identify with them completely in order to achieve a work of art. The performance is described as a living organism, a process, different with every representation and for each viewer, depending on his attention span, metal and spiritual implication and angle of view.
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The opera genre is recently subjected to an accelerated process of investment with theatrical techniques and a new language of theatricality. Saint François d’Assise written by the French composer Olivier Messiaen is based on new expressions in musical language: from the ancient greek melos until the indian harmonic structures and Oriental rythms, the colour which is transformed into sound, etc. He also suggests new musical images, capable of adapting the old eficacity of the medieval miracle plays to the contemporary sensitivity and comprehension. The essay is focused on three versions of stage directions, Peter Sellars, Pierre Audi, Hermann Nitsch, tracing the strategies of both expression and meanings of the musical discourse, transformed in „spectacular text” through non-conformistic methods (video art, naive expressionism, ritual).
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Crime represents a trigger that automatically entailed a new series of murders, which were either continued indefinitely, or followed by a suicide. The followers of the slain were obliged to avenge the dead, triggering the emergence of a range of families of dead and their avengers. When a few generations in conflict meet and both sides are equally entitled to seek justice, tragedy appears. The Oracle of Delphi is the most popular merchant of destinies. It has the ability to look into the future, the personal future of a person, but also into the collective future of a people. The Oracle of Delphi might appear to us as an expression of mystical beliefs, full of Orphism, magic and mystery, in fact they were usually callings and duties of the national spirit, or expressed the interests of the ruling classes. The oracle preached the future through the verbalization of facts that occurred, entailing their awakening, and becoming unavoidable. Orpheus’s failure is due to a single act of defying a prohibition, never to look back, which was the equivalent of bringing the dead into the future. By breaking the rule imposed by Persephone, Orpheus turns his head toward the past, crossing not only a space with his look, but a past where death dwells.
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Tadashi Suzuki is one of the most celebrated auteur directors of the 20th century, among other prolific and recognized visionaries of this era, such as Peter Brook, Jerzy Grotowski and Eugenio Barba. During his career Suzuki combined ancient Greek theatre with traditional Japanese theatre (noh, kabuki and butoh) to create what is known today as the Suzuki Method. He designed and developed a series of movements and exercises which range from falling down, standing up, to stamping, walking and isolated stillness. His work is heavily influenced by the 14th century actor/playwrite Motokiyo Zeami, whose technique juxtaposes violent and gentile body movements. These movements are centred in the pelvic area, from where Suzuki believes energy is controlled. Tadashi Suzuki believes that “A performance begins when the actor’s feet touches the ground...”. His method makes the connection between the upper and the lower body, which creates a more balance performance.
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We live in a visual rush generated by an amalgam of messages and information and their manifestation is as diverse, as it is contradictory. A dynamic, unpredictable, sinuous world, whose "slips" are hard to accept, but, although it seems difficult-to-handle, can be understood and decrypted once one knows its mechanism of communication. Theatrical performance is built on the basis of spatial structures and visual assemblies, architectural configurations belonging to different semiotic systems, and to some types of codes and diverse conventions. This totalizing perspective, we consider that it is the most appropriate approach to theatre performance, both to detect structural elements and to the decryption of features related to the specifics of stage imagery.
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The theme of the study was born out of a personal and professional urge to understand how and what makes an individual so unpredictable, an attempt to decode and decant the scenic process through the analysis of the social and essential theatrical instrument – physic and psychic memory. The art of acting is based on “self-discovery, self- disclosure and self-knowledge”, a process of “initiation and a loss of specialization, of conventional behavioural habits gained in society”. All methods and theories are mentioning the same concept, the recovery of the whole individual potential and the formation of new skills specific to the activity mentioned, to overcome the limits. But how do we get there? Which is the main source? Ion Cojar mentions that „the actor has to master simultaneously two entities: Sense and Sensibility”. Sense means control and moderation, but what do we mean by Sensibility? Or, what triggers sensibility in a theatrical act, to what do we appeal to help us understand a certain situation and character, physically and psychically? The author has tried to prove that every process that has been realized during a person’s lifetime, is based on memory – the function which determines the continuity of an identity over time – and also that it can become an instrument in the interpretative and theatrical art, which offers methods of solving situations which are more or less actual.
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Колико пута нам се догодило да овлашан траг неког затуреног мириса или неки давни призор, стихови једноставне дечије песмице или звуци некада присне мелодије, изненада искрсну пред нама и запљусну нас плимом успомена из прошлости, па занемели и омамљени застајемо усред покрета, док холограм усковитланих слика из заборављених давнина детињства израња из таме сећања и буди жестоке емоције у нама.
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José Ortega y Gasset studied painting in depth from the standpoint he called ratio-vitalism or the philosophy of vital reason. This paper explores whether the term živopis corresponds more to ratio-vitalist philosophy than the term pintura used by the Spanish philosopher. In other words, the question is whether the translation, in this case, is better than the original. Following Ortega’s thesis on the historicity of human creations, we will look for the origin of the word živopis, which contributes to the consideration of whether it is an appropriate word for the art of painting from the perspective of the philosophy of life.
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