"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatuniene / Language(s): English / Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

100 години професионален оперетен театър в България. Постановъчно-изпълнителски опит и репертоарни тежнения

Author(s): Rumyana Karakostova / Language(s): English,Bulgarian / Issue: 4/2018

This paper intends to sum up, from a contemporary critical perspective, the cultural significance of various periods of the centenary history of Bulgaria’s professional operetta theatre, focusing on the social function, the institutional and aesthetic physiognomy of Sofia-based leading private operetta companies in the interwar period and its only genre-profiled National Musical Theatre as their direct successor, which this season marked its seventieth anniversary. The main problematised assumption is that the marked trends in the repertoire polices, stage and performing practices in the centenary development of operetta art on Bulgaria’s professional stage can only be correctly brought forth on the basis of a scientifically objective, rationalised both by the dynamism of historical events and the respective shifts in the sociocultural paradigm and the topical critical reflection.

ADAPTACIJŲ STUDIJOS: ANALIZĖS METODAI IR VERTINIMO KRITERIJAI

Author(s): Migle Munderzbakaite / Language(s): Lithuanian / Issue: 96/2018

No matter what the intention of adaptation is – creation of it or an attempt to analyse it – Andreas Bazin is usually mentioned. Bazin was a French film critic and theorist. He initiated the famous film reflection magazine “Cahiers du Cinema” (first publication 1951) and wrote „Adaptation or the Cinema as Digest” (1948). In the article the author started talking about adaptations of cinema: the principles of creation, the position of text in relation with the new work, the meaning of adaptation and its impact on film audiences. While using an example of an exposition in a museum, he explains adaptation. We see selected collections of paintings in galleries but we do not doubt the value and originality of these works. Since the middle of the 20th century, the evaluation of adaptation, methods of analysis and access changed. With some reservations, however, the focus of analysis remains on the text (narrative of the adaptation work). This article presents the field of adaptation research, its trends, the dominant context for evaluation criteria, most commonly used methods and tools of analysis. Post-structuralism had a big influence on adaptation research. It “borrowed” some important ideas: the formation of the phenomena of intertextuality and intermediality and deconstructive access.

ANNA (ASJA) LĀCIS KULTŪRU UN IDEOLOĢIJU KRUSTPUNKTĀ

Author(s): Beata Paškevica / Language(s): Latvian / Issue: 2/2015

The article explores the course of formation of the positions of Asja Lācis’s theatre aesthetics in the early period of her activity, mainly in Riga during the 1920s. The article takes a chronological look at the first theatre impressions of German and Latvian theatres in Riga. Special attention is paid to Asja Lācis’s change of aesthetic views under the influence of the Russian avant-garde. In contrast to the exuberance of Hedda Gabler and the existential loneliness in Ibsen’s psychological theatre, the new Russian avant-garde theatrical search stressed the biomechanical conception and the role of the actor as a player in a theatre company. The key position in Asja Lācis’s personal work of directing in Riga amateur theatre of the leftist trade unions was the aesthetic requirements of the proletarian cult and the theatre of October. She tried to create a radical avant-garde theatre and expressed her aesthetic views in a number of articles in the Latvian leftist press. Anna Lācis’s experiments in Oryol and the Riga theatres, which were based on her acquired experience of the Russian avant-garde, served as a catalyst for her further cooperation with Walter Benjamin and Bertolt Brecht; it also influenced the development of different contemporary theatre trends.

ANNA LĀCIS AMONG THE CREATORS OF THE IDEOLOGICAL CHILDREN’S THEATRE

Author(s): Joanna Crawley / Language(s): English / Issue: 2/2015

The moral and political coup d’état in West Germany in 1968 brought new ambitions and goals. Women and children were recognised as victims of existing institutions. In order to change their lives, a vision and examples were necessary. This is why the summary of the Programme of the Proletarian Children’s Theatre by Asja Lācis and Walter Benjamin, which appeared in an alternative magazine, and subsequently Asja Lācis’s autobiography, entitled “Profession – Revolutionist”, caused an immediate reaction and became a new organisational strategic basis for work with children and youngsters. In these works, newly established children’s theatres, such as Teater im Märkischen Viertel, Gruppe Spielumwelt, Volker Ludwig’s Reichskabarett (subsequently – Grips) and TAT, found particular inspiration for anti-authoritarian activity. Volker Ludwig saw a way of bridging theatre and emancipation-oriented education in Asja Lācis’s works. The Grips-Theatre, which has existed for over 40 years, has become the most influential ideological theatre for children. Its different kinds of activities are now in use all over the world. The present paper explores the impact of Asja Lācis’s ideas on contemporary children’s theatre, demonstrating how concrete her discoveries were in the context of the theatre of her time.

ANNA/ASJA LACIS AND THE MULTILINGUALITY OF THE OTHER

Author(s): Susan Ingram / Language(s): English / Issue: 2/2015

The article discusses the multilingual nature of Anna/Asja Lācis’s own works as well as those devoted to her. When Anna Lācis’s memoirs were published in German in 1971, the editor Hildegard Brenner pointed out that the name Asja Lācis should appear more often in the research on Walter Benjamin and the cultural scene of Weimar. Asja Lācis did not receive well-deserved acclaim over the subsequent decades either. The conference, which is devoted to Asja Lācis and her work in the context of proletarian theatre and the ideas of leftism, indicates that the situation has changed under the influence of geopolitical and technological circumstances. The article analyses the influence of changes in the world on approaches to translation in culture and ensures an insight into Walter Benjamin’s translation work before meeting Asja Lācis in Capri. The goal of the paper is to analyse the efficiency of such work in order to understand both the difficulties in their relationships and the reception of their literary heritage, which are closely intertwined, as well as to facilitate the dialogue between this reception and leftism, which juxtaposes it to Antonio Gramsci’s works about translatability.

ANNAS (ASJAS) LĀCIS LOMA VALTERA BENJAMINA FILOZOFISKĀS DOMAS ĢENĒZĒ

Author(s): Beata Paškevica / Language(s): Latvian / Issue: 2/2015

Walter Benjamin’s collection of articles, Passagenwerk (The Arcades Project), is regarded as the quintessence of his philosophical thought and aesthetical beliefs. A forerunner of this monumental work is the travel description entitled “Napoli”, written in co-authorship with Anna Lācis, where the keyword is porosity, which is a metaphor for the specific way of thinking for Walter Benjamin. The collection of literary sketches “One Way Street” and “Moscow Diary”, created in cooperation with Anna Lācis, are also important records of the 20th century aesthetical perceptions and ideological considerations. There exists an interesting intertextual link between the images of cities in various Benjamin’s works – Naples, Rīga, Moscow. The article is an attempt to discover the “unclear” influence of Asja Lācis on the philosophical thought of Walter Benjamin and is based on Beata Paškevica’s monograph “In der Stadt der Parolen. Asja Lacis, Walter Benjamin und Bertolt Brecht” published in Germany in 2006. The conclusion is that Asja Lācis has not had a great influence on Benjamin’s political views but on his aesthetical views. This has been metaphorically formulated by Benjamin himself in the dedication text of his book “One Way Street”.

ANNAS LĀCIS DARBĪBA LATVIJĀ 20. GADSIMTA 20. GADOS. EKSPRESIONISMA ŽESTS

Author(s): Rita Lurina / Language(s): Latvian / Issue: 2/2015

The theatre director Anna Lācis belongs to the generation of modernists who found the origins of their creative impulses in the bright and erudite flow of arts education at the beginning of the 20th century. The wheel of the turn of the centuries threw Anna Lācis into the expression of idealism of the revolution, ideology and art forms. The stage requirements for this expression organised the flexibility of the actor along geometrically constructive laconic lines. Anna Lācis was one of the creators of this kind of gesture for a short time in Latvia in the 1920s. Her activity in Latvia was focused on the ideas and practice of formation of the so-called Proletarian Theatre. Anna Lācis’s choice of working with amateurs was determined not only by her position of an adherent to proletarian ideology and her brave civic liberty, but probably also by the coincidence of circumstances. When Anna Lācis was in Latvia, she gladly communicated not only with the left-wing revolutionary intellectuals (the poet Linards Laicens, the writer Leons Paegle, and others), but also with the representatives of Riga theatrical environment of the time. Unfortunately we cannot speak about Anna Lācis’s creative contribution to the Latvian Professional theatre of the time; however, her stagings lend us a wonderful opportunity to see a part of the multi-faceted spectrum that the beginning of the 20th century offered to the stage form of the actor and appreciate the erudition that her education had provided.

Antropologia oporu. O wywracaniu życia codziennego

Author(s): Ewa Drygalska / Language(s): Polish / Issue: 766/2019

Archaeology and Art in Latvia

Author(s): Zenta Broka-Lace / Language(s): English / Issue: 1/2018

The correlation between art and archaeology in Latvia can be traced in various ways. First, despite all technical innovations there are still professional artists that work on field with archaeologists and are directly involved in the recording of archaeological evidence. Furthermore, art-related work is being done in reconstructions, book illustrations and museum exhibitions. In addition to those who devote their artistic skills to scientific and educational purposes under the supervision of archaeologists, we can see quite a lot of artwork that represents something archaeological while being the free fruits of artistic imagination. Archaeological science is of the opinion that inaccurate stylisations of archaeological costumes in movies or arbitrary depictions of some archaeological period in literary or any other work of art can very easily lead to false impressions and misunderstandings that endure for decades. On the other hand, scientists have no right to restrain the public from interpreting its own past as it deems fit. The aim of this paper is to discuss the relations and crossroads between art and archaeology by examining how they historically have developed, coexisted and influenced one another in the territory of Latvia from the 19th century till nowadays.

Arhitekts un politika. Ernesta Štālberga dzīve un darbs

Author(s): Karina Horsta / Language(s): Latvian / Issue: 22/2019

Ernests Štālbergs (1883–1958) experienced two world wars and six different political regimes one after the other. His biography is an obvious example of how fundamental socio-political shifts can affect not only the architect’s private life but also his professional output and even the work on particular objects. The Russian Empire period (1883–1917) Štālbergs was born in Liepāja in 1883. In the conditions of rapid industrialisation and urbanisation since the 1870s, his native town, then part of the Province of Courland in the Russian Empire, had become an important industrial centre with a large commercial port. As the future architect’s father was a carpenter, Štālbergs became involved with this craft during the construction boom in late 19th century Liepāja, thus taking a deeper interest in architecture. After completing the Liepāja City Realschule in 1902, Štālbergs began his two-year studies of architecture at Kazan Art School’s Department of Architecture. When he graduated from the school with a first-degree diploma in 1904, he was enrolled in the Department of Architecture of the St. Petersburg Academy of Arts without entrance exams. Štālbergs studied at the academy for a long period, from 1904 to 1914. This was partly related to financial problems as well as to political events, such as the Revolution of 1905. The budding architect’s studies dragged on also due to his first major designing and construction experience. Together with the architect Vladimir Shchuko, he designed and supervised construction of the Russian Empire’s pavilion at the International Exhibition of Art in Rome (1911). In comparison with the Russian Empire’s exhibition structures of previous years, the Rome pavilion was the first to show the regional character of Russian Classicism instead of the Russian Revival architecture as an embodiment of the national specificity. After graduating from the academy, Štālbergs stayed on in St. Petersburg and began to teach at Yelena Bagayeva’s private Women’s Higher Courses of Architecture. The Collapse of the Empire and the Russian Soviet Federative Socialist Republic (1917–1922) The academy was closed down after the Bolshevik coup of 1918; The Petrograd State Free Art Studios were opened in its place and Štālbergs began to head the master studio of architecture there. For a short period, the architect was the rector and the dean of the architecture department at the new institution. He also became actively involved in the art scene and the Russian avant-garde movement. As a result, he was the editorial board member of the radical newspaper Art of the Commune and created festive decorations for Petrograd in the first anniversary of the October coup. Period of the Republic of Latvia (1922–1940) The new order in Soviet Russia was grotesque, so the architect returned to Latvia in 1922, taking an instructor’s job at the recently opened University of Latvia, Faculty of Architecture, where he headed his master studio of architecture for almost 30 years. In Latvia he could freely realise his ideas and designed various objects for both the university and the political elite but as a modernist, he saw architecture as a potential solution to social problems. The period of social democratic governments typifies Štālbergs’ work on the Riga municipality’s apartment house on Lomonosova Street and the ambitious people’s house project. Two monuments designed by Štālbergs, created together with the sculptor Kārlis Zāle, are recognised as outstanding examples of the synthesis between architecture and sculpture and are significant in the political context. The Freedom Monument became the inter-war period’s main public art object and a national symbol. Štālbergs’ major contribution to the monument project is its successful location on Brīvības Boulevard, Riga’s main urban axis. The other object is the monument to the Riga 6th Infantry Regiment. Clear means of spatial organisation derived from Constructivism created the necessary preconditions for remembrance of the soldiers in a limited space. Second World War (1940–1945) The years of the Second World War were a tragic period in the architect’s life, especially the Nazi occupation from June 1941, as his wife was Jewish. The ban on construction in the Nazi period along with Štālbergs’ emotional experiences and passive resistance to the occupational regimes were not favourable to new projects. During this period, his only work was teaching at the University of Latvia. When three quarters of Latvia’s architects fled westwards at the end of the war, Štālbergs, however, decided to stay in his homeland. Life in Soviet Latvia (1945–1958) The restored Soviet occupational regime held Štālbergs in high esteem at first, heaping him with prestigious posts and various honorary titles. The regime’s recognition followed in the practical field too, as the government assigned the architect to work on a new, ambitious hotel in Riga and he also designed the architectural part of the Lenin Monument. However, as an ever more conservative version of Socialist Realism was on the rise, the architect’s modern, West-inspired ideas appeared unacceptable to Soviet ideology. They were harshly condemned in the press, coinciding with the repressions against old teaching staff. Štālbergs was forced to quit his work at the university and all other posts. Until the end of his life, no new buildings were constructed to his designs in Soviet Latvia. Conclusion Ernests Štālbergs’ life and professional career were closely intertwined with Latvia’s dramatic history in the 20th century. Regardless of the general recognition in all periods, political history hindered the architect’s self-realisation. Štālbergs’ progressive ideas largely remained misunderstood because he strongly adhered to rational architectural solutions. Only their forms changed with the development of his work, initially based on classical architecture and later oriented towards modernism. Due to the political and economic situation and commissioners’ changing interpretations of architecture, Štālbergs’ realised works reveal a much more conservative and modest side of his creativity.

Asara uz vaiga. Eduarda Pāvula aktiera kodu meklējot

Author(s): Inga Perkone-Redovica / Language(s): Latvian / Issue: 1/2015

Eduards Pāvuls (1929–2006) is one of the most beloved Latvian theatre and cinema actors, a charismatic player of common people. Starting with the 1950s, Pāvuls becomes a messenger of a new age in the art of acting. In his characters he rejects the histrionically encoded style of acting that is characterised by theatrical signs canonised over centuries. Instead, he uses expression codes taken from real life. Pāvuls succeeds in conveying, what can be called Zeitgeist in the art of acting. In the cinema it is represented by the influence of Method Theatre in Hollywood and by acting based in improvisation in the forms of New Wave films at the turning of the 1950s and the 1960s in the world. However, the essential changes do not so much proceed from acting techniques, but from change in public opinion about what a character should be like in a work of art.

Bendis, the Great Goddess of the Thracians, in Athens

Author(s): Luigi Beschi / Language(s): English / Issue: 1/1990

BERNHARDA RAIHA RADOŠĀ DARBĪBA LATVIJĀ: 1951–1972

Author(s): Liga Ulberte / Language(s): Latvian / Issue: 2/2015

Director and theatre theoretician Bernhard Reich (1894–1972) is one of the most outstanding personalities of the German theatre of the 1920s, who, as a director and co-playwright, has collaborated with Max Reinhardt and particularly with Bertolt Brecht. In 1922, in Berlin, Reich meets Anna Lācis, with whom he leaves for the Soviet Union in 1926 and spends the rest of his life together. Having survived the reprisals of Stalin’s regime, Reich spends the last twenty years of his life in Latvia, where his creative endeavours are manifested in three ways. Firstly, Reich directs two productions in the theatre: H. Ibsen’s “Hedda Gabler” (Valmiera Theatre, 1956) and B. Brecht’s “Mother Courage and Her Children” (the State Philharmonic of the Latvian SSR, 1969). Secondly, during the 1960s and 1970s, Reich publishes reviews of Latvian theatre productions and articles about playwriting abroad in the Latvian periodicals. Thirdly, a number of Latvian museums and archives house Reich’s own correspondence, mostly addressed to Lācis and discussing both professional and private issues.

Bertolta Brehta teātra modelis Pētera Šteina iestudējumos

Author(s): Liga Ulberte / Language(s): Latvian / Issue: 1/2006

In the creations of German director Peter Stein there can be some periods singled out, when he has intensively focused on the research of a certain style or author's dramaturgy, consistently experimenting with different types of theatre aesthetics. In the beginning of his activities as a stage director, Stein consistently used the principles of Brechtian epic theatre for revealing both the content and form. In the 60s and 70s of the 20th century, Stein continued the traditions of German political theatre of the 20th century with his productions like B. Brecht's In the jungle of the Cities, M. Gorky's Mother and P. Weiss's Vietnam Discourse. And still, the open revolutionary ideas were not so appealing to Stein himself, therefore those productions, where Stein focused on resolving universal humanitarian and social issues by using the techniques of epic theatre and dramaturgy of a totally different type, were more interesting. J.W. Goethe's Torquato Tasso (1969) and Kleist's The Prince of Homburg (1972) can be considered as the most conceptual works of Stein's epic period. The purpose of all stage productions of Stein's epic period is to demonstrate how the social rules prevailing in the society impact human behaviour. At present, the director himself views this period of his creations ironically, only as an experimental experience of his youth.

Ceļā uz monogrāfiju par Kārli Baltgaili

Author(s): Anna Putele / Language(s): Latvian / Issue: 22/2019

Kārlis Baltgailis was born in Gatarta Manor on 15 (27) March 1893. When the family moved to Riga, his father began working in the port and little Kārlis, inspired by the stories he heard, once dreamed of becoming a seaman. Unfortunately, this was impossible because of his myopia and so he took up other occupations, including drawing. Baltgailis acquired more thorough art skills at Janis Rozentāls’ art studio (1906–1907) but at the Atis Ķeniņš Boys Realschule (1907–1911), he received a good education with many prominent Latvian cultural figures who became outstanding examples for Baltgailis to follow in his own pedagogical career. During his school years he also made friends with the artist Jēkabs Kazaks. After finishing the Realschule, Baltgailis moved to Russia where he attended Penza Secondary Art School (1911–1917). Some of the Riga City Art School students moved there too after the school was reorganised in 1915. With their arrival, a group of young Latvian artists emerged with Baltgailis among them; they tried to realise progressive modernist ideas in the rather conservative Penza. Having received a secondary school teaching certificate in drawing and art history, Baltgailis returned to Riga in May 1917 and volunteered for the 5th Zemgale Latvian Riflemen’s Regiment. As a soldier he ended up in Russia again where he stayed in Omsk but returned to Riga from Vladivostok with the Imanta Regiment in 1920. Back in his native land, Baltgailis joined Latvia’s artistic life gradually but his teaching work began quite soon. Since 1920, he taught drawing in Cēsis but in 1922, he became the teacher of drawing, art history and drawing methodology at Jelgava Teachers’ Institute where he taught until its closing in 1944. In 1925, Baltgailis co-founded the artists’ and writers’ society Zaļā Vārna (Green Crow, 1925–1939). Almost all of his 30 years work – sketches, paintings, drawings as well as materials gathered on various artists – was lost in the fire that ravaged Jelgava in 1944. In autumn the same year, he became the first teacher at the newly formed Cēsis Teachers’ Institute. In 1945, Baltgailis was admitted to the Latvian SSR Artists’ Union but in 1946, he began working at the drawing studio of Cēsis House of Culture (1946–1956). In 1950, Baltgalis was dismissed from his teacher’s job at Cēsis Teachers’ Institute and expelled from the Artists’ Union as a result of Soviet repressions. In 1958, he was readmitted to the Artists’ Union. Kārlis Baltgailis died in Cēsis on 15 February 1979. Baltgailis belongs to the generation of Latvian artists born in the 1890s, witnessing a new turn in Latvian painting towards modernist creativity. As the most direct follower of the ideas of Jāzeps Grosvalds and Jēkabs Kazaks, he became the only artist who consistently pursued the iconographic and stylistic line of early modernism over his entire creative career. When Grosvalds and Kazaks had both passed away, Baltgailis became a unique phenomenon, especially in battle painting, making the war theme the focus of his art. He arranged his oil, tempera and watercolour works in several series, the main ones being related to three historical battlefields – “Ložmetējkalns” (Machine Gun Hill), “Nāves sala” (The Isle of Death) and “By the River Mazā Jugla”. When the destruction of war was still in the near future, Baltgailis probably encountered Grosvalds’ works for the first time at some exhibition of Latvian artists’ works in Riga. Unlike Grosvalds, Baltgailis probably did not work in the battlefield. The first interpretations of war themes emerged later around 1918 when Baltgailis was in Omsk. The end of his military service is depicted in the riflemen’s magazine Kaija (Seagull, 1920) with drawings telling about the trip from Vladivostok to Latvia together with the Imanta White Latvian Riflemen’s Regiment. While back in Latvia, Baltgailis began to interpret the themes of riflemen in more elaborated oil, tempera and watercolour compositions. The artist’s individual style was yet in the making but it was already clear that the image of the rifleman would occupy a significant place in his art. The 1920s and early 1930s was the period with the most pronounced Expressionist tendencies in Baltgailis’ art, which could be seen in the work of other modernists too. This was also his most prolific period when his maturity and professionalism became evident and his form and style – established. In this period, his most acclaimed works on the theme of riflemen emerged – “The Isle of Death” (1933, LNMA) and “Spring in Tīreļpurvs” (1934, LNMA). In the period of Socialist Realism when the theme and style were determined by Soviet ideology, Baltgailis continued to paint – he created new works or restored the lost ones from memory. With the Khrushchev “thaw”, riflemen scenes by modernist artists were used as iconographic and stylistic sources of Latvian “Red” Riflemen. It is hard to establish the role of Baltgailis’ examples but there are certain similarities to other artists’ works on the riflemen subject in the Soviet period. Most comparable are the exiled artist Juris Soikans’ tempera paintings. In the early 1950s, Baltgailis increasingly took up religious compositions too. Unfortunately, in most cases only black and white photographs have survived of these works, allowing us to assess just the compositional solution. Baltgailis was not only an artist and pedagogue but also an organiser of public life and critic of major cultural processes. In the late 1920s, Baltgailis together with other enthusiasts of Jelgava’s cultural life began work to found the Zemgale Museum. Throughout his life, Baltgailis gathered and systematised materials on numerous artists. From a small card index, it gradually grew into a voluminous archive, now held by the specialists of the Latvian National Library. The archive contains a wealth of information on both known and more marginal artists. Further studies of Kārlis Baltgailis’ life and art can broaden the understanding of artistic and cultural developments, personalities and their relationships in significant and complex periods of Latvia’s history, paying especial attention to the processes outside Riga in Jelgava and Cēsis.

Cilvēka atveidojums Latvijas aktierkino. Padomju periods

Author(s): Agnese Surkova / Language(s): Latvian / Issue: 1/2014

The objective of this paper is to characterise, compare and analyse the depiction of the human being in Latvian feature films during the Soviet period – after World War II (in the 1950–60s) and the 1970–80s. In the centre of the world created by films of each of these periods there is a person of a different type who (directly or indirectly) offers a message about his/her time: it is obviously depicted in the value systems of the characters, as well as the models of actions and their visual images. When taking into account the influence of visual images created by the cinema and, frequently, its direct participation in transferring the message to the audience, special attention is paid to the visual aesthetics of the films: the positioning of the camera, lights, assembly, the composition of the film frame, and the placement of actors in it. Another essential theme that requires particular attention is the choice of actors/types of personalities, that is, the correspondence of the visual images (appearance) of film characters or, on the contrary, there is a contrast with the official concepts, stereotypes and/or canons of the particular period. The paper highlights films and actors that are typical of the respective periods, providing an analysis of vivid screen images and a series of films.

Dailes teātra aktiermākslas principi un modernisms (20. gs. 20.–30. gadi): Felicitas Ertneres ieguldījums kustību valodas izstrādē

Author(s): Ieva Rodina / Language(s): Latvian / Issue: 1/2015

The Daile Theatre, founded by Eduards Smiļģis in 1920, is related to the creative experiments of the greatest modernist theatre directors of Western Europe and Russia. The theatre movement consultant Felicita Ertnere (1891–1975) contributed substantially to the creation of a particular movement language for the artistically original languages of the Daile Theatre. She also contributed to the creation and development of the principles of acting for the Daile Theatre. Education that Ertnere had acquired in Saint Petersburg and her knowledge about modernism movement theories and methods of her time were very important in the creation of movement language characteristic of the Daile Theatre. There are two main sources of influence for Ertnere: (1) the physical method of training created by Peter Lesgaft (Пётр Лесгафт) based on the theory on the human body and mind as a unified system, and the view that understanding of human anatomy is essential alongside with training the physical body; it is also essential to control your body with the help of your mind; (2) Western European theories of movement which appeared in the first half of the 20th century: eurhythmics created by Emile Jaques-Dalcroze and the language of gestures created by François Delsarte. In 1924 the Daile Theatre, as they had a demand for a new type of actors, founded a three-year course or school whose aim was to “prepare actors for the Daile Theatre who would systematically and methodically acquire the necessary technique in order to raise the artistic level of the Daile Theatre.” Ertnere contributed to the creation of the Daile Theatre movement language by delivering practical classes and by closely working together with Eduards Smiļģis on the movement script for Daile Theatre performances created by Eduards Smiļģis that was called innovative and compared to European and Russian modernist theatre practice by critics of the time.

DAILININKAS JUOZAS BALČIKONIS

Author(s): Juozas BALCIKONIS / Language(s): English,Lithuanian / Issue: 96/2018

Juozas Balčikonis (1924–2010), one of the patriarchs of Lithuanian Textile School, was born in Giedraitinė, Ramygala district, Panevežys region. He graduated from Ramygala Secondary School. During his study at Kaunas Applied and Decorative Arts Institute, he was greatly influenced by L. Truikis. Balčikonis was passionately interested in the Lithuanian folk art as well as in Oriental art and collected their samples. Since 1949, he was a teacher in Kaunas Applied and Decorative Arts Institute. From 1951 till 1989, heheaded the Textile Department at the Lithuanian Art Institute. Balčikonis authored „Folk art. Fabrics“(I dated 1957, II dated 1962), „Tissue Patterns“ (1961), „Tape“ (1969), „National Clothing“ (1970) andother books. Since 1947, he participated in many exhibitions in Lithuania and in various countries of Europe, Asia, America, and Africa. Almost all the most significant pedagogical, organizational and creative events in the 20th century Lithuanian textile art were related with him. He contributed a lot to formation and development of the Lithuanian National Textile School. The main areas of his creative activity were tapestries, woolen carpets, batik technique pieces, decorative fabrics, mixed technical compositions, national costumes. In 1955 and 1960, he designed folk costumes for the „Song Festival“. Balčikonis received the State Award and was decorated by the Medal of the Lithuanian Army Creator and Volunteer (2000) and the Order of Grand Duke Gediminas (2001).

DAŽAS RIETUMU MARKSISTU IDEJAS, ALBERTA BELA PROZA UN LITERĀRAIS KINEMATOGRĀFISKUMS

Author(s): Julija Dibovska / Language(s): Latvian / Issue: 2/2015

The Latvian writer Alberts Bels (b. 1938) uses elements of literary cinematography in his prose. Although the number of these elements is not large, they testify to the fact that there is nothing unintentional in the writer’s prose. One of the ways how to establish the semantic load of elements of literary cinematography is to examine the context in which these elements are used following the views of the 20th century Marxist leaders. Thus, as an aesthetic value, literary cinematography in Alberts Bels’s writings can be seen as a compromise between traditional culture, which according to Walter Benjamin requires an aura and active experience of the reader, and the new art which was created on the basis of traditional art. If literature takes over the patterns of narrative cinema and uses them to create new, yet non-radical forms and structures, literary cinematography can be regarded as a favourable result of what Benjamin calls the loss of aura in a reproduced work of art.