SOVIETŲ LIETUVOS KINO FASADAI IR KULISAI
Rec.: Anna Mikonis-Railienė, Lina Kaminskaitė-Jančorienė, Kinas sovietų Lietuvoje: sistema, filmai, režisieriai, Vilnius: Vilniaus dailės akademija, 2015.
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Rec.: Anna Mikonis-Railienė, Lina Kaminskaitė-Jančorienė, Kinas sovietų Lietuvoje: sistema, filmai, režisieriai, Vilnius: Vilniaus dailės akademija, 2015.
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The aim of this research was to establish the linkage of a creative personality of students of visual arts and cognitive and emotional empathy and whether the assessment of empathy is related to the gender. 1st– 4th year students of two art profile higher schools participated in the research, their age was 18–32 years. The traits of a creative personality were evaluated in accordance with the “Questionnaire on assessment of characteristics of a creative personality” (Туник E. E., 2003). The cognitive and emotional aspects of empathy were evaluated on the basis of the “Interpersonal reactivity index” questionnaire (Davis M. H., 1983). The instrument consists of four seven-item subscales: the perspective-taking scale, contains items which assess spontaneous attempts to adopt the perspectives of other people. Items on the fantasy scale measure the tendency to identify with characters from movies, novels, plays and other fictional situations. The empathic concern scale inquires about respondents‘ feelings of warmth, compassion, and concern for others, while the personal distress scale measures the personal feelings of anxiety and discomfort which result from observing another‘s negative experience. It has been revealed that with the decrease of the assessment of predisposition to risk, personal distress assessment increases. Also, it has been established that with the decrease of complexity assessment, personal distress assessment decreases. With the increase of imagination assessment, fantasy assessment also increases. The assessment of creativity did not differ among males and females; however, the assessment of personal distress in females was higher. Perspective taking and fantasy assessments did not differ among males and females.
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The paper focuses on the artefacts produced and displayed by pupils in Lithuanian general education schools. Drawing on the empirical research “Dominant and demotic school culture: analysis of tensions fields” (2014–2015) the paper investigates the found visual artefacts in schools: artworks, paintings, and graduates’ farewell gifts. The visual data analysis seeks to find out what is the purpose and meaning of the displayed artefacts to the members of school community. On the one hand, these artefacts demonstrate pupils’ creativity, self-expression, and freedom to establish their private spaces in schools. On the Prosser, J. (2007). Visual methods and visual culture of schools. Visual Studies, 22(1), p. 13–30. doi: 10.1080/14725860601167143 Prosser J.; Warburton T. (1999). Visual sociology and school culture. In J. Prosser (Ed.) School culture (p. 82–97). London: Paul Chapman. Peters M.; Marshall J.; Fitzsimons P. (2000). Managerialism and Educational Policy in Global Context: Foucault, Neoliberalism, and the Doctrine of Self – Management. In N. C. Burbules, C. A. Torres (Eds.), Globalization and Education. Critical Perspective (p. 111–132). New York, London: Routledge. Popkewitz, T. S. (2000). Reform as the Social Administration of the Child: Globalization of Knowledge and Power. In N. C. Burbules, C. A. Torres (Eds.), Globalization and Education. Critical Perspective. New York, London: Routledge. Ranciere, J. (2009). Notes on the photographic image. Radical Philosophy, Vol. 156, p. 8–15. Prieiga per internetą: http://m.friendfeed-media.com/701009c 0a81ed6de4eee7407ae43d38b274b4fbc [žiūrėta 2015 m. gegužės 20 d.]. Rose, G. (2012). Visual Methodologies: An Introduction to Researching with Visual Materials. Los Angeles, London: Sage. Survutaitė, D. (2015). Unikalios kultūros mokykla. Švietimo problemos analizė, 3(127). Prieiga per internetą: https://www.smm.lt/uploads/lawacts/docs/5 75_2ee579ef9843cbbecdfacb0afa5c5158.pdf [žiūrėta 2015 m. gruodžio 28 d.]. Thomson, P. (Ed.) (2010). Doing visual research with children and young people. London and New York: Routledge. Želvys, R. (2009). Švietimo politikos kontekstas. L. Duoblienė, T. Bulajeva (Sud.), Lietuvos švietimo politikos transformacijos (p. 13–32). Vilnius: Vilniaus universiteto leidykla. ARTEFACTS IN GENERAL EDUCATION SCHOOLS: OPEN OR STANDARDISED CREATIVE WORK? Sandra Kairė, Lilija Duoblienė Summary other hand, pupils cannot avoid the existing norms, open or hidden control, which is maintained by teachers and school administration in order to restrict and standardize pupils’ creative work as it was showed by M. Foucault and other authors. The paper shows that one part of school community sees artefacts as a way to express oneself, demonstrate one’s world view or even resist existing restrictions and norms. Whereas the other part of school community sees artefacts only as a way to decorate school and create cosiness.
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The article deals with the analysis of the representations of space in the novel Chapaev and Void by Viktor Pelevin. The theoretical background of the research is based on the works of Bertrand Westphal and Robert Tally on geocriticism and literary cartographies. The authors seek to underline those aspects of the novel that reveal the refferentiality, transgressivity and spatiotemporality of the space represented in the text. In the novel, there are maps which suppose the relation of the fictive space to the reality as well as pictures that represent places already known from the creative works of Russian literature or visual arts. Thus the main character’s leaving for the void is the same as the author’s departure from the tradition of Russian literature. At the same time, this tradition persists as the “collective visual” that serves for Pelevin as an archive for the visual spatial images / pictures of the novel. Pelevin is keen on the observer and his interpretation of the visual images, what makes his novel highly topical in the context of the recent geopolitical catastrophes of the world.
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André Malraux is a major writer of the twentieth century. We know him as an engaged intellectual and a novelist. His books on art are less read than the rest of his work. Academics and historians have never taken them seriously. Even if they are not of great scientific rigor, they show an original thought expressed in a flamboyant style. Malraux does not write a new story of art but he proposes a philosophical reflection on its riddle. Using many examples of paintings and sculptures produced by various civilizations, Malraux seeks their similarities and imagine their improbable dialogue. He insists on some ideas: art unites people through History and allows both to defy reality and destiny. He values the concept of metamorphosis of our view of the masterpieces of the past.
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The article investigates graffiti of Tbilisi, Georgia, as a part of the linguistic landscape of the city. The research is carried out within the theoretical framework of linguistic landscape, based on the works by Landry and Bourhis (1997), Gorter (2006), Jaworski and Thurlow (2010), etc. The aspects of multimodality, multilingualism and sociality are focused on in the research. The graffiti analysed displays the features of multimodality where visual images are used alongside with written texts, thus, adding the element of complexity to the discourse investigated. It must be pointed out that the use of English language for graffiti making prevails. Regarding the social aspect of the linguistic landscape, Tbilisi graffiti shows the engagement of street artists in a socially-relevant discussion tackling both local and state-level problems. The display of Tbilisi graffiti demonstrates the fluidity of this type of narrative: older graffiti are covered with new ones in addition to being cleaned or covered with official or commercial signage.
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Le devoir de mémoire désigne le devoir moral d’entretenir le souvenir des souffrancessubies dans le passé par certaines populations. Cette reconnaissance est essentielle pour que lesindividus et les sociétés puissent se reconstruire après les crises, et surtout, pour éviter de renouvelerles erreurs et les horreurs d’hier. Traditionnellement, ce sont les monuments qui traduisent lavolonté publique de rendre visible le devoir de mémoire dû aux victimes et ces monuments sontsouvent réalisés, en France, dans le cadre de commandes publiques. Pourtant, ces constructionsdédiées au souvenir, massives, imposantes, placées au cœur des villes, semblent devenus inutilesà l’évocation de l’histoire, incapables de réveiller les mémoires. C’est peut-être pourquoi certainsartistes contemporains s’interrogent sur la valeur du monument historique à notre époque et sur lemoyen de perpétrer le souvenir. Jochen Gerz, par exemple, artiste conceptuel d’origine allemandené à Berlin en 1940, s’est penché sur ce thème du devoir de mémoire de la Shoah, que l’on peut considérercomme l’événement le plus traumatique du XXe siècle. Aussi, le travail de Christian Boltanski,artiste français né en 1944 à Paris, semble imprégné par cette nécessité de remédier à l’amnésiecollective. Comment évoquer l’indicible ? Comment visualiser la haine, la peur ? Comment renouvelerl’image si peu parlante aujourd’hui du monument aux morts ? Ces questionnements seront aucœur de notre recherche.
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For a child, the school is like a separate “state” in which they are fully educated and influenced by a variety of environments, including aesthetic education. The significance of the environment in which the learner lives, matures, and creates has been found to be enormous. In Lithuania, there is a well-established “package” of environmental requirements for general education schools – educating, safe, functional, ergonomic, aesthetic. This article analyzes the relationship between the aesthetic education environment of the school and pupils’ artistic expression. Is it possible to develop the artistic self-expression of pupils in schools when creating an environment for aesthetic education? And is this a problematic question? The purpose of this article is to reveal the link between the aesthetic education environment of schools and pupils’ artistic expression. The following methods were used in the article: (1) an analysis of educational documents and scientific literature and (2) a review and comparative analysis of the realized projects. The educational document analysis method was used to review and analyze Lithuanian educational documents on school education environments. The analysis of educational documents on the educational environment of schools has led to the conclusion that a great deal of attention is paid to the ergonomic, functional, and aesthetic planning of educational spaces. The aim here is to create high standards for school education. The creativity of students, as well as the contribution of artistic self-expression, are identified as important aspects in creating an aesthetic education environment. The link between the creation and development of such an environment, and the involvement of the educational process participants in the creation of such spaces are emphasized. The creation of an aesthetic education environment in schools is more associated with visual and applied art. In applying the method of scientific literature analysis, this study includes a review of research conducted by Lithuanian and foreign authors about various school education environments, the influence of school education(s) on pupils’ learning, the aesthetic relationship of pupils with school education and the aesthetic education of schools; links between environmental and artistic activity are established. This article discusses the peculiarities and possibilities of modernizing the educational spaces of Lithuanian schools. After the analysis of scientific literature on the educational environment, it was concluded that the topics of the school educational environments were relevant to Lithuanian and foreign scientists. The environmental impact of school education was proven on the basis of a multi-faceted study; the concept of an aesthetic education environment has been revealed, its significance for personality development emphasized. The conclusion is that the aesthetic educational environment of a school can influence the formation of the students’ aesthetic attitudes. The active artistic expression of pupils can be provided by educators with certain conditions for their activities, or pupils can develop joint initiatives contributing to the creation of an aesthetic education environment. After discussing the modernization of the educational spaces of Lithuanian schools, an important link was identified between the creation of educational spaces and pupils’ artistic expression. The analysis of educational documents and scientific literature scientifically substantiated the link between the aesthetic environment of a school and pupils’ artistic expression. Examples of certain “dream school” projects in Lithuania and abroad were analyzed using the sample review method. This article contains an overview of the Lithuanian Primary School of the Veršvų Gymnasium in Kaunas (2018) and the Balsių Progymnasium in Vilnius (2011). Chosen for the review of foreign schools were the “Wish School” in Sao Paulo, Brazil (2016), We Grow and Blue School Preschool and Elementary Schools in New York, USA (2018), Lake Wilderness Primary School, Washington, USA (2017), Heart in Ikast International School and Multifunctional Center in Ikaste, Denmark (2018), Vittra Brotorp, Vittra Telefonplan, Vittra Södermalm School in Brotorp, Stockholm, Sodermalm, Sweden (2011–2012). An overview of architectural examples (analogues) implemented by Lithuania has revealed that Lithuanian architects can perfectly design schools that are modern, technologically equipped, ergonomic, etc. In the reviewed examples (analogies), the learning environment is safe and modern; they promote communality, creativity. The corridor system and the “four-walled” classrooms were retained in the design of Lithuanian schools. Pupils are encouraged to create and to participate in the creation of an aesthetic education environment through visual and applied art. Artistic self-expression is promoted by dancing, musical activities, and the like. Communality and a variety of after-school activities are promoted. An overview of architectural examples (analogues) implemented by foreign countries has revealed the latest architectural trends in global school design practice. It is noted that the design of new school buildings has been important for cities, societies, and education for decades. In many cases, the design process of the schools discussed was developed in conjunction with the needs of the community and adapted to the local architectural context. In the examples of foreign countries discussed, the functional zoning of premises was combined with modern design, educational principles, and the latest technologies. School interiors have been designed with a new concept of education and learning in mind. When designing the school spaces, it was emphasized that students are active subjects and space changers. In some of the examples of the discussed schools, the idea of a “class without borders” has been implemented. Non-formal seating, colorful furniture, and bright-colored walls are accentuated. Classrooms are modern and flexible and easily adaptable in accordance with the educational needs of the pupils. A diversity of activities, communication, and an atmosphere of creativity are promoted. Common spaces are easily adaptable and inspiring. Pupils’ artistic self-expression, curiosity, and the aim to “awaken” creativity are encouraged. Functional zoning allows students to work successfully together and independently. Attention is paid to communality and a diverse spectrum of activities. An overview of implemented Lithuanian and foreign architectural examples (analogues) has revealed the connection between the aesthetic environment of a school and the artistic expression of the pupils: 1) Students are encouraged to create and participate in the creation of an aesthetic education environment through visual and applied art; 2) Music, dance, and self-expression are promoted in school spaces; 3) The community is involved in the school design process. By comparing Lithuanian and foreign (analogous) examples, it may be stated that Lithuanian schools are wellplanned and meet high standards. The interior spaces could be more colorful and playful. In the cases of foreign (analogous) countries, internal spaces are more characterized by informal seating places, vibrant and colorful furniture and walls. The corridor system is more boldly eschewed, and the concept of “classes without walls” is implemented.
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This paper discusses the quotation frequency and reference strategies of Leon Battista Alberti, Federico Borromeo, and Gabriele Paleotti. These three Catholic art theoreticians of Early Modern period engaged Classical texts as the point of reference and expertly manipulated the Classical sources to provide contextual arguments in the formation of their own artistic theories. Alberti, Borromeo, and Paleotti directly alluded or referred to Pliny the Elder, Plutarch, Xenophon, Strabo, Aulus Gellius, and other Classical sources rather extensively. This can be noticed from various quotation strategies applied in Alberti, Borromeo, and Paleotti treatises and by statistical data on quotation frequency in Alberti’s De pictura, Paleotti’s Discorso intorno alle immagini sacre e profane, and Borromeo’s De pictura sacra.
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By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life.
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This article contributes to the multimodal investigation of comics translation, a highly semiotic activity. The author discusses the visual representation of the text as an image through a case study of the Lithuanian translation of Art Spiegelman’s graphic novel MAUS (translated into Lithuanian by Juškienė and Lempert, 2012). While viewing multimodality as a translation tool and a challenging area, he claims that the visual representation of the text is an integral part of the original multimodal event, whereby the meaning is conveyed through an intrinsic relationship between verbal and non-verbal elements, and that any distortion of those would result in alterations or losses in meaning. The results demonstrated that indeed even the smallest alterations of the visual representation of the text produced shifts in meaning; most of those shifts were pragmatic ambiguities, however, in certain instances there was a loss of semantic emphasis or narrative production. Comics translators and publishers are thus urged to fully comprehend the very dynamic and complex nature of multimodal texts and make every effort to ensure that translation would not result in any multimodal disruptions, if such preservation is technologically available.
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In the article the painting Card Player Showing His Hand by T. Rombouts (17th c. Netherlands) is being interpreted. It is noticed that two existential manifestations may interact in this composition: the gambler’s and Vanitas. In the first part of this article, an analysis is made how Rombouts presents card play as a way of being and how he integrates it into the genre of Vanitas. In the second part the hypothesis, is it proven that the composition of the painting continues the theme of Vanitas and questions it at the same time.
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In the introductory part of the paper the author formulates a tentative definition of love and points to the relationship obtaining between love and beauty, as described by Władysław Stróżewski and Joseph Ratzinger—Benedict XVI. What follows is an analysis of art works by Adrian Gottlieb, Bernhard Prinz, Olafur Eliasson, James Turell, Stan Brakhage, and Joanie Landau based on insights from the mentioned thinkers. The ‘love’ present in art is firstly interpreted as desire, also as desire for the good, then as all-enveloping and permeating power, a gift and the act of its acceptance, and finally as the descending Word. The description of the language used by the artists in question involves a reference to the underlying poetic quality of their work which manifests an aesthetically relevant value. The author observes that artists tend to make recourse to direct language and postulates that the aesthetic categories and poetic devices used in the interpretation of art works be considered as flexible language rules which ultimately serve conveyance of beauty in art, the latter ultimately deriving from love.
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The purpose of the article is to consider the concept and determine its components, in the development and analysis of conceptual art in modern design. Methodology. The following methods are used: analysis, synthesis, as well as semiotic, hermeneutic, psychoanalytic. The scientific novelty of the work lies in the study of conceptual art on the examples of hairstyle design, hairdressing collections, and an attempt to comprehend the underlying contexts and meanings in the process of interpretation. Conclusions. Given the fact that modern design as a polymorphic entity with a dominant innovative component actualizes the activities of the new generation and acquires the features of intellectual comprehension of visual information, it can be argued that conceptual art is a priority in this direction. The concept as the initial concept of the conceptual is defined as a multilevel formation of content, the semantic meaning of the sign, which requires a process of interpretation. Through J. Dili's study of the theory of sign systems, the interpretation of the concept in the system of traditions, rituals, customs, which is perceived differently by different people due to belonging to different cultures, societies, etc., becomes clear. It is proved that the creation of the concept is based on processes based on individual practice, personal associations, and the main types of metaphorical and allegorical thinking that arise from the experience of not only cognitive but also substantive activity. The study of conceptual art on examples of hairstyle design, hairdressing collections shows the peculiarity of such works of art: they are not always functional and are not always defined as a utilitarian object, but the use of unusual color, shape, progression, silhouette lines, the fullness of space and volume with signs and symbols, require a multilevel semantic definition in the process of interpretation through intellectual comprehension of the inherent contexts and meanings.
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The purpose of the article. In the work, we showed design tools of visual communications designing with the stickers using. The problem of informing increase of message and level of its perception closely relates to forming of a dynamic image. Research methodology is founded on the basis of the system design approach, and also some methods such as structural and compositional, functional, artistic, and imaginative design-analysis. The scientific novelty of the work. We found out that people can use stickers as an integral part of the design system for dynamic information creation which is the most effective for perception. We focus on the fact that design tools can solve the problems of interaction of visual communications with material objects, persons, and the environment by dynamic means. Conclusions. We emphasize attention on analyzing the visualization processes that happen by stickers repetition with minor transformations on the moving constructions. By using the animation effect, designers manage to create the continuous process illusion. During the work, we analyze the using of template stickers. Their artistic and graphic language is formed on the person’s involvement in communication by the combining of some elements within a defined structure. We proved that using smell and steam. With the development of innovative technologies, stickers-indicators, which become visual markers of dynamic changes in the chemical and biological composition of products, become relevant. We described the close relationship between hidden dynamic signs and visual color changes of stickers. We studied that the design of dynamic visual communications relates to the using of stickers as relevant tools of structuring space. The participation of stickers in the process of visual arrangement of public installations appears over time and is carried out on the basis of a constant flow of people. As result all of the described visual transformations relate to the use of stickers and require the rethinking of traditional semantic and visual-plastic constructions that belong to the openness and intelligibility of the message.
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The purpose of the article is to identify trends and patterns of organization of the artistic space of the modern interior of the coworking center, as well as the creation of scientifically sound methods that argue appropriate ways to solve design problems in the field of aesthetics of the XXI century. Research methodology. The theoretical, structural, philosophical, and aesthetic method is applied; method of artistic and stylistic analysis to identify features of the interior design of Kyiv coworking centers; structural-semiotic method, which determines the artistic and figurative content in the interior design of modern coworking space. Scientific novelty. The main theoretical concepts that became the basis for defining the interior of the coworking center as a unique type of artistic space are considered; -an analysis of the basic spatial concepts developed by famous philosophers who understand it as an artistic space; identified and analyzed the features of artistic solutions in the process of designing working interiors of domestic coworking centers; the factors of influence on the artistic and figurative decision of the interior of the coworking space are determined. Conclusions. Based on the analysis of existing spatial concepts, it is determined that the space of a modern coworking center can be considered one of the types of artistic space and identify certain semantic categories (according to Gabrichevsky, Spengler, Heidegger, etc.). Characteristic techniques and means of artistic expression of modern interiors of coworking centers, which are related to the understanding of space as an artistic concept, reflect the idea of its polyphony and determine the artistic and aesthetic principles of domestic interior coworking center in the first decades of the XXI century.
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The purpose of the article consists in identifying the actual components of the national design system formation at the beginning of the XXI century. In particular, was been researched the study level of the influence of geometric ornaments as identifiers of national culture. Methodology. Analytical, logical, and chronological methods were being used. The scientific novelty consists in fact of first time systematically investigating the meaning of a geometric ornament as an art form that marking Ukrainian culture in the context of cultural globalization. Conclusions. As a result of generalizing the scientific views of various fields of knowledge, were marked the most significant conditions and problems of using the geometric ornament of Ukraine in visual communications at different time periods. Conditions include the «modernization» of graphic techniques and using a wide specter of intersectoral knowledge. The main problems are: unsystematic and insufficiently formed theoretical base, low professional level of designers (ignoring organizing visual-communicative elements rules, disharmony in the color solution, low graphic culture). As a result, were formed main directions for using geometric ornaments in graphic design projects. These directions are a synthesis of intersectoral knowledge, improvement of the designer's stylization and composition skills, using ornamental compositions with considering to context.
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The purpose of the article is to study the development of the directions of Ukrainian book art, the formation of new creative features in the European cultural space. The research methodology consists in the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty lies in the study of book art, which has always been important in Ukrainian art. Conclusions. Today, we have a large amount of fine works in the genre of book illustrations. These works reflected both the history of the Ukrainian literature, history of the national graphic art, as well as the history of cultural progress of Ukraine in general. Thus, book art is an extremely fruitful object of study, an intersection point, where the complicated process of interaction of socio-political, spiritual, cultural and artistic and aesthetic factors is underway. Thus, Ukrainian book graphics in different periods reflected all European trends – modernism, symbolism, neo-primitive art, futurism, cubism, expressionism, constructivism, realism, surrealism, Art Deco, neoclassicism. The originality of the artistic language emerged through the use of traditional motifs and vanguard image creation tools.
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The purpose of the article is to identify the features of adaptation of oriental theatrical, physical, and spiritual practices by representatives of the European theater in the process of developing methods of actor training based on the analysis of acting training of leading directors of the twentieth century. - K. Stanislavsky, E. Grotovsky, E. Barba. Methodology. A typological method was used (to determine the specifics of acting training methods by K. Stanislavsky, E. Grotovsky, and E. Barba; interpretive method and method of comparative analysis (to identify common and different aspects of interpretation of Eastern practices by European directors); phenomenological method (to identify features of Eastern and spiritual practices and their adaptation to acting training), etc. Scientific novelty The specifics of borrowing and interpretation of traditional in East, Southeast, and Central Asia elements of actor training by Russian and European theater directors of the twentieth century are considered. K. Stanislavsky, E. Grotovsky, and E. Barba and revealed the peculiarities of adaptation by theater directors and teachers of elements of hatha yoga and Raja Yoga in accordance with their own understanding of the purpose of training in the art of acting. Conclusions. Various elements of traditional Western and Eastern cultural practices have been the focus of twentieth-century theater directors. in the process of developing innovative methods and techniques of educating the actor. Their research of local theatrical cultures contributed to the search for universal laws of stage conventionality, new acting methods of self-knowledge, and the disclosure of their own creative potential. In their own search for methods of educating the actor theater directors of the twentieth century. turn to the Eastern worldview, because the extraordinary method and a special view of the nature of consciousness and its functioning in the world contributes to the creation of training to solve a number of applied problems in the context of the specifics of acting. Translating material (Eastern practices) into a Western conceptual structure or any kind of synthesis of Eastern and Western concepts, simplifying, does not reveal the full depth of Eastern practices and religious orientations, but contributes to the actor's mastery of innovative methodological approaches, including intuitive insights, contemplation, contemplation. etc.
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The terminology related to the visual arts includes within it many terms that are used in both specialized and common language. However, only a part of the terminology of this field can be characterized by univocity and monoreferentiality, given that some lexemes have multiple meanings, which constitutes, in principle, a factor of ambiguity. In fact, in these cases, through a terminological metaphor, the transfer of the name of one object to another is carried out, based on a similarity between them. The phenomenon can be considered a fundamental process in the formation of the metaphorical terminological lexicon. The transfer mechanism combines two notions by virtue of their common elements, neglecting the differences. Specialty studies believe that each metaphor will therefore contain three elements: the entity to be named, the one that gives it its name, and the comparable characteristic, which makes the analogy between the two possible. The analogies on the basis of which the semantic transfer is made in the visual arts are of a referential type and refer, in general, to the shape, that is to the appearance of an object, sufficient to characterize it externally. In the sector we want to analyze, the most frequent lexicalized translations concern the human body (colo, rib, rib, foot, shoulder, head, nail), plants and trees (almond, leaf, stem), animals (goat, truss , mare, stork, bull, dovetail, bear), the geometric shape (band, ovolo, pillow, cube, strip). All these terms are created on the basis of a replacement procedure, possible thanks to an analogy between one word present and the other absent, but necessary in the specialized lexicon to name a new object. Practically, through the attribution of a new meaning to an existing lexical element, resemantize (or semantic redetermination) occurs.
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