David Esrig şi teatrul poetic. Elemente ale unei metode

Author(s): Dumitriana Condurache / Language(s): Romanian Issue: 11/2010

We have assisted, then participated at the director and professor David Esrig’s workshops in Sfântu Gheorghe, Romania, and Burghausen, Germany, so we had the opportunity to meet his method. Because it’s about a method – both a directing and pedagogical one – we can talk about in his work. We named a few of the terms he uses, with their definitions, which are terms of great importance in theatre practice, even new ones or others already in use, but, the last ones, now really made up concrete and clear during the work process. David Esrig is in search of a poetic theatre, that is the opposite of an epic one, and such a theatre deals with crucial, existential matters, found in poetic and dramatic texts written by authors deeply implied, in their life and work, in the creative process, like Gellu Naum, Paul Celan. The same, actors are invited and directed to „plunge” in the deepest levels of the texts in work, (starting with a structural analysis), and therefore find bodily and vocal means, advanced ones, that would shortcut the essence ot the text and bring it on the scene with concentrated, symbolic gesture.

Sztuka czołówek

Author(s): Marcin Giżycki / Language(s): Polish Issue: 52/2005

Film directors and producers basically regard the credits and other titles as necessary evil, not paying much attention to their design, fonts, dynamics and the possibility of setting the mood for the film story that follows. Giżycki concentrates on a few examples offering a creative approach to the style and design of film’s opening sequences, usually created to present the title and names of the major artists involved in the creation of a film. To make his point, Giżycki examines the work of Saul Bass (the author of title sequence for Arthur Hitchcock’s "Vertigo"), Pablo Ferro ("Dr. Strangelove", "Bullitt", "Midnight Cowboy"), Stephen Frankfurt ("To Kill a Mockingbird"), Maurice Binder ("Barbarella", "The Private Life of Sherlock Holmes") and Kyle Cooper who designed the famous opening sequence of David Fincher’s "Seven".

Mydlany świat. Brytyjska soap opera

Author(s): Beata Kosińska-Krippner / Language(s): Polish Issue: 52/2005

In her essay on the history of British soaps, Kosińska-Krippner examines five most significant British soap opera serials "Coronation Street", "EastEnders", "Crossroads", "Emmerdale" and "Brookside". She compares the typical features of British soaps with their U.S. and Australian counterparts and shows some aspects of the reception of soap operas on British soil. The essay discusses the state of British research on soap operas, especially the latest findings of Dorothy Hobson, one of Britain’s leading soap opera commentators, who has traced the development of the genre in Great Britian for over 20 years.

Dziwne losy wywtórni Hammer

Author(s): Grzegorz Dryja / Language(s): Polish Issue: 52/2005

Dryja discusses ups and downs of the almost fifty year-long history of Britain’s Hammer Film Productions whose films played a significant role in the development of entertainment cinema. Dryja argues that the films were made according to the so-called “Hammer formula”, which allowed them to develop own aesthetics. Their characteristic features and style were responsible for shaping pop culture in a special way and inspired known directors (Francis Ford Coppola – "Dracula" or Kenneth Branagh - "Frankenstein"). Dryja reviews successive films (starting from Hammer’s first movies in the 1930s through its heyday in the 1950s and 1960s until its decline), making a parallel analysis of their themes, style, genre, the way they corresponded with Hollywood-made counterparts, and issues connected with the Hammer policy and economic aspects of its operations.

Marzenia i lęki. Brytyjskie kino science fiction (1929-1966)

Author(s): Krzysztof Loska / Language(s): Polish Issue: 52/2005

Some critics say that the development of the British science fiction cinema of 1929-1966 was overshadowed by American sci-fi film productions, which was reflected both by thematic similarities (the threat of nuclear war, the fear of alien invasions or of effects of radioactive radiation), and the attitude towards science or technology, related with the pessimistic assessment of civilisational development, and threats caused by the application of new technologies. Over the years the rationalist paradigm of science fiction gave way to “catastrophic imagination”. Scientists were replaced by monsters, and the utopian restructuring of society turned into visions of global destruction. However, British sci-fi films differ from their American counterparts, the difference being the result of the vitality of the Gothic tradition in Britain and popularity of television serials successfully adapted for the silver screen. You can see no impact of cartoons with stories of supermen fighting evil, which were so important in the American cinema of the interwar period, on British cinema.

Postmodernistyczny Blackpool

Author(s): Ewa Mazierska / Language(s): Polish Issue: 52/2005

This essay discusses representation of Blackpool in film as a special case amongst British postmodern cinematic cities. Its postmodernism not only follows the changes which affected the ‘real’ city in the last decades and the postmodern style of the 1980s and 1990s cinema, but to a large extent results from the fact that it was always, in a sense, postmodern. Many of the features associated with postmodernism existed in the city, and were identified by historians before the term ‘postmodernism’ started to be widely used. After presenting a brief history of Blackpool as the most cosmopolitan British holiday resort, patronised mostly by the working classes, the essay explores the shifts in portrayal of Blackpool that took place between 1927 the premiere of a silent box-office hit "Hindle Wakes", directed by Maurice Elvey to "Bhaji on the Beach" (1993), directed by Gurinder Chadha and "Funny Bones" (1994) by Peter Chelsom, through "Sing As We Go" (1934), directed by Basil Dean and "Taste of Honey" (1961) by Tony Richardson, using as the main methodological perspective Jonathan Raban’s concept of a ‘soft city’.

Ekskrementima daha do nepredstavljivog

Author(s): Laura Potrović / Language(s): Croatian Issue: 01+03/2011

Na koji se način u međusoban odnos mogu dovesti tekst kao anagram tijela (Barthes) i dah kao nevidljivo pismo tijela kojime se ono raspoređuje unutar teksta?

Suvereni stranac ili teorija subjektnosti Vjerana Zuppe

Author(s): Nataša Govedić / Language(s): Croatian Issue: 01+03/2011

»Glumac je stranac na svojoj zemlji«, zapisuje Zuppa (1989: 22) u knjizi Uvod u fenomenologiju suvremenog hrvatskog glumišta ili štap i šešir. I sama »institucija kazališta, kao subjekt«, nastavlja Zuppa (1989: 35), »priklanja se nenormalnome. « Možda čak neznanome ili bezdomnome, ako domovinsko glumište definiramo kao mjesto unaprijed uspostavljenih hijerarhija i naslijeđenih pravila igre. Branko Gavella također je jedan od stranaca domaćeg glumišta. Ne samo zbog brojnih izvandomovinskih lokacija na kojima je boravio, nego i zbog odluke da za sebe kaže kako je prvenstveno »kritičar«, pa tek onda redatelj. I ta relacija obvezuje, zato što je u Hrvatskoj permanentni skandal odrediti se kritičkom vokacijom.

Okcidentalno kazalište i njegov Drugi

Author(s): Tsu-Chung Su / Language(s): Croatian Issue: 01+03/2011

Antonin Artaud jedan je od najistaknutijih i najutjecajnijih kazališnih avangardista u zapadnom svijetu. Često prepoznavan kao vizionar i slavljen kao otac modernog avangardnog kazališta, on zamišlja kazalište bez remek–djela, a podjednako je snažno utjecao i na suvremene redatelje i na teoretičare, kao što su Jean–Louis Barrault, Peter Brook, Jerzy Grotowski i Richard Schechner, da navedemo samo neke. Artaud je tako|er jedan od pionira teoretske razrade orijentalnoga kazališta. Njegovi spisi o balijskome kazalištu ubrajaju se najozloglašenija, ali i najfascinantnija tumačenja orijentalnoga kazališta.

Raskomadano tijelo u nadrealističkim dramama Antonina Artauda

Author(s): Thomas Crombez / Language(s): Croatian Issue: 01+03/2011

Antonin Artaud je u dvije svoje nadrealističke drame umetnuo prizor u kojem ljudski udovi padaju na pozornicu. Početak Le Jet de sang (Mlaz krvi, 1925) prikazuje dvoje mladih koji patetično izjavljuju ljubav jedno drugome, kada iznenada počne bjesnjeti orkan, dvije se zvijezde sudare i »niz nogu otkinutih sa živih tijela padaju, zajedno sa stopalima, rukama, glavama, maskama, kolonadama, portalima, hramovima i laboratorijskim posudama«1 (Artaud, 1976a, 71). U kasnijem scenariju pripremljenom za projekt kazališta okrutnosti La Conquête du Mexique (Osvajanje Meksika, 1933) kiša ljudskih udova odjekuje gotovo doslovno.

Dođi, o kraljevstvo nerođenoga

Author(s): Žarko Paić / Language(s): Croatian Issue: 01+03/2011

Antonin Artaud — tko je to? Ime, znak ili događaj? Imenovanje je znak sudbine: nomen est omen. Znak najradikalnijega obrata umjetnosti i života u razdoblju povijesne avangarde 20. stoljeća zacijelo je Artaudov projekt prevladavanja reprezentacijskoga kazališta jezika i govora. Povratak fizičkoj ekspresiji tijela čini se da je alternativa vladavini psihološke drame subjekta. Kada se znak znamenuje događajem insceniranja umjetnosti kao života, tada se istodobno radikalno mijenja perspektiva ne samo umjetnosti nego ponajprije onog što se razumije životom.

Nietzsche, Souriau, dramatologija

Author(s): Ante Armanini / Language(s): Croatian Issue: 01+03/2011

Jezik postaje u javnom smislu posve sporna stvar. Jezik se ispričava zbog jezika, postaje sumnjiva roba, problematičan kao {to jest i uvijek pod kontrolom onog što Zuppa zove naprimjer »lingvistički imperijalizam«.

Filmul Cyberpunk şi mitul secolului 21

Author(s): Marcel Gherman / Language(s): Romanian Issue: 157-158/2007

“În anii `60-`70, umanitatea era fascinată de explorarea spaţiului, contemplînd primii paşi ai omului pe Lună, şi urmărea experienţele psihedelice conduse de personalităţi ca Timothy Leary, Aldous Huxley sau Allen Ginsberg, care pătrundeau în profunzimile abisale ale spaţiului interior. Astăzi, în contextul proliferării Internet-ului […]”

U zločin je umešan i onaj koji spava

Author(s): Slavica Vučković / Language(s): Serbian Issue: 526-527/2012

Arta actorului din perspectivă multiplă: Caragiale faţă cu teoreticieni ai teatrului european

Author(s): Raluca Zaharia / Language(s): Romanian Issue: 13/2012

art of acting, female character, Caragiale

Discurs despre putere

Author(s): Anca Doina Ciobotaru / Language(s): English Issue: 13/2012

The offer of the multiple possibilities of staging the work of Caragiale is a starting point for studies and workshop shows carried out in the space of higher education in theatre. The dramatic show approached from the perspective of direction or the study of the actor’s art is just the classic option; however, cartoon theatre is an equally challenging option. The proximity to the universe of Caragiale can be explained by the avant-garde vein and the architectural construction of his writings; the imagery created stirs imagination, the acidity of parallels with human torts (which are universal and atemporal), the structures which are considered to be classic to new approaches.

Valenţe păpuşăreşti în O scrisoare pierdută de I.L. Caragiale

Author(s): Aurelian Bălăiţă / Language(s): English Issue: 13/2012

Starting from the idea of creating a puppetry show using a dramatic text written by I.L. Caragiale, we are presenting in this article some stages of the transformation of a virtual project published in our doctoral thesis, in a show, giving arguments for the puppetry characteristics of the dramatic text. We are talking about our own way of acting the comedy A Lost Letter with puppets. The event is now unique on the Romanian stages and it equally marks the performance for the bachelor degree of the 2011 graduate class from the ”George Enescu” University of Arts. Our performance was very well received at the International Festival of Acting Schools CLASSFEST from Chisinău, in the Republic of Moldavia, which made it possible to be selected to participate to the International Festival of Acting and Movie Hyperion, 10th edition, Bucharest, where it won the Special Prize of the Jury.

Critici inubliabili, pagini memorabile

Author(s): Bogdan Ulmu / Language(s): Romanian Issue: 13/2012

Regarding Caragiale, exegesis is very rich. Well known from studies that G. Ibrăileanu, G. Calinescu, I. Cazaban, Şt. Casimir, Maria Voda Capusan books by lesser known or not so famous authors names, the list is very long. Petra Petrescu's work dedicated to Romanian playwright, with good deck and statements that could be reviewed, it is noted in Romanian exegetical landscape.

Scena românească şi montări recente ale dramaturgiei lui I. L. Caragiale

Author(s): Ioana Petcu / Language(s): English Issue: 13/2012

The “Caragiale” phenomenon in the theatrical practice of the past few years is certainly worth analyzing rigorously. If we take into account that no less than eighty-four performances have been staged in the country on the most important dramatic stages as well as in alternative theatres and companies for the past ten years, the premises seem definitely promising. We would be tempted to see in the multitude of shapes taken by Caragiale’s work in the limelight precisely its stimulating depth. This generates our question – how efficient, how healthy is the perpetual reformulation, how favourable is the permanent search for the new and how favourable is the process of updating the plays in the context of the modern myths of the years two thousand?

Caragiale, orator politic sau Caragiale, personaj caragialean

Author(s): Stefan Oprea / Language(s): English Issue: 13/2012

As it is well known, at the end of 1904, Caragiale settled permanently in Berlin, in his self-exile deriving from his discontents in his country. This decision was possible due to a substantial inheritance from his rich relative, Momuloaia, which spared him from financial worries.