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“…he feels at home not only in doing but also in studying theatre, he is capable of correlating his theatrical experiences with his new theatrological views.” András Visky is a writer, poet, the dramaturg of the National Hungarian Theatre in Cluj. The present review is about the collection of his essays on theatre.
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During 1960-es, American film was ubiquitous in the Yugoslav cinema, both as part of American Cold War propaganda, and as part of the Yugoslav propaganda, by which Yugoslav government wanted to show how the system was liberal in this country between East and West. In this decade, American film dominated Yugoslav cinema repertoire, imports of American movies was much higher than imports of films form other countries. It was written a lot in the press about it. This made Yugoslavs adore Hollywood stars, finding role-models among many of them. Owing to the fact that the Yugoslav regime was open to Western culture, especially to the American film, but also owing to the propaganda of both countries, many American stars Yugoslavia during Cold War. Some of them were hosted by President Tito himself. Exporting its films, thus exporting its culture and view of the world, America has influenced Yugoslav society. At the same time Yugoslav government had sent to the West the image of a democratic state, in which it was possible to see the cold war film with explicit anti-Soviet messages.
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This article is dedicated to the study of rarely researched themes about interactions of political, economic and intelligence influence in Yugoslav cinematography. After World War II, influence of both Western and Eastern intelligence services paralyzed and hindered efforts to build a stable and powerful Yugoslav film industry. These influences, being based on the special interests of some national political and cultural elites, hindered the development of film industry and cultural homogenization of Yugoslavia. According to available documents, the United States and Great Britain have sought to re-establish control of film production in Yugoslavia, relying on the special interests of political and cultural elites of Croatia and Slovenia. Motivation was found in the effort of the two republics to retain their cultural dis- tinctiveness in relation to Yugoslavia as a whole, as well as in the need of cultural elites of Croatia, greatly compromised by collaboration with the Ustasha and the Nazis, to find new patrons. This was the basis for decentralization in the culture of Yugoslavia, with far-reaching consequences in the political sphere. At the same time, the similar winds blew from the East. The Soviet attempt to patron film production in Yugoslavia was also an attempt to subject it to the control from the USSR. Thus, film in Yugoslavia would have been marginalized and made into an additional market for Soviet film. In both cases, the ideological and political consequences would be full domination of foreign powers over the Yugoslav cultural space. Eventually, foreign intelligence activities have been reduced to the destructive influences and control, thus weakening defensive powers of Yugoslavia. One of the causes of its ultimate disintegration, among others, were these hardly visible tendencies and processes.
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ЗА ДВЕТЕ НАЈНОВИ МАКЕДОНСКИ ФИЛМСКИ ОСТВАРУВАЊА, ФИЛМОВИТЕ ЗБОГУМ НА XX ВЕК НА Д. МИТРЕВСКИ И А. ПОПОВСКИ И МАКЛАБАС НА А. СТАНКОВСКИ
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The film was followed by a few moments of silence that felt like an eternity in the crowded Uránia theatre. Only afterwards was there applause, but subdued and careful, as if for lack of a better response the viewers who had assembled for the premier had felt compelled, out of respect for ceremony, to put their hands together.
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The Franciscan Monastery of Csíksomlyó near Várdótfalva (Sumuleu) is one of the most important catholic centres of Transylvania. The cult around "Babba Maria" can be dated back to pre-christian times. Theater spectacles were related more to the celebration of Good Friday than to the education of the students who performed the dramas. The article concentrates on the rooms that housed the theater spectacles. The theater building with three storeys, symbolizing hell, earth and heaven, copied the traditional style of transylvanian houses as they can be found for exmaple in Kézdivásárhely (Târgu Secuiesc, Szekler Neumarkt). Different dramas that were performed during the 18th century are presented, including details about stage design, decor and performance.
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A festival can be a good opportunity for debates and theatrical reflections. That is what happened at FITPT Iaşi (the 5th edition): the diverse and generous programme called for a discussion about SHOW PRODUCTION and its RECEPTION.
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As guest of honor at theater school in Iasi, in Studio, Andrei Serban has maintained a dialogue both as a director and teacher, sharing his professional audiences on stage and the department. Responsive, Iasi young audience asked questions of the most diverse schiţându thus parallel portrait of the Romanian school and the U.S.
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What is Dramalog, clever name that advance? A series of commandments, laws, raised requirements, as some challenges, as some baits designed to stir the imagination, to awaken the energies and creativity to excite those who now occupies social drama and theater in particular. And yet who can talk about the law when it comes to art? It's about some tools available to reach creators and observers of the phenomenon, instruments that they can feel, smell, diagnose some of the diseases of our time and of theater in general. I do not claim to solve the problem and do not want to give lessons. It would be ridiculous, since this theater. I speak from the position of practitioner, director, playwright, actor, man-about phenomenon closely.
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Black and White show directed by Ciprian Huţanu emerges, this time in an exchange of words between a viewer and creator. Transparency sensitivity, intelligence and art mânuitorului puppeteer.
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In this essay, I tried to analyse, in a comparative way, two of the most important feminine characters of modern theatre history: Lulu, the main character in two plays written by Frank Wedekind (Pandora`s Box and The Earth Spirit) and Hedda, the main character in the Ibsen`s play Hedda Gabler. The analysis was organized in conexion with few essentials relations between characters and the ideas of Beauty, Origine, Culture, Marriage, Love, Life, Freedom, Death. The conclusion of this essay: both Lulu and Hedda are two different faces of Eve, through Eve understanding, of course, the concept of feminity. The distances between the two feminine characters are huge and, paradoxical, in the same time, almost irrelevant.
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