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Beszélgetés Epres Attilával
Aninterview with the actor of Örkény Theatre, Attila Epres.
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Beszélgetés Epres Attilával
Aninterview with the actor of Örkény Theatre, Attila Epres.
More...Anne Bogart és a Siti Company
An analysis of Anna Bogart's tehatre and the Siti Company.
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Analysing new tendencies of staging the personal in contempoary Hungarian theatre.
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In the last years, the exclusive integration of advertising in the marketing mix has become a word-out manner of acting at an operational level. The autonomy of advertising in the management process has become inherent and, generally, closer to the area of communication than the other elements of the mix (price, place, product). The communication policies of an institution or company have separated more and more from the traditionally recognized marketing component. At the same time, in the case of Romanian theater (and, in general, in the cultural environment), but especially in the sector of independent theater, we can see a novel operational process, whereby not only the nature of the cultural service governs the media plan, but the reverse also applies. “Direct marketing” approaches seem to add an outer layer to the institutional communication segment and to dictate even an artistic-aesthetic direction to the organization.
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The contemporary choreographic movement of the 21st century may be viewed as a true patchwork of performance techniques and styles; a build-up of movements taken from established techniques, with elements of drama, ballet, improvisation and other connected disciplines. These challenges may be met only by a multi-technical and multi-stylistic approach in the training of future actors and choreographers. The transition from the everyday body to the theater body is the result of a process based on self-knowledge, documentation and practice.
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Through this I intend to bring again to the attention of practitioners of stage, musical, choreographic and theatrical arts, Merce Cunningham’s contribution to the development of modern choreography. The constant searches of yesterday, today and tomorrow’s artists is and will be a priority for those who want to bring something new and revolutionize art. Today, we distinguish distinctly the phenomenon of transgression of borders between the stage genres, especially between theater, music and choreography. Choreography migrates towards theater and music and theater and music strongly infiltrate into choreography. This emulation intends to create a total show but can still give birth to some artistic experiments where the accent is placed on the very visual interpretation with an excess of body movement and with an acute absence of Thalia’s simple and natural truths. Cunningham’s proposal on the way of assuming the body, the space and the rhythm is another challenge for today’s choreographers. The way of using these aspects and of acknowledging the strange infinity of its possibilities of transcending the communication barriers, reconfigures the body of the dancer as a linguistic entity with values still unexploited. Initiator of the choreographic modernism, Merce Cunningham is still nowadays an important reference for young choreographers.
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This text in front of you is the translator’s review, a case study, but also a deep analysis of tragedy Menelao (una tragedia contemporanea) written in 2016 by Davide Carnevali. The playwright sees în Menelaus an anti-hero with aspirations of a hero: recently returned after an exhausting fight, the king of Sparta finds himself sliding into an existential crisis which throws him into an endless depression. The plot follows the journey and the devastating consequences of a psychosis generated by post-traumatic shock caused by the war which the Spartan king survived… Without a doubt, the Italian’s writing method slightly touches the unconventional. Right after the list of characters, before the Prologue, the playwright himself carefully places a stage direction which can be seen as a statement, stating the fact that the acronyms and the temporal incongruities must be considered what they are...nothing! The concept of time does not exist in tragedies, just a glimpse which passes at the same time with the epiphany, or which can expand to the horizon of an end which doesn’t take place, for all eternity.
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The performance SnowShow, created by Russian artist Slava Polunin, had its premiere in Moscow in October 1993. It won Drama Desk Award for Unique Theatrical Experience and was nominated at Tony Award for Best Special Theatrical Event. Currently, this performance-event has world tours periodically. The contemporary art can be characterized by the hybridization of the expression forms, by the impressive blend of antagonistic signs and concepts. SnowShow consists of at least two spectacular forms: theater and clownery. There can be observed many overall compositional elements specific to clownery (the characters' costumes, the expression of the relationships, the artist / audience ratio, the construction of the sequences). Likewise, the dramatization of the theme, the philosophical conceptualization, and the characters' existence, the presence of various emotions, the placement of laughter and other clown-related motifs in the background are among the aspects indicating the fundamentally dramatic structure of the performance. The initially perceived individual anxiety and the singular nature get general, multiplied proportions. SnowShow is, perhaps, a recontextualization of Vladimir and Estragon in Samuel Beckett's Waiting for Godot.
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This article approaches the subject of theatrical language in mime, aiming to identify the mechanisms and resources of stage performance, referring itself to the silence/speech binomial. Can mime impose a valid theatrical language? Will a type of structuralism, through a reduction of complexities, manage to encompass the essence of the implications of stage acting within social structures? We will see the extent to which theater can trace a pattern of collective mime language socially and the extent to which such an approach will manage to encompass the interaction of the mind with an external reality, while also analysing the ability of the performer – when the latter understands their own mind or creates maps of their own mind or of the community – to create a sort of cognitive empathy, resulting in an extraction of a theory of collectivity, which is, most often, ignored in such a cultural performance as mime, and its protagonists may or may not find a place in a social mind.
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One looks, on the one hand with a slight amazement, and on the other hand with the confidence of a temporary master of the European cultural thesaurus, at how tragic poem, more than two thousand years old, vibrates under the directorial wands in the present times. One analyses the Ancient verse, the plots of the founding mythologies or the figures that seem turned into stone by the passing of time and witnesses, through the scenic hypostasis of today, that the voices of the past, singular or united in a Chorus, reach them, generating, in a single spectator or in an entire wave of interception, the feeling of nexus. But also the inquisitiveness of encountering the peculiar. Due to the fact that cultural identity, and also the conducting threads of the universalis arise like a fascinating, rich, high terrain, and one cannot see them from afar, in this century. If, thematically speaking, The Suppliants, by Aeschylus resonated with directors such as Olivier Py, Silviu Purcărete, Ramin Gray or Jean-Luc Bansard, one can notice how cultural identity is reflected in the Ancient writings, which are also multiplied on the stages of the World in minimalist of theatrical (re)interpretations. The performance of one that becomes multiple and, eventually, restrains itself, closely looked at, becomes fascinating.
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The book written by actor-poet Dionisie Vitcu is both a reference book (extremely useful in researching the history of “Vasile Alexandri” National Theater from Iasi, and beyond), as well as a creed. A creed of an outstanding servant of the theater, aware of the ephemerality of the stage performance, and by publishing his book, an opponent of passage of time going into oblivion, an investigator of the deep relationship between individual and collective history. The 300 pages contain a lucid inquiry of the self, in its exemplary artistic becoming.
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At the beginning of the twenty-first century, Philippe Rousseau began writing and creating. His text Je me souviens mon père was published in 2003. A few months later Rousseau turned his text into a theatre play, including music and acting; he represented himself on stage. Soon afterwards, more texts were produced: Passeport pour une Russie (which was also rewritten as a theatre play) talks about his wanderings in the north of Russia, while Feintes attentes (a poetico-erotic dialogue) and La personne qui te har take into discussion an experience of harassment in addition to a self-representation. This paper proposes a dialogue between the literary critic-researcher, on the one hand, and the author-artist, on the other, a conversation between theory and practice, in short, two ways through which the intellectual and emotional Self can be inserted into the narrative. The theories of autofiction in the literary text, in Rousseau’s visual and theatrical art, as well as in music echo the author-artist’s lived and integrated practice (Leroux, 2004). According to Doubrovsky (2007), and from what Judith Butler problematizes about in Le Récit de soi, not only at the level of an actor, but also at that of the human being in general, the truthfulness and authenticity of the “I” or “me” reside in the subject defining itself/being defined through the possibility of saying, speaking, telling the Self. In addition, the paper reflects on the ethical conditions related to the fictionalised showing of the Self.
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The aim of this paper is to answer the question why theatrical performances based on the literary works of Bruno Schulz usually turn out disappointing. It was first posed by Jerzy Jarzębski 25 years ago. The author of the present paper discusses Jarzębski’s theses and proposes his own explanation. He disagrees with a claim that Schulz’s fiction is “unstageable” by nature. In the era of post-dramatic theatre, the idea of “unstageability” is evidently anachronistic. Therefore, the author demonstrates that there must be something wrong in the theater directors’ approaches to Schulz and his works. An analysis of several performances from the recent decade – directed by Petr Boháč, Robert Drobniuch, Konrad Dworakowski, Edyta Janusz-Ehrlich, Tomasz Kajdański, Jacek Krawczyk, Leszek Mądzik, Jan Szurmiej, Piotr Tomaszuk, Julia Wernio, Ingmar Villqist and Rudolf Zioło – leads to a conclusion that contemporary artists who deal with Schulz are unable to look at him from a distance and free themselves from his influence. They are simply too passive to create an autonomous theatrical vision in which Schulz’s literary world would be only a component and not the dominant substance. For this reason, their theatrical adaptations remain unsuccessful. In Polish theater there was only one artist who became a real partner for Schulz, strong enough to face his genius –Tadeusz Kantor. In his Dead Class (1975), Kantor managed to “utilize” the poetics of Schulz’s stories to create his own, original, and totally independent narrative. Since that time, each director who wants to stage Schulz’s literary works has had to struggle not only with the author of The Cinnamon Shops, but also with the leader of the Theater of Death. And this is, indeed, a very difficult task.
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The article explores embodiment as a process of perception, interpretation and co-creation of a literary world from the point of view of producer (director/performer) and receiver (reader/spectator/participant). Estonian classic novel Night of Souls by Karl Ristikivi and the participatory theatre project of the same title by Labyrinth Theatre Group G9 serve as the empirical material of the research. The article compares the literary work with the production and the perceptions of the novel and the production. The analysis relies on a close reading of the novel and on interviews with the producers and 20 spectators. Three forms of embodiment were detected. First, embodiment as a sensuous concretisation of a literary work, through which storyteller’s or main character’s bodily experiences are taken on by the reader/spectator, i.e. gradual immersion into a fictional world and identification with a character takes place. The second form is related to the embodiment of a textual/ fictional world on stage. In theatre theory, embodiment usually only depicts a relationship between a performer and his/her role, but in this article the term denotes materialisation of the whole fictional world. Thus staging is a specific process of perception, interpretation and co-creation that transforms a script into a stage production. The third form of embodiment is characteristic for participatory theatre, where spectators have the possibility to perform somebody in a fictional world or theatre game. The reception research of Night of Souls demonstrated that predominantly the spectators embodied themselves, i.e. a performation of individual existence was realised. Since open participatory theatre works enable receivers to fill gaps with their personal mental and psychical material, spectators interpreted the production either as an artistic environment/world, an exciting role play, a psychotherapeutic trip into personal worlds, or a metaphor for life pilgrimage. Embodiment as a research instrument highlights the embeddedness of body and soul in perception and cognition of an environment/the world. The main character of Night of Souls realises that analysis of singular objects is not reliable, especially when caught by a memory or existential space. Embodiment leads both the character and the reader or spectator to a holistic perception and cognition of the (fictional) world.
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This section of the issue contains a large debate on the state of the Romanian contemporary theatre.
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The literary works of Julian Tuwim and Karel Čapek possess expressive and aesthetic potential that suits the purpose of artistic recitation and children’s theatre. The paper introduces some methods of creative drama utilising which one can effectively develop a positive relationship to literature in junior school age children and develop their literary but also drama competences. These methods offer effective communication strategies for working with literary texts. Through them, it is possible to develop conceptually-cognitive and emotionally-imaginative dimensions of pupil’s personality.
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