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The new millennium started with a boom in Shakespearean adaptations and interpretation in Asian cinema. During 2008-2014 with political and social upheavals, Hamlet became increasingly popular in Iran as well as in England so that even a film-made-for-television was also recorded for BBC and two prize- winning Iranian adaptations stood out among many films and plays of Fajr Festival. The analysis of interrelationships between these texts reveals a special spatio-temporal context in which Shakespeare‘s verbal hypotext is in interplay with modernism through crossing borders of media such as Arash Dadgar‘s theatrical text, Gregory Doran‘s televisual text and Varuzh Karim-Masihi‘s cinematic text. When ontologically separate art forms interact, truth is decoded through spectator‘s gaze and interpretation. In this article, the researchers try to analyze how intermedial transactions between media, the mediated, and the audience are at work to challenge Hamlet in a modern era and produce new cultural consciousness in the space in-between.
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The autor proposes an analysis of George Banu’s entire work, focusing on the essayistic vocation of the his writing and the main concepts the autor employs in order to explore the universe of literature and theatre. Banu’s essays also contain a certain poetics that he assumes on his own, following it thoroughout his works and approaching through it the theatric phenomenon.
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Emőke Kedves presents András Visky’s book. The complex theatre studies volume entitled What is Theatre For? On The Way to Theatrum Theologikum was published jointly by Károli University of Reformed Church and L’Harmattan in 2020. In Emőke Kedves’s opinion the essays connect the distant poles of theatre theory and practice in an effervescent and colorful way.
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The present text evokes the personality of the Romanian actor Ştefan Iordache. He was a talented actor who stood out through his roles in many plays or movies. The text describes his personality, his methods on approaching his characters, plays or movies in which he acted. He left a strong impression on the memory of those who knew him.
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„Wydaje mi się, że nie jest tu zbyt jasno” – tymi słowami Maurice Maeterlinck rozpoczyna swój jednoaktowy dramat Intruz. Ciemność i mrok, światło i jasność – dokładne widzenie racjonalnej rzeczywistości wobec niepokojącej ślepoty, w której, paradoksalnie, można dostrzec znacznie więcej. Sztuka belgijskiego noblisty jest opleciona siecią takich przeciwieństw i sprzeczności, a sam proces lektury przypomina drobiazgowe odkrywanie sensu i docieranie do prawdy, przed którą chciałoby się uciec – okazuje się bowiem ostateczna, dramatyczna i nieodwracalna.
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Dance is among the activities involved in the aesthetic activity (Mauss, 1947, 1970: 88), in the processus of artialization (a processus of stylization of the world) (Lipovetsky et Serroy, 2013: 15), in its anthropological and trans-historical dimensions. Between a memory of the past, sacred or (dis)regarded as sacred, reconstruction and de(construction), the Indian classical dance stands at the crossroad of multiple identities: ethnical, statal, national, international (Banerji, 2012, Behera, 2017, Catalano, 2014, Chakravorty, 2000, Dennen, 2010). In its reconstruction/reinvention process, during the 1950-60’s, based on what Smt. Kumkum Mohanty, Padma Shree (one of the major artists participating in this reconstruction) defines as “frozen past” (the sculpures on the temples in the eastern region of India called Orissa) and “alive memory” (the dance of the Maharis and the Gotipuas) (voir Mondal, 2011, Paikray, 2011, Sarkar, 2017), between tangible an intangible heritage, till the contemporary experiments (neo-classical dance/ballet), Odissi dance plays its identity in a dymanics always new, between tradition and innovation. It is the same for she/he who learns the Indian classical dance, finding herself/himself at an intersection of multiple identities, beyond which we can find in the practice a type of identity defined as devotional identity, a form of mediation of the sacred, in the experience of bhakti-rasa (Devaranjan, 2010, Cooper, 2013, Zubko, 2014).
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he prestigious Roberto Benigni (Oscar winner with the film La vita è bella) has re- launched in Italy the interest for Dante’s poetry. The famous theater and film professional has invented a new type of traveling show, in markets, stadiums and sports palaces in many cities in Italy, but also in the USA, Canada, Argentina, France, Germany, Spain, Greece.
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The article examines the work of the first modern writer of the Serbian language, Eustahija Arsić. Undoubtedly, Dositej Obradović’s student, in her short ethical treatise, published under the title “Moral Lessons” (1816), presented a kind of list of leading virtues. At the beginning of the 19th century, almost every story about morality responded to the need to shape an intersubjective, national platform. Moral education aimed to create a better man, and a better man was necessary by all means. The 19th century will create it. He or she will appear in the form of an engaged national worker, liberal and cosmopolitan. The author’s profile of Eustahija Arsić testifies to the unusual, almost paradoxical modest courage of our first female writer. In order to illuminate it appropriately, we have firstly considered the configuration of the notion of beginning in the first decades of the 19th century. According to Eustahija, the beginning is a free act, the initiation of sharing, and its reflection points to taking the active life into one’s own hands.
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