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By identifying the canonical elements in the actor's training, the actor acquires a correct and harmonious expression of the body, perfects the scenic application of natural movements, educates and forms the basic skills and aptitudes of plastic qualities and body expression of non-verbal communication. At the same time, he understands and knows his own body as an instrument in the artistic creations acquired through the ability to create choreographic compositions specific to musical theatre performance. Body language must be deciphered, like the text we decipher in order to understand and communicate the message we need to convey.
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This article aims to map out the relationship between music videos and performativity. From a media-historical perspective, performativity has always been inherent to music. Since prehistoric times the musical information was rendered and transmitted through live performances. The emergence of sound recording techniques in the late 19th century eclipsed the performative nature of music for a short period, but with the advent of television, performativity became crucial not just in the case of live performances, but also in the visual representations of music. At the time of their appearance music videos were produced with a promotional reason to advertise musical brands, so in a way it was obvious to capture the performative skills of artists. From this point onwards, physical appearance and the performative skills of an artist became just as crucial to maintain success as his/her music.
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Based on an interview with beat musician István Csutak, the author reconstructs the cultural field of the 1970s and 1980s, focusing on the possibilities of minority country rock bands like Timișoara-based Garabonciás to express their views of life in the context of state socialist censorship. The song lyrics discussed in the article were written by Annamária Kinde, who pursued after 1990 a successful artistic career as a poet.
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The contemporary performative scene is defined by the interaction of the means of artistic expression, which determines a permanent renewal of the scenic language. This article discusses the multiple stage practices that animate in the play the theater and music, in their complementarity or dynamic confrontation. These interactions are presented here from the perspective of the specific musical work of the artist Jean-Jacques Lemêtre, who facilitated a voice and movement rhythm workshop at the Faculty of Theater and Film of the Babeș-Bolyai University, March 2023. Unique figure in the theatrical musical landscape, he has been the musician, composer, luthier, and interpreter of the sound universe of the Théâtre du Soleil company's performances for more than forty years. This work aims to demonstrate that music for theater is a special genre born through the process of organic integration of the theatricality of the stage, by assuming the risk of being contaminated by the impurity generated by the actors' bodies that emit their own sound universe. The music for theater is enriched and energized by these experiences born from the osmosis of sound-enhanced image into organic and fruitful connections.
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La pratique théâtrale contemporaine recommence à accorder une place privilégiée aux textes dramatiques et à l’édition du théâtre, les dramaturges modernes bénéficiant de nos jours, d’une grande prise au public, qui devient de nouveau curieux envers leurs créations et leur style.Bien que les réactions personnelles du lecteur soient importantes dans l’analyse d’un texte dramatique, le lecteur et le critique de théâtre doivent aussi tenir compte d’autres aspects que nous nous proposons à présenter dans notre approche.Pour qu’une pièce de théâtre soit bien comprise par le lecteur, celui-ci devrait se rapporter non seulement à l’analyse textuelle, mais aussi aux éléments spécifiques à sa représentation.Le texte théâtral comprend des pistes à prendre en considération dans la pratique scénique, qui vont élucider les éléments centraux pour sa compréhension comme : l’espace et le temps, les détails qui caractérisent les personnages, le dialogue théâtral et ses composants linguistiques. En utilisant de différentes ressources critiques et textuelles, nous nous proposons de présenter chacun de ces aspects, en essayant de les simplifier pour que les lecteurs aient une vue d’ensemble sur les concepts dramatiques les plus importants, ainsi facilitant la lecture et la compréhension du texte et du registre dramatique.
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The current article is a preliminary sketch of the study of recurring motives found in the dramatic works of Anna Langfus. After a short presentation of the profile of the writer and the role of the theater in her life, we look into an unpublished play Amos ou les fausses espérances / Amos or False Hopes (1961). The concept of “patterns of transitivity”, proposed by Jean-Pierre Richard in Onze études sur la poésie moderne / Eleven Studies on Modern Poetry, is guiding our reading of Langfus’ play in this context.
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The paper focuses on the question of the recovery—for different socio-cultural and linguistic contexts—of the dramatic genre auto sacramental in all its complexity. The article aims to review the history of the theatrical reception of this genre in Poland in the 20th and 21st centuries. It also addresses the question of the translation of Calderonian texts as an indispensable requirement for intercultural dialogue. The paper investigates the place that the representations of the auto sacramental occupied in Polish theatre, their artistic quality and the aesthetic solutions that they propose.
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This article investigates of Federico García Lorca’s on Jorge Díaz’s theatrical works written in the 1980s and 1990s. The Andalusian author has become a source of inspiration for the Chilean playwright both in terms of his biography and his literary aesthetics. The paper examines an intertextual dialogue between several Works by Jorge Díaz (Opera immobile, Landscape in the fog with figures, Federico, a child who turns one hundred years old) and some of Lorca’s texts (Doña Rosita the Spinster, Blood Wedding and popular poetry). Following the methodological precepts of J. L. García Barrientos and P. Ginestier, we have come to the conclusion that the dramas of Jorge Díaz are impregnated with Lorca’s metaphors. The presence of the moon in Landscape in the fog with figures is worth mentioning as it conditions the dramatic architecture of the work. In addition, we present a series of common features in the dramaturgy of both authors, such as the semantization of spatiotemporal elements and their paradigmatic relationship with the category of the character.
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Our paper discusses the issue of theatricality in André Gide’s « Oedipus » We start from the premise that this theatricality does not only reside in the construction of the text, but also in the construction of the story, centered on Oedipus actor and stage director. What we propose in this approach is to show that there is an important projection of Gide’s recurring that Gide makes of his Oedipus an actor and also a stage director who is more conscient than ignorant, who knows that he is playing a role and who directs and observes the behavior of others because he knows the story in advance, while pretending to discover it at the same time as the others. Oedipus knows who he is, but he stages the perfection of a conjugal and family happiness which validates his political power.
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The Belgium-based Nadar Ensemble is a new music ensemble that specializes in performing curated and integrated concerts. In this case ‘integrated’ infers that all aspects of the concert are taken into consideration. Questioning, developing, and instrumentalizing video, light and sound design (including live electronics), costuming, decor, and even personnel such as a conductor and other roles typically inherent to an ensembles’ tradition, have become an integral part of Nadar’s and other similar ensembles’ concert programming. In this paper I will specifically lay out the manners in which the musicians of Nadar Ensemble approach what they have grown to see as their broadened instruments, including the use of live electronics, game controllers and newly made instruments. I will also discuss ideas surrounding the so-called ‘attacca concert’ and post-instrumental practice by delving into two cases, the event Dead Serious (2014) and the concert program Extensions (2015).
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This paper discusses the role of connectivity in networked artworks and performances, and attempts a critical approach towards the condition of connectivity. As a starting point, three artworks will be discussed as the main case studies: the online project Xenakis Networked Performance Marathon 2022; 2023Eleusis Mystery 91_Magnetic Dance in Elefsina European Capital of Culture, and; Spaces of Reflection offline PirateBox network in the 10th Berlin Biennale. Among the theoretical tools used here Deleuze and Guattari’s aesthetic theories can be traced, as well as more contemporary reflections on networks and the omnipotence of connectivity today. Furthermore, the role of institutions, funding operators and corporations will be examined in regard to their agency and intentions.
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Review of theater plays: Katzelmacher. If it wasn't about love, by Rainer Werner Fassbinder, director Eugen Jebeleanu The dream of a summer night, by Shakespeare, director Kristóf Szabó,
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It has been amazing over the last ten years how quickly the number of "amateur theatres" or "small theatres", "studios" or "theater in the foyer", as they are variously called, has increased. Today there are so many of them in Moscow and Leningrad that you could probably catch a performance every night if you skipped professional theater altogether. The movement may have originally started with young theater directors and actors looking for avenues to gain experience and explore new ideas, but in the past two years there has been an increase in the number of professional theater people working part-time, some even full-time, outside of official theater operations are active. The stigma that professionals once attached to anything having to do with "amateur" performance is rapidly disappearing.
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Lilla Alíz Stan's review of "Slava Polunin and company. Slava Polunin: SLAVA'S SNOWSHOW."
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Aim. The aim of the study was to examine how young people below 35, perceive acting — understood as artistic activities undertaken by artists while acting in a film, theater or television.Method. A questionnaire was constructed in which Osgood's semantic differential (1952) was used. In relation to each of the 20 bipolar scales, the respondents decided which of the opposing pairs of terms better describes acting. Respondents defined their attitude to the given statements by selecting one of the numerical values on a six-point Likert scale.Results. The dimensions that obtained the highest agreement among the respondents were: creative - imitative, carefree - stressful, accessible to some few - available to everyone, easy - hard, boring - interesting, artistic - craft, ordinary - unique, socially significant - socially irrelevant. More than 50% of the respondents believed that acting is better or much better described by terms such as: creative, stressful, accessible to some few, hard, interesting, artistic, unique, socially significant. Other dimensions were characterized by a greater divergence of results.Conclusions. Nowadays, the culture, in which mass media such as television and streaming platforms are widely present, creates new spaces for acting. Among the studies on acting in Poland, there is no data that would show what social status the work of actresses and actors currently has. The study presented here is the first attempt to discover and present the image of acting work among young people living in Poland.
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