AUTSAJDERICE U MUŠKOME SVIJETU – ŽENSKI LIKOVI U TRILOGIJI „CRNILA“ KOLA ČAŠULA

Author(s): Ivica Baković / Language(s): Croatian Issue: 1/2011

The paper explores the image and the status of two main female characters in Kole Čašule's trilogy Darkness: Neda in Darkness and Katerina in Zitolub. Starting from Froma Zeitlin's theoretical premises on playing the feminin in greek tragedy and Hans Mayer's analysis of female figures in the western art and culture, the aim of this analysis is to show two types of female characters in Čašule's historical plays.

Fereastră către poezie si cruzime

Author(s): Daniela Magiaru / Language(s): Romanian Issue: 01/2013

Das Gelobte Land/ Privirea care dezgoleste

Author(s): Daniela Magiaru,Ileana Pintilie / Language(s): Romanian Issue: 01/2013

Viata lui Pi, in 3D/ 227 de zile în derivă

Author(s): Adina Baya,Cristina Chevereșan / Language(s): Romanian Issue: 01/2013

THE PUPPETEERS AS SOLO PERFORMANCE „MAKERS”

Author(s): Anca-Mihaela Ciofu / Language(s): English Issue: 07+08/2014

Certain syntagms such as total actor and total show have been increasingly used for some time. When it comes to the puppet theatre one might say that the corresponding term for the ideal actor, the total actor as he is called, is the solo puppeteer. There are a number of very good reasons that support the idea of promoting the solo puppet show: the many transformations the art of performing undergoes, the various expectations of the audience, the responsibility the artist assumes towards perfecting his professional activity. The work of some solo puppeteers has been closely observed despite their being un-contemporary but yet important figures in the field. I have contacted some of them personally and had the chance of discussing with them some of my most ardent questions.

THE PHYSICAL TRAINING OF THE ACTOR IN THE 20TH CENTURY DRAMA PEDAGOGY

Author(s): Ana-Cristina Leşe / Language(s): English Issue: 07+08/2014

In this paper we will focus on the aspects of the actor’s physical training and on the relations between the body and the soul, the body and the psyche which, in Stanislavski’s theory and practice, organically form one entity. We will also refer to the domain of Physical Education which includes physical training and is defined along two avenues: general physical training and motion; a parallel can thus be drawn between the methods and means used by K. S. Stanislavski and the methods currently used in Physical Education.

EDUCATIONAL THEATRE

Author(s): Mirela Nistor / Language(s): English Issue: 07+08/2014

The Educational Theatre took form in the 60’ in Great Britain as a direct response to both school and theatre necessities. Since then it has been developed in many different forms and contexts taking an impressive variety of theatrical forms. The Educational Theatre facilitates the classical educational system incapable of developing behaviour patterns and demeanours concerning moral values that young people need. This new form of art has tried, since its emergence, along with solving complex issues (from the communication and community development area), to redefine the role of theatre in society, calling in question the relation between the actor and the audience, the playwright and the actor, the theatre and the state, the theatre and the present and not the least important relation between the theatre and the propaganda.

PERFORMANCE WORKSHOP – CONCEPT AND CREATIVITY

Author(s): Anca Doina Ciobotaru / Language(s): English Issue: 07+08/2014

The analysis of the double dimension of characters of the animation theatre – the imitative and the interpretative – and the role between animation and public, allows us to show the need to use methods focused on interdisciplinary and comparative studies; belonging of these characters to performing arts is obvious. These elements determine us to structure the show workshops so as to have as a starting point the practical argumentation of theory supported by our research. Every scenic action started from a core idea, concept or hypothesis, the stage performance confirming or invalidating the anticipated formula. This led to better understanding of resources of scenic expressivity offered by simultaneous presences (puppet actors – actors), which can be identified throughout the history of performing arts; this aspect forces us to perceive more attentively and objectively the relation between various forms of performance; tendencies to structure the role theatrical language in outlining the show being harmful, in our view.

THE CORPOREALITY OF THE ACTOR / DANCER IN POST POSTMODERN THEATRE ASPECTS

Author(s): Ligia Delia Grozdan / Language(s): English Issue: 07+08/2014

Undergone spectacular changes within post-dramatic theatre, the understanding of what means the dancer corporeality supports a spectacular reversal. From vital dance, expansive, based on movement pushed to flight and float, it reaches the tendency of transforming the actor-dancer into an object of contemplation, other than the traditional one. It comes to a statutory body that leaves the viewer to admire the attitude and noble picture. In post-postmodern theatre, the companies promoting new physicality in Dance art enjoy great interest. There are so-called "living sculptures", which certifies the specific inclination of the new postdramatic theater to metamorphose living body in an organic theatrical body.

INFLUENCES OF THE ORIENT IN THE EUROPEAN THEATRE

Author(s): Ioana Petcu / Language(s): English Issue: 07+08/2014

Without ever depleting its abundance of image, the Orient’s world represented a clear and refreshing spring, a definitive experience, beneficial for the artists from European zone. From the cultural view – but not only, the theatre had only gains from the multi-facets dialogue with the Hindu, Arabian or Egyptian traditions. The results were to be seen in directing, in theatrical pedagogy, because the direct or indirect interaction with the Levant had been refreshing the visions of scene’s people, it made possible approaching and discovery of the tangential points. The opinions and conceptions of some personalities as Ariane Mnouchkine, Eugenio Barba or Peter Brook have interested us in the analyze of the process by which Oriental elements are discovered, adopted and inserted into the Occidental scene.

THE PUBLIC SPECTACLE IN ROMANIAN SOCIETY PREMODERN. SCENOGRAPHY AND AUTHORITY IN DEVELOPING RELIGIOUS CELEBRATIONS

Author(s): Carmen Alexandrache / Language(s): English Issue: 07+08/2014

In the case of pre-modern Romanian society, religious celebrations were not only religion lessons; its were lessons which practicing behaviors, gestures and social attitudes. Thus, they became a good opportunity for to show the political power and social differences. Having a large capacity of social mobilization, the deployment religious celebrations could be done anyway. Therefore, gestures were ritualized framework was carefully prepared, place and contribution of each well fixed. In our paper we showed some examples that illustrate that respect religious holidays are a form of public spectacle.

THE DEVELOPMENT OF CREATIVITY THROUGH THEATRICAL TECHNIQUES

Author(s): Angela Bejan / Language(s): English Issue: 07+08/2014

In this article the creativity is built as an inexhaustible subject in education, the subject is brought by psychology, but finds its purpose fully in education. It reminds about the innate character of creativity, about the age particularities of imagination, about the educational character of the theatrical education. The methodological value of this work is the theatre techniques to be used for the description and the development of children's creativity. Key words:

Filmokratija i filmofilija

Author(s): Aleksandar Prokopiev / Language(s): Serbian Issue: 13/2011

U svom kapitalnom delu Socijalna istorija umetnosti i književnosti, Arnold Hauser je, još pre pola veka, nagovestio da bi moguća kriza filma kao umetnosti proizašla iz fakta da film ne nalazi svoje pisce ili, tačnije rečeno, pisci ne pronalaze svoj put ka filmu. Mada smo, ne retko, gledali uspešne filmove sa siromašnim scenarijom, mada je filmska ekipa kolektiv specijalista s direktorom (režiser), ali i s vlasnikom firme (producent), kome se može da menja, prekraja, zabranjuje…, pa je tako i filmska delatnost mnogo više industrijska nego umetnička, Hauserova primedba još uvek je validna – dobar scenario, iako u senci u odnosu na ulogu režisera, kastinga, kamere i dobre volje producenta, jedan je od važnijih preduslova da se napravi dobar film.

Čapek na scenama teatara u bivšoj Jugoslaviji

Author(s): Hasan Zahirović / Language(s): Bosnian Issue: 1-2/2011

Čapek on the Stages of Theaters in the Former Yugoslavia

Kosmici w operze

Author(s): Marcin Bogucki / Language(s): Polish Issue: 121-122/2014

A review of two opera performances created as part of Project "P" at the Wielki Theater – National Opera: Triumph over the Sun and Solaris, both directed by Krzysztof Garbaczewski (premiere: 26.04.2014). The former is variations on the theme of the Futurist opera of 1913 with scenography and costumes designed by Kazimir Malevich. The second part of the series, focused on the progeric painter Leon Botha, uses the artist's illness as a metaphor for the contemporary world of hyperactive and intensified experience. While the author of the review appreciates the allusions to avant-garde artists and the attempts to inscribe the revolutionary potential of modernism into postmodern ideas, he believes that, contrary to Garbaczewski's intentions, the play is too elitist and hermetic.

Tekst dla teatru jako wydarzenie

Author(s): Agata Dąbek / Language(s): Polish Issue: 121-122/2014

A review of W.B. Worthen's book Drama: Between Poetry and Performance (Wiley-Blackwell, Oxford 2010). Agata Dąbek contextualizes the book in the discussion on the role of the dramatic text in contemporary Polish theater. "Worthen proposes a reading of texts for theater that allows us to step outside the frame of the present discussion on dramaturgy, questioning its very foundations." The author raises doubts concerning the dichotomic relationship between literature and theater, while "exposing the dialectical tension between the literary identity and the performative text for the theater suggests an interesting way of combining the two aspects."

W ruinach historii

Author(s): Natalia Jakubowa / Language(s): Polish Issue: 121-122/2014

Natalia Jakubowa analyzes two opera stagings by Dmitri Chernyakov: The Tsar Bride by Rimski-Korsakov at the Staatsoper in Berlin (premiere: 3.10.2013) and Borodin's Prince Igor at New York's Metropolitan Opera (premiere: 6.02.2014). In the former case, the author mainly focuses on the skillful transposition of Russia of the times of the oprichnina into our contemporary times of media hyper-reality. In the fragment devoted to Prince Igor the critic concentrates on the director's innovative interpretive and staging techniques (e.g. portraying the whole Kipchak act as a hallucination of a heavily wounded military leader). She also analyzes the opera's finale, which she believes the composer purposefully left unfinished. Flying in the face of previous productions, Chernyakov shows the protagonist as humbled, defeated, and with a pained conscience.

Eros i masakra

Author(s): Joanna Jopek / Language(s): Polish Issue: 121-122/2014

An article on a performance by Angélika Liddell, All the Sky above the Earth (The Wendy Syndrome), presented during Berlin Day at the 49th Counterpoint Review of Small Form Theater in Szczecin. Jopek notes that the island which is the scene of the action joins three space-time spheres: Never-Never Land, the island of Peter Pan, a utopian space of eternal youth, recollections of a journey to Shanghai which evoked longing in Liddell for a lost time of youth, and Utøya, an island where Anders Breivik shot sixty-nine (mainly young) people on 22 July 2011. Jopek perceives niggling contradictions and dependencies between these spaces and the associations they evoke around the theme of youth – whether eternal or irreversibly cut short. She also notes that the play is both a pointed critique of bourgeois society and its ethical principles and a self-effacing denigration of the figure of the narcissist performer.

Bandyci i my

Author(s): Olga Katafiasz / Language(s): Polish Issue: 121-122/2014

A review of the play The Killers, directed by Michał Zadara (Narodowy Theater in Warsaw, premiere: 8.05.2014). Olga Katafiasz notes that the director does not use The Killers to show the mechanisms of our day. He plays with the incompatibility of the characters, states, and situations, and searches for analogies. The author of the article also points out an interesting strategy used by Zadara, whereby the play does not pause during the breaks, though an illuminated sign informs the audience that the action will not be essential to the plot, and so they can leave their seats. According to the reviewer, however, it is during one of the intermissions that the most interesting fragment of the performance takes place.

Artysta - kurator - producent kultury

Author(s): Marta Keil / Language(s): Polish Issue: 121-122/2014

The author attempts to explain the artist (as well as the intellectual, scholar, and curator) as a cultural producer. What are his/her work models, and how has his/her role changed in cognitive capitalism, based on the production of knowledge? What are the conditions of a cultural producer's work, what methods are used to make decisions, and how do they affect the circulation of art? To this end she analyzes the artist's position and significance in transformations taking place in the performance sphere. While appreciating the gravity of all the changes that have occurred, Keil notes that it is too early to proclaim a "curatorial turn," though the presence of this profession undoubtedly affects the art production process.