ЈАВНОСТ - лист за наукe и политику (1873/9)
Ваша светлости; Од куда долази наша сиромаштина? (Свршетак); У Шапцу 15. Новембра; С велике школе; Јавна преписка; Из позоришта; На знање;
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Ваша светлости; Од куда долази наша сиромаштина? (Свршетак); У Шапцу 15. Новембра; С велике школе; Јавна преписка; Из позоришта; На знање;
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О нашем закону о печатњи (Наставак); Рад народне скупштине; У скорашњем запетом стању у Француској (Наставак); Из Позоришта; На знање;
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The essay surveys the different types of identity transformations of the protagonists in the literary works of the Polish Romantic poet Adam Mickiewicz in the context of the physical and spiritual transformations of the humankind from Adam and Eve until the 21st century. The supernatural changes the Mickiewicz’s heroes undergo are based on the Romantic postulate that the rational mind cannot always provide an explanation for the things happening in our lives. Through the multiple identity transformations in his works, Mickiewicz underlines the strong connection between the worlds of the living and the dead and instructs his reading audience on how to deal with current social, ethical and nationally significant issues.
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The study uses methodology “cultural memory studies” to feature the National Theater as a place of memory. It focuses on the building as a symbol and attempts to describe the way, in which the symbolic architecture represents the past and enters the memory praxis of the nation (decoration of the theater, canonical repertoire, festivities, collections and so-called theater trains as actions of national participation). The author adds a dynamic extent of remembrance to a traditional approach – place of memory as a depository of representations of history. He contemplates the National Theater as an “empty place” – a framework of a specific social and cultural context to deliver substance of the past. The study analyses the process of the National Theater constitution as a place of memory – especially in the connection with the 1881 fire. This “national tragedy” symbolized one of the most powerful experiences of the modern Czech nation, that as a strong shared affection reflected itself in the process of constitution of the national identity. In this instance the study utilizes theme of trauma used by Aleida Assmann in the frame of the memory studies. The study uses a few cases to demonstrate memory praxis closely linked to a symbolic space of the National Theater (production of the Čapek’s theater play the White Disease (Bílá nemoc) in 1937, role of the theater during political changes in 1989).
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MIXER, Aleksandar Novaković: Nebesni Ljotićev Trinidad; CEMENT, Saša Ćirić: U svetu caruje drugarstvo; ARMATURA, Bojan Tončić: Pozivar je srce Srbije; VREME SMRTI I RAZONODE, Recycle Bin Laden: Ja opet biću vlast; BULEVAR ZVEZDA, Marojević, prof. dr Radmilo
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MIXER, Slobodan Karamanić: Zločin i pravna fikcija; CEMENT, Nemanja Mitrović: Kad smo kod puževa...; ŠTRAFTA/KARAOKE OBRAČUN, Goran Cvetković: Završni pogled, Aleksandar Novaković: Bez reči i poruke; VREME SMRTI I RAZONODE, Tomislav Marković: Molim te, ministre; BULEVAR ZVEZDA, LJUŠIĆ, Radoš; BLOK BR. V, Mir na zemlji
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Uvodna reč; MIXER, Agata Juniku: Asfaltiranje Titova puta; CEMENT, Dejan Ognjanović: Mali korak za SF,ali veliki za ... Rečnik; ARMATURA, Svetlana Slapšak: Kosovo u glavi; VREME SMRTI I RAZONODE, Tomislav Marković: Pileći mozak; BULEVAR ZVEZDA, ĐOGO, Gojko; BLOK BR. V, Kosmoplovci: Patrijarh 3000
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MIXER, Branislav Jakovljević: Ćosićev Tito; CEMENT, Mirko Đorđević: S Kalemegdana, pogled u prazno; ŠTRAFTA, Aleksandar Novaković: Pozorišno mešano meso; VREME SMRTI I RAZONODE, Miloš Živanović: Jezičke nedoumice; BULEVAR ZVEZDA, VUČELIĆ, Milorad; BLOK BR. V, Kosmoplovci: Bez reči,
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MIXER, Jelena Gligorijevć: EXIT FESTIVAL; CEMENT, Goran Cvetković: Lukrativni stereotipi; ŠTRAFTA, Saša Ćirić: Šamar časti; VREME SMRTI I RAZONODE, Tomislav Marković: Ti si sav moj bol; BULEVAR ZVEZDA, MIHAILOVIĆ, Kosta; BLOK BR. V, Kosmoplovci: Tehno
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MIXER, Aleksandar Pavlović: Rađanje srpstva iz duha paganstva; CEMENT, Goran Cvetković: Cirkus u muzeju; ŠTRAFTA, Miloš Živanović: Šumadijski treš, Saša Ćirić: Čemu još Akademija?; VREME SMRTI I RAZONODE, Tomislav Marković: Čitaj za život, droga ne!, Ivan Pravdić: Dlakava politika; BULEVAR ZVEZDA, VITEZOVIĆ, Milovan; BLOK BR. V, Kosmoplovci: Fakato
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MIXER, Miloš Živanović: Oko srpskog boga Saurona; CEMENT, Dragoljub Stanković: Homer podzemlja; ŠTRAFTA, Goran Cvetković: Protekla pozorišna sezona, Saša Ilić: Albatrasove premijere; VREME SMRTI I RAZONODE, Tomislav Marković: Noen est pomen/Kako živi Koštuntun, Miloš Živanović: Mi smo Sila, mi smo Imperija!; BULEVAR ZVEZDA: Toholj, Miroslav; BLOK BR. V, Lambada.
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MIXER, Saša Ćirić: Ubiti mitsku rugalicu; CEMENT, Svetlana Slapšak: Čovek prljavih nogu; ŠTRAFTA, Saša Ilić: Kosovo- „jedini pravi taster“, Pavle Rak: Žanrovske metamorfoze kosovskog zaveta; ARMATURA, Slobodan Georgijev: Sa Kosovom ili na njemu; VREME SMRTI I RAZONODE, Tomislav Marković: Ustavni epigrami, Na Gazi-mestanu; BULEVAR ZVEZDA: Redakcija: Rakitić Slobodan; BLOK BR. V., Kosmoplovci: Flash!
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This article was inspired by a handwritten outline of the “screenplay” for a largely forgotten 1914 production of Hamlet in Kraków; drafted by Tadeusz Pawlikowski, widely regarded as the greatest director and theatre principal of late 19th- and early 20th-century Poland. The article opens with a description of the manuscript, a hitherto unknown document which preserves traces of the creative effort leading to the production’s premiere. The first section pieces together evidence from the manuscript with details gleaned from contemporary reviews to reconstruct the structure of the production (which involved over a dozen separate scenes), and the structure of the stage-space which used elements of a 1909 (1912) Max Rheinhard production at the Deutsches Theater in Berlin. The second section of the article argues that the production was a turning point in the critical appreciation of Karol Adwentowicz’s performance as Hamlet, more than five years after the great modernist actor added the character to his repertoire. The article is intended as a sort of reconnaissance mission to encourage further scholarly attention to what was arguably one of the most interesting theatrical productions of Hamlet in Poland.
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The essay presents Kazimierz Braun’s Shakespeare productions directed in the United States. It opens with recollections of productions of plays by Shakespeare in which Braun either acted (Twelfth Night, Poznań University, 1957) or which he directed. These included Romeo and Juliet (Teatr Polski, Warsaw 1963), Hamlet (Teatr im. J. Osterwy, Lublin 1968), Twelfth Night (Teatr Współczesny, Wrocław 1981), Hamlet (PWST Theatre Academy in Wrocław, 1984), and also Twelfth Night in Esslingen, West Germany (1984). In America, Braun first directed his own medley of love scenes from Romeo and Juliet and Twelfth Night (Swarthmore College, 1985). Next, he directed a series of the Bard’s plays at the Shakespeare in Delaware Park Festival in Buffalo, New York: Henry V (1987), Julius Caesar (1988), King Lear (1989), and As You Like It (1991). He also staged Richard III at the Kavinoky Theatre in Buffalo (1999), where he was responsible for directing and stage design. Directing Shakespeare in its original English and in an open air setting helped Braun discover what he calls new Shakespearean horizons: the blank verse which is “actional” and totally integrates the actor’s words and deeds, controlling the actor not unlike a horse bridle, and at the same time guiding the actor’s actions, energizing him/her and imposing a rhythm on speech and movement; and secondly, replicating in the open-air theatre the potentially three-dimensional space of Elizabethan theatre, allowing a smooth and expressive structuring of the action.
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“Shakespeare, the Polish Director’s Contemporary” considers two Polish productions of Shakespeare plays in the National Audiovisual Institute’s “Polish Contemporary Shakespeare” series. The author discusses the Polish tradition of “Shakespeare mania” and then analyzes Jan Klata’s production H. (an adaptation of Hamlet) and Krzysztof Warlikowski’s production Burza. Both directors apply Jan Kott’s idea that Shakespeare can be our contemporary to their productions, but they do so in different ways. The directors’ ability to achieve contemporaneity in their productions depends not only on stylistic directorial choices, but also on the changing nature of contemporary reality itself in the post-1989 era. Klata’s production seems to be almost an illustration of Kott’s discussion of Hamlet in Szkice o Szekspirze, yet at the same time, it has a curiously old-fashioned, Cold War–era feeling. H. enlists Shakespeare in the argument over European Union accession, an argument that was au courant in 2004 when the production was first staged but now seems dated. Warlikowski’s production appears less immediately contemporary in Kott’s sense than H., yet it illustrates Kott’s notion that Burza is “a passionate reckoning with the real world” as it was influenced by the controversy over Jedwabne, an issue that remains resonant to this day.
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Janusz Wiśniewski’s auteur theatre project was born in Poznań in the early 1980s, catalysed by the production of Balladyna by Juliusz Słowacki in Teatr Nowy and followed by several more productions of original plays (including Koniec Europy [The End of Europe]). From the outset, Wiśniewski’s project provoked extreme reactions, enthusiastic or otherwise, with Andrzej Żurowski acting as a major advocate. Following the collapse of communism in the early 1990s, Wiśniewski tried to start a theatre company in Warsaw. When the project foundered after two premieres, he spent several years in Germany before coming back to Poznań, first as a director in Teatr Nowy, and later as theatre principal in 2003–2011. Wiśniewski successfully combined the roles of director and auteur. His Teatr Nowy tackled a number of dramatic forms ranging from traditional dramatic theatre (Romeo and Juliet) to metaphysical comedy (Richard III) and visual narrative theatre (The Tempest). Notably, Wiśniewski explored Polish and world classics at the time. This basic outline attempts to recreate Janusz Wiśniewski’s years at the helm in Poznań, and looks at his auteur productions which enjoyed good critical reception in Europe.
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Ključni podatak je zastrašujući: Slovenija je žalosni svetski prvak, sa proporcionalno najvećim brojem umrlih od korona virusa. Dosada smo videli najrazličitije posledice raznih državnih pristupa epidemiji: od uspešnih ostrvskih, na Novom Zelandu i Tajvanu, do sprovođenja „prirodnog“ puta, sa krahom u Engleskoj i Švedskoj, uz grozotu guste naseljenosti u Belgiji, užas odsustva opšte zdravstvene zaštite u SAD, državno junačenje u Rusiji, prednosti i slabosti totalitarizma u Kini, trijumf nauke oličen u paru iz druge generacije turskih došljaka u Nemačkoj, koji je smislio novi tip vakcine… I ništa od toga ne može objasniti ovo što se dešava u Sloveniji, sem jednog uzroka, koji se, uz druge i u različitim dozama, pojavljivao u svim pomenutim državama: politička i upravno-administrativna nesposobnost vlade.
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The present study asks in its title, which attempts to outline the current situation of the Hungarian folk dance teaching in Romania and to assess the practice and opportunities created by the natural (or in some places propagated) demand. In fact, it is actually trying to map a "curriculum" that is formally non-existent in the Romanian educational system, which is based on the needs of the invited or self-proclaimed dance instructors and co-leaders, but the study also seeks the basic question of whether it is possible and if so, then what methods to teach segments of traditional folk culture, namely, whether it is possible to instruct the "folk dance" in an artificial environment instinctively?
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MIKSER, Jelena Veljić i Emil Kovač: Liberalni kult smrti – sloboda da se mre; ŠTRAFTA, Anke Vandereet: No Name Kitchen u susretu sa antimigrantskim trendom u Šidu Nevena N.: Dajte nam azilante – evo vam žandarmerija; ARMATURA, Sonja Sajzor: Položaj trans populacije u klasnoj borbi; ZID, Zoe Gudović: Jukebox
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MIKSER, Tara Rukeci i Galina Maksimović: Suđenje gospodinu Kapitalizmu; CEMENT, Vladimir Bjeličić: Oni žive – a ko su oni?; ŠTRAFTA, Aleksandra Sekulić: Tranzicije – Oberhauzen 2022; VREME SMRTI I RAZONODE, Bojana S. Knežević i Vladimir Bjeličić: Epitaf Prestonici Kulture; ZID, SVI U AKCIJI!
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