Larp "College of Wizardry" jako produkt i platforma aktywizmu społecznego

Author(s): Michał Mochocki / Language(s): Polish Publication Year: 0

"College of Wizardry" (2014) is presented in Michał Mochocki’s chapter as an activist live action role-playing game and, at the same time, a product of social activism. This is a product that brings social justice into the gaming community with the aim to create inclusivity and acceptance for underprivileged or marginalized groups. Using extensive online communications, all scenerios and character roles were created by a huge collective of players, game creators and spokespersons for the activist groups. This effort was put together to meet the expectations expressed by the representatives and spokespersons of the underprivileged and marginalized. The official game packaging and contents include a design document with commentaries and explanations are of an ideological in nature, e.g., statements concerning gender and the LGBTQ equality. Adding a new region, new school and 20 years of recent history to the Potterverse, the creators highlighted inequalities and social tensions that underpin the discourse against privilege and

Montaje de una obra de teatro: experiencias con alumnos universitarios de ELE

Author(s): Nora Orłowska / Language(s): Spanish Publication Year: 0

In the presented paper, the author presents her own experience of working with learners of Spanish in the university. It also presents the advantages of using theatre as an activity to help in the foreign language class. Drama in education is an invaluable contribution to the development of oral communication competence in learners of foreign languages. It facilitates group interaction during the process of learning.

Wędrując w pamięci. Bogdana Toszy teatralna adaptacja „Widnokręgu”

Author(s): Anna Podstawka / Language(s): Polish Publication Year: 0

Adaptacje prozy powieściowej Wiesława Myśliwskiego w teatrze polskim (krótko i węzłowato)

Author(s): Jan Ciechowicz / Language(s): Polish Publication Year: 0

The Oldest Traditions of Dance

Author(s): Martina Pavlicová / Language(s): English Publication Year: 0

In the realm of intangible phenomena in traditional culture, thoughts about autochthony can be directed towards dance, even though the study of this subject in historic periods isa complicated problem in ethnochoreology. There are very few historic documents about dance, and the ones that doexist provide only partial information, which does not enable many concrete conclusions about this comprehensive cultural phenomenon.

August Wilson’ın Joe Turner’s Come and Gone İsimli Oyununda Siyah Kimliklerin Köle Yolculuğuna Travmatik Direnişi

Author(s): Deniz Aras / Language(s): Turkish Publication Year: 0

Göç olgusu bir topluma ait bireylerin ya da toplulukların belirli nedenlerle bir yerden başka bir yere geçişi olarak tanımlanabilir. TDK güncel sözlükte kelime anlamı olarak göç, “ekonomik, toplumsal, siyasi sebeplerle bireylerin veya toplulukların bir ülkeden başka bir ülkeye, bir yerleşim yerinden başka bir yerleşim yerine gitme işi, taşınma, hicret, muhaceret” şeklinde tanımlanır. Bu hareketlilik, bir toplumdan başka bir topluma, bir kültürden diğerine geçişi; bu geçiş ise göç olgusunun öznesi olan insanın yeni olanla karşılaşmasıyla birlikte başlayacak olan zihinsel karmaşasını ve yeni olanla uyum sürecini ifade eder. Bu uyum süreci bir uyumsuzluk ya da benlik karmaşasıyla sonuçlanabilir ya da uyum süreci başarıyla tamamlanıp benlikte ve hafızada kayıplara neden olabilir.

BÖLÜM IV TARİH, SANAT ve GÖÇ - Çerkes Sürgününü Müzik ve Dans Eşliğinde Yeniden Düşünmek

Author(s): Sümeyye Aydın / Language(s): Turkish Publication Year: 0

Göç tecrübesi esnasında insanların gelenek ve kültürel dünyalarından ayrı koyamadıkları şeylerden biri de müzik ve dans pratikleridir. Toplumlar kendi müzik dünyalarını kültürel unsurlarla sıkıca örülmüş bir halde inşa ederler. Bu durumda müziğin toplumsal olanı şekillendiren birçok işlevinin yanı sıra aynı zamanda o topluluğa aidiyeti ifade eden bir “anlatı” oluşturduğu ifade edilebilir. Öyle ki bu anlatı sayesinde insanlar bir araya gelebilir, bir şeyler paylaşabilir ve hayatları boyunca ters giden şeyler karşısında birçok şeye “yeniden” başlayabilirler. Bu anlamda göç kavramının özellikle yersiz yurtsuzluğu, arada kalmışlığı anımsatan anlam dünyasına karşılık müzik insanlar için bir tür ortak bir anlam dünyasının anlatısına dönüşmektedir. Böylece göç ve müzik arasındaki ilişkide özellikle müzik, geleneğin taşınması, dönüştürülmesi ve canlı bir pratik olarak güncellenmesi noktasında temel bir anlam dünyasının üretilmesinde ve pratik hale getirilmesinde kritik bir yerde durmaktadır.

Manifestations Of Transfer In The Latest Post-Yugoslav Playwriting And Theatre: Migration, Cultural Mobility And Transculturality

Author(s): Gabriela Abrasowicz / Language(s): English Publication Year: 0

The post-Yugoslav cultural scene is especially complex and dynamic. Playwriting and theatre in this region are important forms of artistic expression, reflections of social problems, instruments of memory, and the reminders of accountability. Transfer is becoming more evident in production, promotion, (re)formation and support regarding the development of post-Yugoslav theatre. This particular field of artistic work is also characterised by thematization of migration, cultural mobility, transcultural potential, and the power to shape reality, and new levels of dialog.The basic aim of this paper is to describe the specific character of dramatic works and theatrical productions about migration initiated at the end of the twentieth century and beginning of the twenty-first in Bosnia and Herzegovina, Croatia, Kosovo, Macedonia, Montenegro, Serbia, and Slovenia. Interpretation will focus on the most representative examples. The analysis requires an interdisciplinary approach and a reference to the concept of cultural mobility (S. Greenblatt) and transculturality (W. Welsch).

IMPLEMENTAREA CONCEPTULUI EFICIENŢEI ARTISTICE PRIN PROMOVAREA UNEI VIZIUNI PROGRESISTE

Author(s): Tatiana Bularga / Language(s): Romanian Publication Year: 0

In our research we proceed from the reality that the artistic activity differs much from other human activities through its ontological specifics, which requires taking into account the opportunities and challenges that arise in individual potential manifestation of the child, act that expresses by transposing the theoretical prescriptions into practical actions indisputable by the presence of emotional-affective reactions, by developing projects and logistical maps of action, is not waiting for certain stimuli coming from outside, but by enhancing the artistic intentions and decisions of child – subjects of education. In the process of artistic perception in instructive and formative actions is identified with the educative action itself. The considerable weight rests on the participative state kid to the design, development and evaluation/self-evaluation (through prescription of individual behavioural maps, anticipating practical actions, varying operations, performing the tasks by choosing the optimal variants for solving) and the dynamics of professional competence of teachers to achieve gradually the theoretical design process and practical actuating, by identifying educational content and valuable actions, diagnosing the individual resources, planning, forming hypotheses, sequential and final evaluation

Jerzy Grotowski i jego inspiracje jogą

Author(s): Lesław Kulmatycki / Language(s): Polish Publication Year: 0

Jerzy Grotowski, founder of the Laboratorium Theatre and a charismatic explorer who has combined Eastern and Western modes of working with the body and psyche, has been also inspired by Indian yoga. There are four main phases in his artistic activity: performance theater, participatory theater, source theater, and vibrational song theater. In all of these phases there is a fascination with mystery and understatement. Grotowski consistently seeks a specific language for “opening up to the sacrum,” but in order to achieve this he uses carefully selected “laboratory” tools. He does not adapt ready-made techniques, but rather seeks them in other cultures, observing how they work in order to later propose solutions that seem most appropriate to him. Therefore, in all four of these phases of work, the actor, performer, participant and seeker experiencing the internal process is supposed to transform it into an external process, one that is oriented towards opening rather than closing. Particularly in the last phase of Grotowski’s work, terms such as centers of vital energy, vibration of sound when it is chanted, and verticality of movement of Energy in the body appear. During this period, the practice aims to unblock individual body centers on the vertical axis, and this flow is to be accompanied by the subjective sensation of luminosity coming not only from the body, but also, in a psychological sense, by the experience of the “expansion of boundaries” of one’s own self.

1900 – NENÁPADNÝ ODCHOD JEDNOHO MUŽE. KONEC KARIÉRY PRVNÍHO ŘEDITELE NÁRODNÍHO DIVADLA F. A. ŠUBERTA VE SPOLEČENSKO-KULTURNÍM KONTEXTU

Author(s): Otto Drexler / Language(s): Czech Publication Year: 0

František Adolf Šubert, Director of the National Theatre from 1883 to 1900, was one of the first managers of Czech culture. With his organisational talent and ability to enter into public affairs, he put the idea of a national theatre into practice; an institution which is not only a place for staging first-rate productions, but above all a centre for the whole society. He managed to come up with strategies to bring new social groups to the theatre, as well as people outside of Prague - anywhere where residents identified themselves as being Czech. In this respect, an important role was played not only by the theatre trains, but also by the involvement of the theatre in large events such as jubilees and ethnological exhibitions. No less significant was the staging of unusual productions for less affluent groups. However, from its very opening the theatre had to face criticism from a host of theatre critics over the poor quality of its repertoire and its general orientation. Often the contradictory nature of the criticisms precluded the possibility of addressing them, and today it raises the question as to what extent the expectations of the professional public created adequate conditions for the National Theatre to operate in.

ЯК YСЕ ПОЧАЛОСЯ...

Author(s): Lenka Gulová,Zdenka Wagnerova / Language(s): Ukrainian Publication Year: 0

У 2011 році «Асоціація з міжнародних питань» у Празі запросила кафедру соціальної педагогіки педагогічного факультету Університету ім. Т. Ґ. Масарика взяти участь у проекті в Україні, мета якого — розвиток і впровадження нових предметів в українських школах, зокрема у Криму. Йшлося, передусім, про реалізацію вокршопів, спрямованих на мультикультурне та драматичне виховання, які були проведені в десятках шкіл та навчальних закладів на всьому півострові. У цих семінарах у 2011-2017 рр. взяли участь сотні вчителів, психологів, методистів, директорів шкіл та інших фахівців у галузі освіти в згаданому Криму, у центральній Україні (у Києві та Київській області) і в Західній Україні, у Львові. Частиною проекту була співпраця з вищими навчальними закладами в Ялті та Сімферополі та подальша співпраця з Київським національним університетом імені Тараса Шевченка, де в Інституті філології було впроваджено новий предмет «Соціальна комунікація», гарантом якого, власне, стала кафедра соціальної педагогіки.

ВСТУП

Author(s): Lenka Gulová / Language(s): Ukrainian Publication Year: 0

З 2016 року у рамках проекту «Підтримка розвитку освіти в Україні», реалізованого у співпраці з Університетом ім. Т. Ґ. Масарика в Брно та «Асоціацією з міжнародних питань» у Празі, виникла можливість у процес навчання майбутніх педагогів в Українському католицькому університеті у Львові ввести спеціалізацію «Драматичне виховання».

ТЕАТР У ВИХОВАННІ

Author(s): Lenka Remsová / Language(s): Ukrainian Publication Year: 0

У цьому розділі розглянемо важливий напрямок прикладної драми (Applied Drama) — театр у вихованні (Theatre in Education). Дослідимо його основні визначення (Valenta, 2011; Machková, 2016), форми (Pavlovská, 2003), виникнення і розвиток від 60-х до 90-х рр. ХХ ст. (Jackson, Vine, 2013), коли він став частиною більш широкого поняття — прикладної драми; тобто драми, що охоплює всі театральні форми, які містять освітній принцип та використані в особливому соціальному контексті (наприклад, школи, театр у в’язниці) з передбачуваними позитивними змінами (Nicholson, 2005). У кінці розділу ми опишемо одну з форм театру у вихованні — інтерактивний театр (Interactive Theatre) за Сомерсом (2008) і представимо проект інтерактивного театру для учнів 7-го і 8-го класів загальноосвітніх шкіл у Чеській Республіці, який спрямований на розв’язання патологічних соціальних явищ (самогубство, вилучення з колективу на базі соціальних відмінностей між учнями, цькування, погане соціально-економічне підґрунтя учнів) із метою підтримки і розвитку особистісних та соціальних компетенцій учнів. Ми доповнимо розділ прикладами лекцій для шкільних педагогів і сценарієм реалізованої вистави інтерактивного театру.

ПІСЛЯМОВА

Author(s): Lenka Gulová / Language(s): Ukrainian Publication Year: 0

Ситуація із соціально незахищеними групами складна, і сучасний розвиток вказує на те, що у зв’язку зі змінами в суспільстві кількість таких груп зростатиме. Проблема в системі, яка часто не працює, та недостатній підготовці соціальних педагогів, учителів та інших працівників.

Влияние школьного театра на драматическое творчество Симеона Полоцкого

Author(s): Ivana Petković / Language(s): Russian Publication Year: 0

In the present work we will show how school theatre influenced dramatic works of Simeon Polotsky. Considering him as a founder of drama genre in Russian baroque literature, we will try to demonstrate the importance of school plays in that process (didactic role, elements of rhetoric, and declamation patterns). We will focus on his two dramas in order to examine this influence: Parable of the Prodigal Son, and On Nebuchadnezzar the King. Further, we will examine the importance of Polish and Ukrainian school theatre, National University of Kyiv-Mohyla Academy and Slavonic-Greek-Latin Academy. Moreover, we will focus on the influence of Catholic and Orthodox religions on Simeon Polotsky’s works through the school theatre.

Performing Artists’ Voices Remain Unheard:

Author(s): Annegret Bergmann / Language(s): English Publication Year: 0

This article elucidates the impact of the COVID-19 restrictions on performing art productions and the insufficiency of financial assistance programs from the government during the first months of the pandemic 2020 in Japan. By taking an opera production and kabuki productions as examples, the reactions of the management of Biwako Hall and the commercial theater production company Shōchiku to the pandemic crisis are described; how they implemented innovative and new production measures and incorporated digital tools to compensate for financial losses, as well as to retain their old audience and attract new audience. It becomes clear how insignificant the Japanese government perceives the performing arts and how little public financial support they receive. Furthermore, the indispensable role that corporate support and commercial production companies play in theater productions in Japan is illuminated.

Overcoming Barriers to Digitalisation in Performing Arts - Evidence from a European Project

Author(s): Vesselina Dimitrova,Vito Sandro Furio,Lino Manosperta / Language(s): English Publication Year: 0

This paper summarizes the experiences of performing artists during Covid-19 in five European countries as Cyprus, Greece, Italy, Lithuania, and Portugal in the framework of DigitAct (Erasmus+) project. Based on surveys and focus groups are tested the perceptions of the barriers and challenges faced to identify areas of competencies with significant reference to digitalisation. Furthermore, this paper will make a comparison with the literature review for digitalisation in the performing art sector highlighting opportunities for the countries that participate in the DigitAct project.

Závěry z výzkumu identifikace dětí s literárním dílem a divadelním představením

Author(s): Miroslav Jindra / Language(s): Czech Publication Year: 0

Struktura uměleckého díla zahrnuje celou řadu dílčích prvků, kterými může recipient postupně proniknout, aby dosáhl plného porozumění a přijetí. Každé dílo je zcela unikátní, a proto i tento proces identifikace čtenáře či divadelního diváka je naprosto ojedinělý. Lze však nalézt určité průsečíky, které jsou pro dané dílo a recepci uměleckého díla charakteristické. Příspěvek se zaměřuje na závěrečné poznatky plynoucí z výzkumu identifikace dětských čtenářů a dětského divadelního publika. Vychází z disertačního projektu s tématem identifikace dítěte mladšího školního věku s literárním dílem a divadelním představením.

Vasif Öngören’in Tiyatrodan Sinemaya Uyarlanmiş Olan ‘Asiye Nasil Kurtulur?’ Oyun Metninin Genel İçerik Analizi

Author(s): Burak Akyüz / Language(s): Turkish Publication Year: 0

How to Asiye Nasıl Kurtulur?, written by Vasıf Öngören, the work tells about the social corruption and collapse of economic life through a woman. The work, which was adapted into a movie by Atıf Yılmaz in 1986, is considered a rich work because it can turn into another art form in this sense. The character of Asiye was dragged into a life other than what she wanted and could not establish herself as a woman. In this work, society’s wrong perspective towards women is also questioned. A general content analysis of the play, which is centered on the women’s issue, was made. It was produced from my doctoral thesis titled ‘Adaptations from Theater to Cinema and a Model Writer: Vasıf Öngören’. When evaluated under the title of Women and Art, women’s problems have been expressed in world theater texts for centuries. In this subject, which is handled in a completely objective manner by a male writer, not only a woman’s inability to realize herself, but also the criticism that she has no choice in the face of life is made. In the general plot of the play, Asiye resisted not to become a prostitute like her mother, but she failed. Her right to education was also taken away. With the deprivation of a woman’s right to education, her difficulties in working life in social life are described. The issues such as harassment and discrimination that she was unfairly exposed to in the jobs she worked before becoming a prostitute are conveyed to the reader in a clear language. In the play, which has a critical attitude on the axis of exploitation and marketing of the female body, the cruelty of the industrial and capitalist world is expressed. This play supported this critical attitude with songs.