Kako je Karl Kraus čitao Ofenbaha

Author(s): Georg Knepler / Language(s): Serbian Publication Year: 0

Kako je Karl Kraus mogao čitati Ofenbaha? Kako se uopšte mogu čitati operete? To nije izvodljivo. To, da je to bilo moguće Karlu Krausu imalo je niz pretpostavki koje teško mogu da se ponove, ali je ipak postojala želja da se pokuša. Najpre, javna čitanja pozorišnih komada Kraus je priređivao već od svoje mladosti. Godine 1893, on je čitao Hauptmanovo delo Weber (Tkač), koje je tek godinu dana ranije bilo izašlo iz štampe, a pola godine ranije bilo prvi put izvedeno u Berlinu. U literaturi o Karlu Krausu stalno se ponavlja tvrdnja da je neuspeh koji je Kraus doživeo iste godine, sa nepunih 19 godina, igrajući Franza Moora u jednoj izvedbi Razbojnika u jednom bečkom periferijskom teatru, bio povod za napuštanje glumačke profesije.

Karl Kraus: portret umetnika

Author(s): Frank Field / Language(s): Serbian Publication Year: 0

Karl Kraus je rođen 1874. godine u Jičinu, Češka. Njegov otac, Jakob Kraus, strog ali nežan roditelj, pobožan Jevrejin i uspešan fabrikant papira, preselio je porodicu u Beč, dok je njegov sin Karl bio dete. Još u detinjstvu, sin je pokazivao strast za pozorište, i dok je studirao na Bečkom univerzitetu, gde je slabo posećivao predavanja i vreme uglavnom provodio po pozorišnim i literarnim kafeima, odlučio je da postane glumac.

СЕМИОТИКА НА ПЪРФОРМАНСА

Author(s): Mariya-Liya Borisova / Language(s): Bulgarian Publication Year: 0

The problem that is implicit in the title was provoked by the need for examining the performance not only in the range of the art, but as an overall concept of impact, which is realized through various semiotic tools. Through the analysis of performances of Marina Abramovic proves necessary and indispensable connection between the art and the science that helps the ideas reach the viewer at different levels.

UMJETNOST

Author(s): Delila Hasanbegović / Language(s): Bosnian Publication Year: 0

Umjetnost (lat. ars) je vještina estetskog izražavanja ili uobličavanja misli i osjećanja, pomoću govorne ili pisane riječi, instrumenta ili ljudskog glasa, boje, linije, plastičnog oblika, konstrukcije, pokreta itd. Umjetničko djelo, shvaćeno kao slobodna tvorevina ljudskog duha, ili kao ugledanje na prirodu, odnosno kao smjenjivanje imaginarnog i realističkog, ima veliku ulogu u svim vremenima i društvenim sistemima, zajednicama, religijama, u privatnom i javnom životu, uopće u čovjekovom odnosu prema ljudima i svijetu. U tom smislu, umjetnost nije samo lična, već i društvena pojava. Ako znamo da se s velikim ideološkim, ekonomskim i drugim promjenama mijenjaju i umjetnička shvatanja i pravci, tako vidimo da je i feminizam dao i daje svoj uticaj na umjetnička dostignuća. Historija umjetnosti daje pregled prikaza ženske figure, kao i statusa žena koje su se bavile i koje se bave umjetnošću.

UMJETNOST

Author(s): Delila Hasanbegović / Language(s): Bosnian Publication Year: 0

Umjetnost (lat. ars) je vještina estetskog izražavanja ili uobličavanja misli i osjećanja, pomoću govorne ili pisane riječi, instrumenta ili ljudskog glasa, boje, linije, plastičnog oblika, konstrukcije, pokreta itd. Umjetničko djelo, shvaćeno kao slobodna tvorevina ljudskog duha, ili kao ugledanje na prirodu, odnosno kao smjenjivanje imaginarnog i realističkog, ima veliku ulogu u svim vremenima i društvenim sistemima, zajednicama, religijama, u privatnom i javnom životu, uopće u čovjekovom odnosu prema ljudima i svijetu. U tom smislu, umjetnost nije samo lična, već i društvena pojava. Ako znamo da se s velikim ideološkim, ekonomskim i drugim promjenama mijenjaju i umjetnička shvatanja i pravci, tako vidimo da je i feminizam dao i daje svoj uticaj na umjetnička dostignuća. Historija umjetnosti daje pregled prikaza ženske figure, kao i statusa žena koje su se bavile i koje se bave umjetnošću.

Impulses of the Development in Dance and Music Folklore

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

Music and dance culture in Moravian regions features differences as well as similarities. It is logical to inquire about the origins of these differences and identical features, but the questions cannot be answered in allregions and for all cases. It is necessary to beaware that despite a variety of borders, folk culture is permeable because the specific development of even smaller, closed territories was affected by external influences.

Memet Baydur’un Kamyon Oyununda Göç Olgusu

Author(s): Şengül Kocaman / Language(s): Turkish Publication Year: 0

İnsanlık tarihine koşut olarak gelişen göç insanın, doğayla ve insanla mücadelesinin önemli bir kesitini oluşturur. İnsanlar tarih boyunca olumsuz doğa koşullarından kurtulmak, daha güvenli ortamlarda yaşamak, daha sıcak insani ilişkiler kurmak, toplumsal ortamlar yaratmak, yaşamlarını daha uygun maddi koşullarda sürdürmek için oradan oraya göç edip durmuşlardır. Daha iyiye ulaşmak yönündeki arayışın artarak sürmesine koşut olarak göç olgusu da insanlık tarihinin her kesitinde önemini korumuştur (Güngör, 2005, s. 229). Toplumun sosyal, kültürel ekonomik, politik, eğitimsel gibi tüm yapısıyla yakından ilgili olan göç olgusunun bu çeşitli boyutluluğu antropologların sosyal bilimcilerin, eğitim bilimcilerin, psikologların ilgisini çekmesine ve konuyu yakından incelemelerine neden olmuştur (Şahin, 1999, s. 19).

The Event of Bulgaria Migration and the Discourses of Nationalism and Gender in Ahmet Er's Theaters

Author(s): Başak Akar,Özge Öz Döm,Melike Güngör / Language(s): English Publication Year: 0

Migration mainly refers to the “permanent movement of persons over significant distance” (Sills and others, 1968, p.286). In addition, another typology of forced migration is defined as migration is a result of coercion and crisis. The definition provided by the International Association for the Study of Forced Migration, is the movements of refugees and internally displaced people (those displaced by conflicts) as well as people displaced by natural or environmental disasters, chemical or nuclear disasters, famine, or development projects (IASFM, 2015). Not only are the reasons for the migration important but so are the crises behind these migrations (Kuhlman, 2000, pp.4-5). So, the agents of forced migration can be the state, terrorist groups, commercial entities, and natural disasters; however mainly violence and persecution are the main reasons behind it (Kuhlman, 2000, p.5). These forced and involuntary migrations can be categorized into three subcategories. The first one is ethnic dilution, the second one is ethnic consolidation and the third category is ethnic cleansing defined as forcing undesired population to flee from that specific area (Bookman, 1997, pp. 122-125). The methods of ethnic cleansing are “…coerced departures, harassment to induce departure, cultural cleansing, payment for expulsion and genocide” (Bookman, 1997, pp.133 – 137).

Променената идентичност в поезията на Адам Мицкевич. Или от Адам и Ева до Кончита Вурст

Author(s): Panayot Karagyozov / Language(s): Bulgarian Publication Year: 0

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.

The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time

Author(s): Maria Shevtsova / Language(s): English,Polish Publication Year: 0

A reinvigorated interest in The Tempest by world-famous directors has surfaced in the past few years to give Shakespeare’s play some rather unexpected twists and turns. The most notable among recent productions has been the work of Declan Donnellan (2010) with the Russian sister company of Cheek by Jowl, which he founded in Britain in 1981, and the concise, fist-in-the-gut appropriation Miranda, After Shakespeare’s ‘The Tempest’ (2011) directed by Oskaras Korsunovas with the OKT/Vilnius City Theatre, founded in 1998. The striking link between these two productions is the way they cast their gaze into the Soviet past, each director having a different relationship with it. Donnellan essentially achieves it through his Russian ensemble where, as noted in this article, he was helped by actors fully experienced in devising the performance material through the étude method characteristic of the Russian school of acting. Korsunovas’s is a direct, visceral relationship, which is expressed in the corrosive surrealism of his perspective. The latter is in some ways close in spirit to the satirical humour of Donnellan’s production, but the interest of putting these two productions side by side is to highlight the singularity of each, and to show how each operates within the framework developed for it.

Labin ili izvedba undergrounda kao jedan od modusa otpora izolaciji/periferiji

Author(s): Suzana Marjanić / Language(s): Croatian Publication Year: 0

Using the example of the town of Labin in Istria, I demonstrate how isolation, the so-called periphery, can also serve as an expression of resistance in a cultural niche. The collective Labin Art Express (L.A.E., initiated by Dean Zahtila, late Krešimir Farkaš, Graziano Kršić) is the initiator of the fundamental L.A.E. project Underground City XXI ‒ independent underground Labin cultural city as an alternative to the existing above-ground, heteronomous Labin, i.e. the creation of a real city 150 m below the earth’s surface ‒ in underground halls and tunnels, carved in solid rock, connecting Labin, Raša, Plomin and Rabac, with streets, bars, galleries, swimming pools, playgrounds for children, shops, restaurants, the Museum of Mining and Industry of Istria. Thereby we can compare Labin in terms of urbanity and anthropology with the town of Katowice, which in 2018 was selected to host the most significant UN Climate Change Conference, following the 2015 Paris Agreement. Katowice were chosen as one of Europe’s most polluted sites due to the exploitation of coal i.e. the transition of the aforementioned town from a mining and industrial site to a modern industrial, economical, technological and cultural centre.

EXPERIENŢA ESTETICĂ ŞI EXTRAE STETICĂ CA PROCES ŞI PRODUS AL EDUCAŢIEI PRIN ARTE PE TOT PARCURSUL VIEŢII

Author(s): Marina Cosumov / Language(s): Romanian Publication Year: 0

Lifelong learning has become a priority of global education systems. Even if the role of basic, formal education remains essential, lifelong learning, together with non-formal education, come to personalize and develop skills as close as possible to the requirements of the market and society, but also the skill and soul of the learner. In the process of knowledge through art, the personality accumulates that experience that cannot be acquired in contact with other phenomena / things, regardless of the status held as a receiver, creator or performer

Ironie et humour populaire – de la critique sociale à la guerre politique

Author(s): Mariana Anastasiei / Language(s): French Publication Year: 0

Comedy, laughter, is both a presence and a social necessity. Irony, humor, joke, satire, caricature are all forms of manifestation of laugh in art and society. Art of relationing by excellence, comedy supposes, in order to achieve its purpose, an emitter and a receiver equally informed and competent. The purpose of this work is to follow the evolution of this relationship of complicity when the transgression of art frontiers occurs.

EXPRESSIONISM INFLUENCES AND EXPERIMENTS IN CONTEMPORARY DANCE

Author(s): Anca Iorga / Language(s): English Publication Year: 0

The world of dance has been influenced by the artistic revolutions of early 20th century. The performances of that period rejected the artificially elaborated technical constructions which limit the evolution of dancers, promoting the freedom of movement. In the same period, appear an avant-garde movement known as expressionism, which will revolutionise the art performance by approaching new forms of expression. Therefore, a new concept show up – Tanztheater. It is used for the first time around 1927, for the choreographic works of Kurt Joos, to identify an emerging dance style within the new forms of expressionist dance. Expressionism opens new perspectives in the world of theatre and dance through the improvement of scenic expression means, by employing new procedures and techniques to create the plot, the conflict and the characters. Dance theatre is rather the fruit of the need of the dancer, actor or performer to assert themselves as a complex artist, capable to embody messages and convey them by using a variety of codes, symbols and movement techniques, than of the desire of the choreographers to engage in a collaborative effort with other artistic fields. Dance theatre performances individualise by short, mostly imaginary moments of dialogue and action. Besides dancing on stage, performers sing, talk, scream and sometimes even laugh or cry hysterically. Repetition is also a means to structure the dance theatre choreographies. Repetition of dance phrases, whether identical or following changes in the sequence of movements in the phrase, adds more drama to the story to be acted out. German expressionism influences are introduced to our country by the work of two Romanian dancers of German descent, Iris Barbura and Katherine Hän. Their experience inspires choreographer Miriam Raducanu, who primarily acquires and subsequently develops this form of expressionist dance, passing these knowledges to her students, Raluca Ianegic and Gigi Caciuleanu

FACTORII IMPLICAȚI ÎN PERFORMANȚA ACTORULUI PE SCENĂ

Author(s): Gianina Eliza Burghelea / Language(s): Romanian Publication Year: 0

This debate is part of a doctoral research plan in the field of psychology applied to theater actors, in which I would like to analyze the factors that are involved in the performance of the actor on stage. To the same extent, I aim to identify the relationship between theatrical acting and social acting, the formation and determination of the preferred style of interpretation of the character and the application of coping strategies to actors. I also analyze cognitive changes, behavioral efforts, and the management of specific external and / or internal emotional situations. Training the actors through coping strategies can be an additional determining factor to remove anxiety, to get inner relaxation and at the same time to improve the concentration, which help them to achieve a combination of spontaneity, commitment, and awareness and finally to achieve a high-performance.

Lyrické drama Františka Hrubína

Author(s): David Kroča / Language(s): Czech Publication Year: 0

The study deals with an interpretation of a play by František Hrubín, Křišťálová noc. The year 2021 will mark sixty years since its premiere on the stage of the National Theatre in Prague. The present work discusses the public reception of the drama right after the release and its standing in the context of contemporary theatre with a special account of the response after the ambitious Prague staging in Švando vo divadlo in 2011. The significance of this almost forgotten play by Hrubín lies mainly in presenting non-idyllic characters along with the theme of the revolting youth and provocative daily ordinariness introduced to the Czech theatre by Hrubín at the beginning of the 1960s.

СПИСОК ВИКОРИСТАНОЇ ЛІТЕРАТУРИ ТА ІНШИХ ДЖЕРЕЛ

Author(s): Author Not Specified / Language(s): Ukrainian Publication Year: 0

Ханако: една кабуки актриса из България и Трансилвания в началото на XX в.

Author(s): Andronika Martonova / Language(s): English,Bulgarian Publication Year: 0

For the first time, this study analyses and export to the academic community the rare documents and archival materials proving that the Japanese Kabuki theatre actress Hanako realised a tour in Kingdom of Bulgaria and Transylvania (Austro-Hungarian Empire) in 1911. Referring to the information from Sawada Suketaro‘s book “Little Hanako. The Strange Story of Rodin’s Only Japanese Model” the research paper tracks down and focuses on the contracts, advertisements and the critical reception who introduced unknown aspects of Japanese culture to the territory of mentioned countries from present Eastern Europe. Hanako’s presence is also set in a broad European and research context because she had an important influence on the development of Western stage practices.For the first time, this study analyses and export to the academic community the rare documents and archival materials proving that the Japanese Kabuki theatre actress Hanako realised a tour in Kingdom of Bulgaria and Transylvania (Austro-Hungarian Empire) in 1911. Referring to the information from Sawada Suketaro‘s book “Little Hanako. The Strange Story of Rodin’s Only Japanese Model” the research paper tracks down and focuses on the contracts, advertisements and the critical reception who introduced unknown aspects of Japanese culture to the territory of mentioned countries from present Eastern Europe. Hanako’s presence is also set in a broad European and research context because she had an important influence on the development of Western stage practices.

TOTUL E FOARTE NORMAL - scenariu de spectacol

Author(s): Leta Popescu,Viorel Cojanu,Gabi Albu,Alexandra Băcanu,Silvana Negruțiu / Language(s): Romanian Publication Year: 0

The project "EVERYTHING IS VERY NORMAL - DIALOGUE WITHOUT TABOOS." is organized by the Replika Cultural Association and co-financed by the National Cultural Fund Administration - AFCN.

Образи на прехода в новата българска драма в периода 1989–2007 г.

Author(s): Kamelia Nikolova / Language(s): Bulgarian Publication Year: 0

In the early years of Bulgaria’s political transition (1989–2007), writing for the theatre was in a situation substantially different from the developments happening on the theatre stage. While the latter, especially during the first ten years after the political changes, went through a period of rapid resurgence and intense and profound transformation, playwriting suffered a deep existential crisis. In the plays of those authors who had established their names prior to 1989, the crisis manifested itself as a traumatic need for a desperate revision of the past and for a pessimistic end to it. The main image of the transition imposed by these dramatic texts is of filial guilt – the guilt of children towards their parents, and the apocalyptic irreparability of the broken relationship between them. For the young generation of playwrights of the 1990s and those who came after them, the obsessive image of filial guilt was no longer familiar. They outlined a different emblematic image of the transition – that of the cosmopolitan homeless person. In their plays, children and parents live together, sharing a common space and time, their roles alarmingly mixed up. The image of the cosmopolitan homeless person has retained its presence, albeit in a new way, in the dramatic texts written after the beginning of the 21st century, where it is manifested mostly in the sharing and immediate experience of personal stories. Out of the emblematic perspectives and images of the transition in Bulgarian drama from the period 1989–2007, the only one retained in today’s writing for the stage, though in various different transformations, is that of the cosmopolitan homeless person. By contrast, the image of filial guilt has long disintegrated and is now forgotten, while the endeavour to distance and forget the past has been replaced by the theatre’s newly awakened critical attitude towards the processes and the complex dynamic developments current in the modern world.