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More than 95% of the known documents produced and collected by Dr Emanuel Ringelblum’s research team (Oneg Shabat) at the Warsaw ghetto in the years 1940-1943, which were subsequently saved from destruction, is currently kept in the collections of the Ringelblum Archive (ARG) at the Jewish Historical Institute in Warsaw (AŻIH). Over 130 documents are kept in two public collections. The first small collection (several documents) is kept in the set of documents of the Delegates of the Government in Exile at Home [Delegatura Rządu RP na Kraj] at the New Documents Archive (AAN), and the other in the Hersz Wasser Collection (HWC) at the YIVO Institute for Jewish Research in New York. An in-depth study of the archive documents from AAN and YIVO only became possible after the completion of work on the new ARG inventory in the years 2001-2003. The documents kept at the archives of Delegates of the Government in Exile at Home were smuggled to the „Aryan” side before the Oneg Shabat collection was buried. On the other hand, the materials kept at HWC come from the first part of the Ringelblum Archive, which was dug up in 1946. These collections are important for the whole of ARG as they also contain documents which AŻIH lacks. From this point of view, HWC is especially valuable; it can be divided into four groups of archive documents: a) documents coming from Oneg Shabat collections, whose identical counterparts (copiers) are held at AŻIH (56 documents); b) documents coming from Oneg Shabat collections, other variants (copies) of which are kept at AŻIH (9 documents); c) documents coming from Oneg Shabat collections that have no equivalents at AŻIH (62 documents); d) documents not related to ARG (114 documents).
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"L'Arche"; "East European Jewish Affairs"; "Holocaust and Genocide Studies"; "Holocaust Studies"; "Newsletter zur Geschichte und Wirkung des Holocaust"; "Revue d'histoire de la Shoah"; "Yad Vashem Magazine"
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Moshe ben Gerson ha-Kohen, who adopted the name Karl Anton upon his baptism, was the only Jewish convert to make an authentic academic career in the 18th century. In a span of just six years of work at the university in Helmstedt (Lower Saxony), he published sixteen books and received the post of full professor. He was also the most outstanding and closest disciple of Jonatan Eibeschütz. Actively and part of the time under his own name, as university professor he joined in the famous dispute over the amulets between Eibeschütz and Jacob Emden, siding naturally with his tutor, with whom he continued to cooperate intensively also after taking his baptism. In 1756, he ran away from his creditors, abandoning his Christian wife, pregnant and with two small children. According to unconfirmed reports, he returned to the Judaic faith.
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Art is essentially the most profound expression of human creativity. Art is difficult to define, is difficult to assess, because each artist chooses rules and working parameters. Art may be regarded as a form of knowledge (knowledge of art). Art is a picture of the world, an orderly image, which is defeated and overcome the chaos of images, judgments, emotional, trend, making up each time the fabric of human consciousness. Is the mirror of the artist soul, into her spiritual processes that were developed during the creative artist. The mirror of the creator, reflects itself in the soul of who contemplates one. Over time, great thinkers and artists, as - Plato, Quintilian, Aristotle, Leonardo da Vinci, Shakespeare, Molière, Schopenhauer, Hegel, Nietzsche, JP Sartre, Ortega y Gasset, Blaga, Noica – put their vision of art, in their works. For create man must leave the actual horizon, paradisiacal, the knowable reality, and must enter into a „horizon of the unknown” . Unknown horizon, as a specific dimension of human ambiance, is the main factor stimulates the most fertile man attempts to reveal himself what is still hidden.
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This writing tries to find an answer to the question „Are the works of Caragiale still offering the conditions for a succes in the beginning of the new millenium?”. We’ll analyze the conditions of succes starting from the roots of theatre and arriving at the beginnins of the 3rd millenium, period in which the working conditions in theatre have changed, the stage director had achieved, starting from the dawn of the XXth century, a major role in the creation of a theatre play and when the internet offers unreached possibilities of disemination, of information, of expressing oppinions. We also take a look at the recent theatrical creations (more or less successful, of greater artistic quality or tributary to a doubtfull taste), creations that have their origins in the dramatic works of the one called „the father of the modern romanian theatre”.
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There are directors who abuse their power, theater directors who are only text or only visual or psychological trick. Lev Dodin incorporates everything. And because there is always, if overhead Russian obsession progeny, adhere to the same higher English conviction that "formed the hard school of the Soviet system, to which they did not give a moment.
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We do not care who manages to fit the piece to our expose spirit, but if we try to produce it as distinctly as subtext, the political glow of the piece. We propose a different reading of the text, do not say is important, but the original anyway. Approaching the end of our artistic journey. I do not know if I convinced anyone. Not that I care. Proposing it is a different key from any fitting. Certainly, all texts Mazilu have a political tinge, but the most poignant I think it's nice spetembrie Venice. Concentrate, laconic, mordant. Look, and have patience, to meet a director able to give me satisfaction in this regard. Good luck gentlemen!
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The Actor, as a national artistic value, is considered in public awareness as a “patrimony common good”. Louis Lavelle (1950) and A. Moles (1974) are the first researchers bringing contributions to the analysis of dichotomous economic and artistic area. The contemporary societal contradiction is debated around the economic and artistic thematic, between the actor as a creative resource and the actor as a human resource. The artist, by definition is an independent creator; therefore the social system always requires quantitative evaluation, and not a qualitative one. The Arts management is helpless in the struggle for hierarchy and detection of some objective indicators to measure artistic values. The actor’s sources of creativity are still a mystery, and therefore impossible to standardize in the working processes. The only concrete step is to be found solely at the end of an artistic career, when society "agrees" with the recognition through an official status of the artist: that of a corporate of theater.
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Starting from the similarity of Dan Puric artistic destiny with that of Jacques Copeau, we build ten ethical and aesthetic principles for obtaining success, without intending to establish with this any recipe, but to strengthen the similarity of the two approaches in dramatic art, where showing the universality of Dan Puric's art. The ten steps to success are: 1. Restlessness and search. 2. The need to be personal. 3. The road to success often also means sharing ideas with a group together to go. 4. It's just work! 5. Even when you have everything (already results) to keep going. 6. Also, when you have nothing, you must keep going. 7. No matter how much you acquired, share it. 8 Do not think that sharing exclude being a good manager. 9. Enjoy the public! 10. The 10th step, in the road to success coincides with the time of fall/loss. Highlight these ten items is to emphasize that an universal artist, in what creates forms consciousness.
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Theater, as an specific art, born at the junction of other arts, managed to keep the centuries virtues, to increase steadily and means to permanently fascinate receptors. All this, despite a declaration of outright lies beyond the curtain. Whatever the truth reveals itself in action himself, no matter how organic and real are expressions, movement, or exclamations of the heroes of the stage, however well show scenery, costumes or roast in which they eat, we party all of a farce that we are used to arousing empathy and emotions. Why accept the spectator that I kidding? Why did take a conscious? Probably because, like actors, the spectators needs to leave, even temporarily, the condition was true for the live experience of others.
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We have assisted, then participated at the director and professor David Esrig’s workshops in Sfântu Gheorghe, Romania, and Burghausen, Germany, so we had the opportunity to meet his method. Because it’s about a method – both a directing and pedagogical one – we can talk about in his work. We named a few of the terms he uses, with their definitions, which are terms of great importance in theatre practice, even new ones or others already in use, but, the last ones, now really made up concrete and clear during the work process. David Esrig is in search of a poetic theatre, that is the opposite of an epic one, and such a theatre deals with crucial, existential matters, found in poetic and dramatic texts written by authors deeply implied, in their life and work, in the creative process, like Gellu Naum, Paul Celan. The same, actors are invited and directed to „plunge” in the deepest levels of the texts in work, (starting with a structural analysis), and therefore find bodily and vocal means, advanced ones, that would shortcut the essence ot the text and bring it on the scene with concentrated, symbolic gesture.
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The essential dialectic of creation is driven by two diametrically opposed permanent trends: one to a canonical conformism(tradition) and the other to progress and innovation (modern).The frame of this dispute remains a historical,a temporal one,the determination of the concepts of “new” and “old”, regardless of the circumstance, being a chronological one: the "new" replaces the "old" in time forever. Twin and conflicting concepts such as : ancient and modern, classical and romantic, tradition and originality, routine and novelty, imitation and innovation, decadence and progress,they all have a certain synonymy, they constitute a paradigm. Antagonistic groups simplify everything, they polarize and typify, they help in making clear aesthetic guidelines. The synthesizing and essentialising aesthetic trends, and especially the syncretism of symbolism in perception, coupled with increasingly frequent intertwining of different artistic genres, have become the modernity recognition brands.
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The work of art is subject to many interpretations which at a certain moment can oppose one another in the process of making up the aesthetic object. Through its very essence, theatre is a dialogue among, through, with and about humans, it has always been the artistic form whose democracy comes from the specific communicational type of the performance hall. The aesthetic experience, unlike the practical one, has the advantage of being the only one capable to explain certain social conduct, to communicate social values, to clarify aspects of human existence. Theatre fills the minds, strains the conscience of the public, whose part in the recreation of the dramatic work during the performance goes beyond that of mere witness-condition. Thus theatre and public become accomplices. Therefore, the existence of the public represents one of the two sine qua non conditions for the theatrical act to take place. What does it mean, for a stage creator, to consider the audience? And which are, after all, the parameters of success? The favorable reaction of the public and the duration of the applause? The number of theatre goers attending each performance? The amount of cashing? Or, perhaps a laudative notice on the performance? Or, maybe, the tours and selection at certain festivals? Then a simple question occurs: what is public? This singularia tantum noun hides a dangerously ignored plurality which sometimes bears the meaning of a uniform mass, whose pulse can be easily taken by means of its own reaction, in praesentia, and which are often borrowed from another types of public manifestations. The viewer who is fond of theatre, who is informed about the theatrical movement of his real time (together with a more general artistic space-time), the holder of cultural memory, has the capacity to grasp intertheatrality, to compare one performance with another, the part played by an actor to the same part performed by another actor, and by means of all these to apply the criteria of interludicity to its own interception. The cultural memory of the public is the condition for understanding the performance. This very understanding is also supported by the Copybook-program of every performance, a guide mark which is responsible for fixing the "theatrical memory", within the history of a theatre, within the confrontation with the short life of the performance and the reaching of a sensitive target: the art of being a viewer. All these represent, in fact, the very purpose of the critical act. The necessity of the explanatory approach of what we call "commenting literature" represents an essential link in the dialogue of the artist with the public. The "ideal theatre goer" formula brings us to another question regarding the minority-or not- feature of theatre.
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The "Chance" that television is offering to animation theater - romanian and universal - is reflected in the fact that television represents another way in which stage animation art may reach the comfortable and careless audience, but more than that, no matter how we try to deny this twill, the animated film and television animation became a standard for animation theater, the proven impact they have on the audience, the rate of development and how they won the audience forcing the stage animation to look for new forms of expression, in addition to existing ones or to "rethink" the classic ones in order to successfully keep up with television and film animation evolution, with audiences ever- changing demands.
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Managing to vest the staging of a dramatic work with its entire power of suggestion (emphasized through means specific to theatrical art) may be regarded as a success. The work of art, as an expression of an ideal, cannot lack the imagination of the artist, nor his creativity. Contemporary theatrical art avoids just a commonplace duplication of reality; it rather tends to be a creative and subjective staging of a major theme that the artist wishes to share with the audience. A valuable show is the sum of creativity, sensibility and wit appended by its makers. The idea, the emotion, the message of a dramatic work must ensure the success of its reception through the transposition of the author's intention in a stage formula that is full of creativity, yet clear and coherent. The most important step in creation is the transposition of intuitive projection on the character meant to achieve scenic excellence, including research, discovery, undertaking various forms of expression. Every kind of theatrical performer has a unique arsenal of means of expression which ensures an honest or resounding success. Every generation of show creators (actors, directors, stage designers) strive for perfection, renewal, overcoming traditionalism, finding new forms of theatrical expression, exploiting unconventional stage venues etc. The goal: professional success. Educating the audience, building an aesthetical taste, especially in young spectators, constitutes a major success, a long-term investment meant to maintain the untainted spirit of a people endowed, most of all, with creativity.
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In Marin Sorescu’s poetry and particularly At Lilieci are absolutely unique in the Romanian literature field. His poems are now in the contemporary sources of inspiration for filmmakers and they are the fundamental basis of the theatre scenarios. Popular and innovative language provides a strange note of popular and cultivated authenticity in performing arts. The dramatic situations of his poems lead to an original way of suggesting things, not by un-naming them but paraphrasing the words that call for their presence, as Mallarmé recommended, but on the contrary, highlighting one surprising detail in his unusual concrete aspect. After Eliot, postmodernists compel the verse to reassume its narrative function, considered to be foreign from its vocation which was essentially lyrical. Sorescu’s endeavor is that of radicalizing this approach to its extreme limits: he sets his characters to talk about themselves in their weedy language but theatrical.
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Is the notion of success valid in theatre? This is the question I try to answer in this essay. I refer, first, at a trend of actual theatre, a temptation for entertainment, a concept assumed, in my understanding, as „superficial enjoy”. Than, I’m looking after the origins of these new meanings of contemporary theatre: the poor interest for word, the temptation of simplify, losing appetite for dreaming, a thicker relationship with transcendence, a wrong understanding of theatre as un-stressing/ relaxing technique, strange and strong intersection between theatre and cinema. In the second part, I’m trying to draw some lines in the directions of a so-called “phenomenology of applauses”; not only the usual clap of hands, but the general behaviour of now-a-days theatre’s public.
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Repetitions can be analysed from various perspectives: historical, moral, legal, commercial etc. Their evaluation varies depending on the point of view one chooses to adopt. For instance, plain repetition (copying) can be considered a theft from moral perspective, while in the same time it can be considered beneficial from the perspective of culture propagation. Repetitions, even those which are not innovative, are crucial for the propagation of culture. Moreover, they show that the idea, the tune, the composition and other elements of cultural objects have a real impact on the development of the culture. From the perspective of memetics, such repetitions are necessary for the memes to survive and the tendency to repeat those “memes” constitutes their fitness to cultural environment. To be closer to biological analogy one should recognize those repetitions as replications. From such perspective the program of reducing replications through the means of “prohibition” becomes not only absurd and unreachable but also it would significantly slow or even push the process of evolution backwards. One should notice that any restrictions on copying were absent in various historical periods. For instance, one of the most important ideals of culture in Middle Ages was exact copying and preserving the works of the Antique, obviously without any permission of the authors or their successors. Not much later hermeneias constituted the canon of the icon painting; without which the latter lacked their “natural” value. There is a lot of similar examples. It is not until the time when the artistic value becomes reduced to its commercial value that the problem of an intellectual theft arises. Whatever the concept of an intellectual property should mean it is an example of self-contradicting definition. No artist works in an intellectual vacuum, thus no one has the full rights to the composition. There are two main reasons for such introducing the concept of an intellectual value. The first is the liberalization of the society leading to its decay into individuals aiming at their own interests. The other is the rapid growth of the “new media” technology, which allows for mindless copying – disregarding any justification or understanding. The latter is not a big problem due to the error elimination in the process of evolution. The former, however, as leading to the disintegration of society is really dangerous. In the nature it would result in the species extinction. In the culture some similarities can also be seen and will be analysed in the present paper. One should make a clear distinction between the plain copying and educational practice which helps to preserve the most important “memes” from disappearing but it covers only a small space of cultural developments. On the other hand innovations are the equivalent for genetic mutations, which allow for the creation of new species.
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The study is a reflection on the disrupted faith in universalism, as manifested in Enlightenment thinking of the second half of the 18th century through the analysis of Voltaire’s Philosophical Dictionary, which came out in 1864 as a compensation for a temporarily pause in the issuing of Diderot’s Encyclopédie. Voltaire’s thinking in 118 alphabetically ordered entries represents a testimony of his moral principles (entries such as Morality, Tolerance, Dogmas) and notes the unreliability of language as a means of understanding among the people. Through a critical reading of selected entries from the Philosophical Dictionary, the author of the study suggests particular stages of the process of the disintegration of faith in understanding and analyses some of the indicated ways to its rehabilitation (through morality, refusal of fatality), which, however, are immediately denied by Voltaire himself.
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