SUR LA' SITUATION DES ECOLES DU DEP. D'ALBA AU TEMPS DU DUALISME DE L' EMPIRE D' AUTRICHE - HONGRIE

CU PRIVIRE LA SITUAŢIA ŞCOLARILOR DIN JUDEŢUL ALBA ÎN PERIOADA DUALISMULUI AUSTRO-UNGAR (1867-1918)

Author(s): Dorin Giurgiu / Language(s): Romanian / Issue: -/1994

L'iqstauration du dualism de l'empire d'Autriche - Hongrie, en '1867, a endes intluences importantes dans le domainetle l'nseignetrent. Dans le departament d'Alba l'ecole etait org~ exclusivement . par . les deux confessionsreligieuses. aggreg&spar retat,. ce carac~re empechant. le developpe~nt nonnal de l'eOseignement, depaurvue de ·1'unit6 dont .il avait besom. Les' condition materieles· dans les qUelles. se deroutait· l'e~errent ttaieant·precaiţe. Les ecoles fonctionnaient dans des bâtţrnents malpropres, beneficiant. d'un mobilier· ancien. L'administration communale et les or~anismes politiques de· l'~tat ont men~ une activite hostile envers l'ecole roumaine~' accentuee &ussi per un systeme legislatif, surtout apres 1867.·. En dq,art· · de ces .difricu1tes' on constate quand ~nee une "sensibţe amffiomtion -de. reRSeigneJnent· .dans le departament d'Alba, par rapport aux' decenniesanterieurs: Ou construisait des locaux de nouvelles· ecoles, les. instituteurs, .. fonnes a Blaj et Sibiu, utilisaient de plus les manuels scolaires laques au lieu de ceux religieux. Ce ver!table 's'etait enregistre dans la zone des ,Monts Apuseni, .Ocna Mureş, · Aiud, Alba Iulia et Sebeş. an constate en cette periode la riche·. actvite menee par lesecoles de Blaj, un centre important de cu1ture i spirituelle roumaine, situ~ a. la confluencedes Tîmaves. Les .cadres didactiques du departament· "CI'Alba se sont situes, le ţendemain' du 1· Deceinbrie 1918, panni ceux qui luttaient pour l'accomplissement de ridea! Il~ti.onal.

ROMISCHE AMPHOREN, VORRATSGEFABE UND KRUGE AUS AMPELUM

AMFORE, CHIUPURI ŞI URCIOAREROMANE DE LA AMPELUM

Author(s): T. Ion Lipovan / Language(s): Romanian / Issue: -/1994

AnJl8lichmechanischer und manueller Aushebearbeiten fUr Bauvorhaben aui dem Gebiet des r&niscben Ampelum (heute Zlatna,Krs. Alba)' kopnte elnwertvolles arch~ologisches Material' geborgen ~erden. Ea besteht vorwiegend GefiBbmchstitcken. Au der Vlelfalt deszum Vorschein gekommene.n FundBuyes: Randstiicke, Wandstiicke und BodenstUc~e von Oefâ8en. pqisentiert der' Verfasser des Aufsatzes so1che GefiBe, die lediglich zum Transport,undAufbewahren VOR· HUssigkeiten und sonstigen Nahnmgsmitteln. dienten. Zu die~n geh6ren',vOJDJlgig:Amphoren, Vorratsgefă8e und 'Kriige. Der Verfasser ist bestrebt ~ denstatistischen 'AspecJct:Q.tKV die Verbreibing dieser GefâJ.\typen zu erfassen, da in Zukunft in' Anbetracht det bevontenllen~n Groacht der bevol'Stenhenden Gr0J3bauproje~ im industriellen Bereich,' voraussichtlich keille\veiteren archăologisehen Forschungenuntemimmen werdenkOnnen..

THE ROMAN CASTRUM OF APULUM

CASTRUL ROMAN APULUM

Author(s): Vasile Moga / Language(s): Romanian / Issue: -/1994

The building of a sport-haU in the yard of Romano-Catholic Theological Institute was preceeded by a rescue excavation in thisarea. The place is located on the Pacii street, nr. 4, in the north-west part of' the medieval fortress, not very far'. from .the ancient west waU of the Roman castrum.· , After the excavation of the leves belonging to the Late Middle Age (houses with pottery characteristic to the XVIIth-}\VIIIth century), it was reached the Roman level, dating from the IInd_IIlrd century B.D. Two walls were found, at 4,85 m. one from another, which belong to a room, maybe part of the huts, placed not far from the west side of the castrum. The wallswere still O,70m. . high, made from pebble stones and mortar, being probably -contemporary with the. stone phase of the castrum. Later, there were rebuildings of the camp, the camp, this conclusion being supported by the bricks with stamp of the XIII Gemina. legion and a coin emited .by Marcus Aurelius in the memory of Antorinus 'Pius (Rle, III, ,436).' . The excavation is the first one in this part of the castrunl (still- occupied by houses from theXVIIth-XIXth century), wt,ich was incorporated by the Vauban fortress of Alba Iulia in the 'XVIIIth centu'ry.

'Where a "Fragment" Is More Suited to Be Filmed than the Whole Play'. "Wozzeck" by Georg C. Klaren

"<<Fragment>> bardziej się nadaje do sfilmowania niż dramat". "Wozzeck" Georga C. Klarena

Author(s): Anna R. Burzyńska / Language(s): Polish / Issue: 87-88/2014

Keywords: Klaren Georg C; Buchner Georg

In December 1947 the world saw the first postwar German film adaptation of a literary work. That was "Wozzeck" directed by Georg C. Klaren, a film adaptation of a play by Georg Büchner. The choice of the 19 th century drama, preserved only in fragments and incomplete scenes, is far from obvious and makes one think about a number of questions, starting with the process of film adaptation of fragmentary work of literature (how far could the director be faithful to the author and the original piece of literature, given its fragmentary and unfinished nature? did the fragmentary character of the play aid or hinder the process of adaptation?), and ending with the ambiguous message of Klaren’s film (what is the purpose of the numerous anachronisms present in the film? what was the point of showing an audience, still traumatised by war, a post-romantic drama?).

Is it Orpheus Singing or is it the Sound of the Trees in the Wind?

Czy to śpiewa Orfeusz, czy to drzewa tak szumią?

Author(s): Andrzej Pitrus / Language(s): Polish / Issue: 87-88/2014

Keywords: Castelucci Romeo; Gluck Christoph Willibald

The article is devoted to the analysis of the staging of Gluck’s "Orpheus and Eurydice" made by the famous theatre director Romeo Castellucci. Andrzej Pitrus carries out a multifaceted analysis and interpretation of the play, in which in an extremely innovative and original way the medium of video is used. The director introduced a life transmission of scenes taking place away from the stage or even the building of the opera. Not only did he manage to widen the space of the theatre in this manner, but introduced a moving existential theme. The story of the mythical lovers was confronted with the fate of two contemporary Eurydici – young women suffering from the “locked in syndrome”.

Watchmakers, Automata and the Cinema

Zegarmistrzowie, automata i kino

Author(s): Marcin Giżycki / Language(s): Polish / Issue: 87-88/2014

Keywords: Automaton

The history of the cinema and watchmaking are strongly related. Without the Maltese cross, the mechanism used in watches since the 18 th century, there would be no film projectors. Perhaps that is why in the cinema almost from its inception, various automata (plural of “automaton”), that is anthropomorphic machines or artificial people appear. The peak of popularity of these devices was in the 18th and 19th centuries, when their construction lay largely in the hands of watchmakers. Giżycki discusses the role played by the 18 th and 19 th century automata in a few selected films, such as "Hugo" (2011) by Martin Scorsese, "Fellini’s Casanova" ("Il Casanova di Federico Fellini", 1976) by Federico Fellini and "The Best Offer" ("La migliore offerta", 2013) by Giuseppe Tornatore. Stories by Stanislaw Lem, Walerian Borowczyk and Bruno Schulz are also mentioned. In conclusion, the author states that the perfect automaton is always just a being that is unattainable, an illusion, a vanishing point, an unfulfilled desire of its creator-demiurge.

Celluloid Ring of the Nibelung. Wagner “cinematified", or on "cinematographic" stagings of Wagner's musical dramas

Celuloidowy pierścień Nibelunga. Wagner "ufilmowiony" albo o "kinematograficznych" inscenizacjach wagnerowskich dramatów muzycznych

Author(s): Piotr Kletowski / Language(s): Polish / Issue: 87-88/2014

Keywords: Wagner Richard; Syberberg Hans Jurgen

The author discusses classic and contemporary staging of Richard Wagner’s musical dramas, made by the masters of cinema and referring to the theory and practice of the German composer, who in his work somehow foresaw the existence of the cinema and who thought in the aesthetic categories later developed by the creators of the Tenth Muse. Staging of the works of Wagner are a repayment of a debt to the great composer. They do not so much reconstruct the visual and musical vision of the composer of the Lohengrin, using the language of film, but fulfil Wagner’s postulate that a total work of art can be created. In the text the author discusses productions of Wagner’s work by such masters of the cinema as Eisenstein, Visconti, Chéreau, Syberberg and Bill Viola, who in their artistic pursuit realised the ideas of Gesamtkunstwerk. Kletowski shows the process of “cinematifying” of contemporary art of opera (especially the works of Wagner, but also others), which art using the principle of “reverse transaction” also shapes the modern Tenth Muse, that often refers to elements of opera.

Theatrical Dimension of Roman Polański's Films

Teatralny wymiar twórczości filmowej Romana Polańskiego

Author(s): Bogusław Zmudziński / Language(s): Polish / Issue: 87-88/2014

Keywords: Polanski Roman

The last two films of Roman Polanski – "Carnage", based on a theatrical play by yasmina Reza and "Venus in Fur" based on David Ives’ play adapted for the New york theatre scene from the story of the count Leopold von Sacher-Masoch – are a good occasion for reconsidering the origins and roots of Polanski’s creativity, and in particular the impact of the theatre on Polański’s films. Zmudziński in his analysis goes beyond films that are straightforward adaptation of plays written for the theatre, and examines and orders the areas of influence of the theatre aesthetics and theatrical experience of the director, including the “poetics” of the absurd, the use of isolated spaces, circular structures of narration, compressed time, restricted number of characters remaining in peculiar relationships, and finally emotionally active engagement of the audience, reaching the level of the original psychodrama. Within Polanski’s twenty feature films “theatre thinking” is clearly, though not overtly, present. The theatrical inclinations of the director are also confirmed by the fact that many of his films could easily be adapted for the stage.

Japanese Bunraku Theatre in Takeshi Kitano's film "Dolls"

Teatr bunraku w filmie "Lalki" Takeshiego Kitano

Author(s): Agnieszka Kamrowska / Language(s): Polish / Issue: 87-88/2014

Keywords: bunraku theatre; Kitano Takeshi

Takeshi Kitano’s film "Dolls" ("Dōruzu", 2002) draws on several levels on the themes of Japanese Bunraku puppet theatre. The starting point of the analysis of bunraku themes in the films of the Japanese artist is the play "The Courier for Hell" by the greatest Bunraku dramatist Monzaemon Chikamatsu. In addition to fragments of the performance of this play and elements of its plot, the director also used some formal elements of the puppet theatre, such as for example the construction of the characters, the look and the costumes of the actors or michiyuki (being on the road) as a basis of the whole narrative structure of the film. The resulting film has an incredible hermetic character, immersed in the specific aesthetics of puppet theatre for adults, which in Japan is gradually falling into oblivion.

"Ran", or Shakespeare in Japanese

"Ran", czyli Szekspir po japońsku

Author(s): Krzysztof Loska / Language(s): Polish / Issue: 87-88/2014

Keywords: Shakespeare William; Kurosawa Akira

Pointing to the plot similarities between Kurosawa’s film and Shakespeare’s tragedy, the author notes the original approach of the outstanding director to the play written for the theatre. What he has in mind is not the simple mingling of the Elizabethan theatre with the Japanese aesthetic tradition, but the way the source material was processed without the use of simple transpositions and illustrativeness. At the stylistic and narrative levels, references to the classical nō theatre, "Kaidan – Stories and Studies of Strange Things", and folk myths and legends, especially the use of animal metaphors, characterising the protagonists both in Shakespeare’s drama, and in Kurosawa’s film play an important role in "Ran". The last interpretative trope which Loska notes is the presence of religious references, particularly visible in references to the Buddhist tradition, which lightens the pessimistic message of the work.

Pasolini - Utopias and Obsessions

Pasolini - utopie i obsesje

Author(s): Teresa Rutkowska / Language(s): Polish / Issue: 87-88/2014

Keywords: Pasolini Pier Paolo

A book review of Piotr Kletowski’s "Pier Paolo Pasolini. Twórczość filmowa" ["Pier Paolo Pasolini. His work in film"] (2013). This is the first monograph of such width and richness to be published in Poland on a director considered to be one of the greatest artists of the world cinema. The author focuses on Kletowski’s research method, which takes into the consideration all kinds of aspects of Pasolini’s creative work (especially film and literature), and seeks to find a balance between the aesthetic and philosophical coherence of his work and their immanent paradoxes and contradictions, which drive its dynamics. In effect a dialectic between Christian thought and Marxism turn out to be the key to the interpretation of the work of the great master.

Cinema and Theatre - Cultural Collision of the Media (1895-1914)

Kino i teatr - kulturowa kolizja mediów (1895-1914)

Author(s): Marek Hendrykowski / Language(s): Polish / Issue: 87-88/2014

Keywords: Cinema; theatre

The author focuses on the methodological problems of studying the relationship between theatre and film in the late 19 th and early 20 th century. His starting point is the claim that in the case of relations between theatre and film in the earliest stages of the development of the cinema, we are not dealing with a simple junction between domains similar to each other, but an intriguing and very complex cultural phenomenon. Relationships between theatre and film in general have in the past been treated as a matter of course, on the one hand giving one the opportunity to exalt the theatrical Olympus as opposed to the plebeian and despised entertainment of moving pictures (they were not contemptuously called flickers by mistake). On the other hand, a belief lingered exalting the cinema as a field of creativity, which only became itself when it allegedly broke all the bonds with the theatre. The author argues that the affinities between theatre and film of the late 19 th and early 20 th century are not obvious. On the contrary, they prove to be very complex. In order to recognise them, one needs to consider several research perspectives: film studies, theatre studies, media studies, cultural studies and the comparative perspective. The cinema of the time, touched on not only theatre, but other forms of culture such as literature, painting or music. However, none of these relationships was as dramatic, tense and fruitful for future moving images, as the early evolution of the relationship with the world of theatre.

The Picture Should Extend beyond the Frame. The Structure of "mis en abyme" in the play "Cyrano de Bergerac"

Obraz powinien wychodzić poza ramy. Struktura "mise en abyme" dramatu Edmonda Rostanda i spektaklu Denisa Podalydèsa "Cyrano de Bergerac"

Author(s): Łucja Demby / Language(s): Polish / Issue: 87-88/2014

Keywords: Rostand Edmond; Podalydès Denis

The author analyses the spectacle, played since 2006 in the Comédie-Française (with the participation of Andrzej Seweryn) and discusses the so called structure of mis en abyme(mirror effects, self-regarding) in Edmond Rostand’s "Cyrano de Bergerac". The structure artfully repeated on various planes of the piece can be seen in the drama itself. In Denis Podalydès’ spectacle (inspired by Jean-Paul Rappeneau’s film Cyrano de Bergerac) it gained an extra dimension by placing a screen above the stage and by references to the conventions of the silent film. Łucja Demby analyses the spatial and semantic relations which theatre and film enter through this procedure, and stresses that these two plays are two different aspects of presentation. In conclusion, the author refers to Michel Foucault’s reflections on “the presentation of performance” with respect to the image of Velázquez’s "Las Meninas".

A Kiss of Death. Off screen space in the films of Michael Haneke, Alexander Sokurov, and Andrzej Wajda

Pocałunek śmierci. Przestrzeń pozakadrowa w filmach Michaela Haneke, Aleksandra Sokurowa i Andrzeja Wajdy

Author(s): Janina Falkowska / Language(s): Polish / Issue: 87-88/2014

Keywords: Haneke Michael; Sokurov Alexander; Wajda Andrzej

The essay introduces off screen space as a separate aesthetic category which performs different functions in the films of Michael Haneke, Andrzej Wajda, and Alexander Sokurov. All three film-makers direct the attention of spectators to off screen spaces in different ways and in different diegetic contexts. Haneke directs the spectators’ attention off screen when he hides scenes of extreme violence to the audience. Wajda directs the spectators off screen in the scenes of reflection and sadness while Alexander Sokurov redirects the spectators off screen when he is unwilling to show certain facts or states of mind. Each of them is effective and masterful in creating “the unthought” and convincingly using “off screen” space as “the uncanny” in Haneke, “the inexpressible” melancholia and sadness in Wajda, and the unsaid and ahistorical in Sokurov. The author chooses only some films of the above mentioned directors to analyze this phenomenon in detail. She concludes her essay with a statement that the real inhabitant of the off screen space is death present in the films of all three filmmakers.

From Theatregraph to TV Series. On Czechoslovak interactive audiovisual projects

Od Teatrografu do seriali. O czechosłowackich interaktywnych projektach audiowizualnych

Author(s): Piotr Marecki / Language(s): Polish / Issue: 87-88/2014

Keywords: Filip František; Činčera Radúz; Klein Dušan

The author discusses the three most important Czechoslovak interactive audiovisual works: the film "Kinoautomat" (1967) by Radúz Činčera, Tv series "Rozpaky kuchaře Svatopluka" (1985) directed by František Filip and "Hříchy pro pátera Knoxe" (1992) directed by Dušan Klein. Marecki points to the pioneering on the world scale character of the audiovisual projects and places them in the context of theatre experiments and inventions specific for Czechoslovakia (Theatregraph and Laterna Magica).

What Does the Film Want on the Stage? Three case studies

Czego chce film na scenie? Analiza trzech przypadków

Author(s): Katarzyna Fazan / Language(s): Polish / Issue: 87-88/2014

Keywords: Lupa Krystian; Warlikowski Krzysztof; Garbaczewski Krzysztof

The growing presence of film images on stage makes one question the sense and meaning of their being there, the relations between what is live and recorded. In the article adequate theories are sought that would help to analyse complex scenic imaging techniques, ranging from repetition, illusion, playing with perception, to dispersion and consolidation of corporeality on stage. Analysis of selected examples aims to answer the question (according to W. J. T. Mitchell’s formulae) what is the purpose of film images on the stage. The author refers to the theatres of Krystian Lupa, Krzysztof Warlikowski and Krzysztof Garbaczewski, and analyses the directors’ strategies of their use of recorded film, camera, film citations and their own dramaturgy, and how they changed and made more complex the form of life presence on the stage. The modern visual practices force one to search for new tools to be used in the description of the theatre phenomena which do not have a unitary structure. What appears interesting is not simply the direct placing of film on the stage, but the use of film material as an inspiration and a source of conventions that de(con)struct traditional theatrical agents.

Known and Unknown Forms

Nieznane i znane formy

Author(s): Andrzej Pitrus / Language(s): Polish / Issue: 87-88/2014

Keywords: Avant-Garde

Book review of "The Struggle For Form. Perspectives on Polish Avant-Garde Film 1916-1989" (eds Kamila Kuc and Michael O’Pray, 2014). The author presents the volume, which familiarises the English speaking reader with the problematics of Polish avant-garde cinema. The book consists of previously published texts, which the reviewer considers its greatest fault – as it proved impossible to present a unitary vision of Polish experimental cinema. However selected chapters written by experts in the field, are highly praised.

Film Born Out of the Spirit of the Theatre, or the New Wave and Pessimism. Films by Jacques Rivette

Narodziny filmu z ducha teatru, czyli Nowa Fala i pesymizm. O filmach Jacques'a Rivette'a

Author(s): Tomasz Kłys / Language(s): Polish / Issue: 87-88/2014

Keywords: Rivette Jacques; French New Wave

Basic themes of Jacques Rivette’s work are apparent already in his early films: the theatre of life, where characters perform in front of each other, and a vision of a mysterious conspiracy threatening society. Those first films were made in a traditional way – according to a precise screenplay, with actors playing roles first developed in detail, and speaking words first learned by heart. Starting with the film "L’Amour fou" (1968) Rivette abandons the detailed screenplay for the sake of a plot line only roughly outlined in key points, and during the work on the set relies largely on actors’ intuition and improvisation. The plot does not become illogical and chaotic, but emerges and crystalizes gradually according to the direction defined in the first place by the original plan, and the logic and “directional tensions” of scenes in part improvised on the film set. Starting with "L’Amour fou" the stage of filming will be at the same time a process of emerging of diegesis in statu nascendi, just like during a play on a stage of a theatre, where the performance of a spectacle is also its creation (at the meta level) and making real for the audience the fictional world presented on stage – it is not by chance that theatre production is an important theme in a number of films by Rivette.

Liveness in the Cinema? On the problematical reception of "Salò, or the 120 Days of Sodom" by Pier Paolo Pasolini

Nażywość w kinie? O problematyczności odbioru "Salò, czyli 120 dni Sodomy" Piera Paola Pasoliniego

Author(s): Ewa Bal / Language(s): Polish / Issue: 87-88/2014

Keywords: Liveness; Auslander Philip; Pasolini Pier Paolo

The author examines the relationship between theatre and cinema in the context of contemporary tendency of films not as “works of art” depicting some fictitious “there and then”, but as testimonies to the experience of “living in art”. Bal in her analysis refers to the category of “liveness” proposed by Philip Auslander, according to whom historically variable dynamics of the effect of reality of the spectacle produced in viewers, decides on the feeling of “liveness”, and not the ontological classification between different forms of presenting of theatre, television and film. However, according to Auslander, filmmakers, unlike people working in television and the new media, failed to colonise “liveness”, as the question of repetition and the time gap between the act of creation of film and the time of its reception stood in their way. Referring to the historical and contemporary collection of testimonies of the reception of "Salò, or the 120 Days of Sodom" (1975), directed by Pier Paolo Pasolini, and the way body is shown in the film, the author questions the last thesis of Auslander and shows that even in the reception of a film, the difference between “picture” treated as a work of art and direct and immediate event touching the viewers here and now is blurred, and that because of that also film can produce the effect of “liveness”.

In View of the Impossible - Negative Aesthetics and the Effect of Strangeness in Audiovisual Works of Béla Tarr and Krystian Lupa

Wobec Niemożliwego - estetyka negatywna i efekt obcości w audiowizualnych realizacjach Béli Tarra i Krystiana Lupy

Author(s): Joanna Sarbiewska / Language(s): Polish / Issue: 87-88/2014

Keywords: Tarr Béla; Lupa Krystian

Iconic revolution in culture is a "fait accompli". The contemporary primacy of image based consciousness was correctly recognised by Ferdinand Fellmann, who noted that it opposes the specifics of language based vision of the world by letting the dimension of the image which extends beyond intentional consciousness to take its full course. This iconic change is particularly important in the work of Béla Tarr and Kristian Lupa. Independently of the difference in media, it is in the audiovisual dimension of their work, that the negative aesthetics and the effect of strangeness are constituted, which resonate with Georges Didi-Huberman’s concept of "the power of visual event". The aesthetic strategy of both directors appears to be a cognitive one – deconstruction/cleansing of the visible in the film and theatre from positive means of presentation, linear narrative, the classic model of projection-identification serves the exploration of the Impossible. The negativity and strangeness of dark, empty spaces is revealed here in contemplative rhythm of nothing making and muting the structures of the world represented, or it emerges from gestures of audio-visual intensification, taken to the extreme and contrasted with phases of total silence and absolute stillness. The aesthetic apophasis, like Derridean "Khôra", aims at the experience of over-seeing (and over-hearing), realising a specific model of negative mysticism, which is initiated by the death of metaphysics of presence. The article examines this strategy using the examples of Lupa’s "Extinction" ("Wymazywanie") and Tarr’s "Damnation" ("Kárhozat").