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Polish theatre of the first decade of the 21st century is comprised of several dozen of state theatres (of which only a few can claim considerable artistic merit), a few private theatres (which, for the most part, stage unsophisticated, popular shows), several hundred theatre festivals and innumerable independent theatres operating either as foundations or associations. The money for the culture are distributed in today’s Poland only by the state through The Ministry of Culture and National Heritage via subordinate institutions. Every day in Poland a different theatre festival its starting. The reason is that the officials see, in the even smallest festival, a huge promotional potential.
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The pedagogy of acting operates with the Homework notion, which will become the task that the student must solve by his own means, with his mind, body and being by experiencing. How the task will be solved differs from one student to another depending on their individual personality and game partner. This work develops the students’ ability to find his own solutions and implicitly generates the discovery of their objective and subjective truths about things and life. It is well known that determining one’s self value is done through constant reference to others, this is why teens are in a continuous search for models. In this case, the teacher should be the ideal model, a consummate, consistent, cultivated, impartial professional.
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The explosion of the consumption of cyberspace emotional-symbolic products has profoundly influenced the stage communication classical formats, not only in contemporary subjects but also in stagings concerning subjects, let us name it „classical”. The multimedia imaginary follows us in the theatre even if before the performance starts „we (politely) close our phones and ipads”. Nowadays scenography and directing can’t ignore the - nameless and countless - formats of communication of our mind already living in cyberstage, spectators and authors.
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The article approaches the necessity of drama classes in Romanian high-schools. The author advocates the importance of using professional theatre pedagogues, either acting or directing graduates and the prevention that the Ministry of Education should make in order to stop teachers of other subjects to take the theatre classes. The author also advocates for the study of poetry as a tool of elevation, enrichment, refinement. The emphasis of the theatre classes should be on the personal development of the students, instead of staging shows. The high school theatre objectives must be the same like the students from 1st year acting university and based on the Stanislavski, Ion Cojar and Viola Spolin methods.
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At the beginning of XXI century, Chekhov remainsa theatrical and existential model, an author-destiny of our world. Theatre Patriarchs or young directors have created performances of reference based on his work. An important part into the series of memorable stagings, is the Chekhov triptych made by Andrei Şerban in Romania, in three theaters elite: „The Seagull” at the National Theatre Radu Stanca Sibiu, „Uncle Vanya” at the Hungarian Theatre of Cluj-Napoca and „Ivanov” at L.S. Bulandra Theatre in Bucharest.
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Semiotics of art holds a big place in the general theory of the symbol system in the XXI century. During the period of examining semiotics of the modern Georgian theatre language, I chose the State Academic Theatre, more precisely, the study of the world’s well-known director, Robert Sturua and his theatre language. Sturua is an aesthetic leader in the modern Georgian theatre since the 1960s. The study outlines a list of semiotic signs typical for Robert Sturua’s theatrical language (text montage, application of scenic space with mathematical precision and saturation of signs, attaching symbol or metaphor to sets or props, representation of the unity of whole and part, fragment and entirety, universality of actors, coexistence of drama and irony; giving music the same function as to the spoken language or plastic, body language, mixing times, non-existence of border between reality and conventionality, poly-stylistics of genres and so on.
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There are multiple differences of perception and approach at the high school level in the field of theater pedagogy. These differences do not resume to different perspectives, reasoned and supported. Unfortunately, these are just subjective attitudes, uncertain and in most cases, unsubstantiated by functional theoretical and practical bases. So I think that only a few amendments to the Rules of the Olympics are inadequate to address these problems. However, the National Acting Olympics was a good opportunity to bring together the university and preuniversity teachers and students, in order to know each other, to work toghether, to find new paths of communication.
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The pedagogy of vocational education at preuniversity level which focuses on acting, must have as fundamental target the initiation of youth towards discovery, self-discovery and verification through practice, through experimentation, of the truthfulness of principles and methods studied. A study structured in stages, following a natural chronological order of the element of difficulty, starting with improvisation exercises and ending with an adolescent ageappropriate drama, offers the possibility of improving the personal qualities and skills in order to further engage in a unified creative process named - theatre performance.
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Although a bit late, I decided to record the results of my research, of a quite long experience in teaching and directing, in order to help future aspirants for the difficult profession of theater pedagogy. The article is entitled “Notes and late comments” because I was inspired by the future briliant acting teacher Florin Vidamski whose dissertation on the Esrig method I coordinate.
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Although apparently devoid of reason, the theatre of the absurd exorcises the moral and intellectual anxieties of an entire post-war generation of playwrights. To be or not to be, has always been the question. But what is the purpose of being, when we keep failing over and over again, when we have lost faith, and logical discourse, and the sense of our transcendence? – this is the question posed by the authors of the absurd. The resented lack of reliable meaning in the human existence is the tormenting source of this question. The theatre of the absurd is, thus, an honest attempt to accept the unacceptable.
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Placing the theatre of the 1950s in a wider social and historical context is still a challenge for theatre researchers, mainly because its most significant figures did not follow any common literary program. The “theatre of the absurd”, as Martin Esslin named it in his 1961 seminal study, represents a catalyst of various influences. This essay aims to highlight the paradoxical originality of this genre by pointing out some of the major influences it absorbed from the avant-garde movements that preceded it.
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The basic idea of this study is that the syntagm Dance-theatre represents the nowadays name for the complete performance or the ideal representation, which twins different techniques in one work of art. The last years of the XXth century were marked by a profound reshaping, a reconsideration of the performing art, while the performer has taken center stage again. Merely, the performing art means not only the artist, the human being in action, but also the text/the script, the music, the set design, the costumes, the stage technique and the lights, the acting itself and the multimedia techniques. The teoreticians should answer to the artists’ challanges with a deep analysis of the way the arts interact in the contemporary performance, bringing forth new forms, which can be named as: drama mosaic, epic operas, dramatic cantatas, living film, composite theatre, visual poetry, dancing images or... Dance-Theatre. All these „new” formulas do not represent, in fact, more than a redescovery or an endless repetition of the already invented forms, already asked questions, already fought battles. Even if the first attempt do define the performing arts date back from Plato and Aristotle, the exegets of today feel the need to discuss again and reformulate the fundamental principles of the aestetics in the case of this „living work of art”.
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In this essay I intended to analyzed the visual aspects from one of the most imagistic play written by Samuel Beckett called Endgame. Starting with the idea of a cyclic time the author uses it and therefore, everything in the play has a certain repeatability, the actions can be counted. The situations can also be interpreted in a key of a ritual - an expression of the characters routine, of the humanity left adrift. In Endgame the ending does not really exist, the end is already there.
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The finality is important only to the extent that we are aware of all the different stages which contributed to the positive result. The accident does not bring balance for the performer in relation to his final artistic product. Which is why learning and training is a decisive factor in evolution. The theater was and remains a landmark for the whole society, and proves itself useful not only on stage, but also in the intellectual, affective and emotional development of the person. The depths provided by an actor’s interpretation have connotation and are an important reference for daily life. This is why man feels increasingly drawn to the dramatic arts nawadays. In a society in search for identity, it’s important to implement theatre classes for children, because theatre techniques are serving and perfecting a generation.
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In Romanian territories, theater was part of the subjects that young aristocrats were learning in institutions called Academia and directly supervised by the ruler of the territories. California (USA) has a tradition on more then 100 years of high school teams competing against each other using Shakespeare plays. These theater competitions launched the careers of renowned Hollywood actors as: Kevin Spacey, Val Kilmer, Cuba Gooding jr, Richard Dreyfuss. In France, high schools study Theater since 1975 and this program is responsable of educating amaizing generations of audiences.
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Great thinkers of our age – C. Levi-Stauss, G. Durand, M. Eliade, E. Morin – consider that our society lost its global experience and the accurate perception of one individual concerning the other. Our society is based upon writing, the technology-processed image, falsification, upon the image created as a weapon/tool, upon performance and staging as setting up. The theater does not have for bringing to the estranged world techniques to take it further on the path of alienation, by serving its petty and superficial purposes. Part of the human civilization’s millenary cultural background, theater brings along the precious consciousness of unity, of human identity – asserting itself, as tradition requires, as a path towards MAN, thus becoming a rescuing tool of connection to reality. The student-actor learns primarily how to get connected to reality in the paradigm of authenticity – contrary to the general prejudice about „playing a part”.
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The study of the sound effect has a very important role in terms of conceptual. If the image has undergone radical developments, film music and performance went in tandem with the spectacular line that went along dramatic attempts in time. The soundtrack is a very important factor in creating adjuvant desired atmosphere. Sound poetic function is closely related to the atmosphere, by allusion, and its indirect significance. The language provided by the sound develops parallel messages near those provided by the text, sound and image associations produce an effect, a probable conclusion. In choosing a track soundtrack is important to consider the following issues: how the character is perceived regarding the sound level by the public, what the character hears, how does a non-literal audio effect characterize the character? These questions draws distinctions between objective and subjective perspectives that sound has in theater. Creativity on sound support makes it helpful, an informational and emotional support for the actor, director and audience.
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