Around the Bloc: Czechs Object to UK Plan to Limit Benefits for EU Workers
Central Europeans will not be treated ‘like second-class citizens’ of the bloc, Czech official says.
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Central Europeans will not be treated ‘like second-class citizens’ of the bloc, Czech official says.
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Legal challenge coincides with ‘vitriolic’ government-sponsored anti-migrant ad campaign.
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Premier of Russian-controlled territory rules out future energy cooperation with Kyiv.
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Bratislav Gasic was dismissed over his comment to a journalist.
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This year is Tadeusz Kantor’s 100th anniversary, whose works have marked the European stage. From Warsaw to Paris, from Florence to Sibiu, he was unanimously saluted. George Banu, along with famous Polish theoretician Leszek Kolankiewicz, has organiz
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Only a truly strong person could resist to the incoherence of the times, the hardship of surviving, and, most of all the strains of having to save The Theatre as a cultural and institutional entity. Thus, one can firmly state that Andrei Oţetea was a providential manager, his figure bearing connections to that of a saviour.
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The limit between experiment and research is increasingly attenuated. The centers, either academic, centered on research, or focused on the practical aspect, both European and North-American, which produce performances - focused on collaborative strategies - aim at the absorption of the latest techniques of visual reforms. The domain will become an important part in both research and the production of performance. On the other hand, the evolution of the choreographic performance has interdisciplinary thinking as starting point, through the involvement of filmic montage, of elements of happening and performance art, of the activity of Judson Dance Theatre, an experimental center which initially didn’t rely on a theoretical approach, but an experimental one, followed by a route from practice towards theory. The researches which will follow, the evaluations of the performance studies, of theatre analysis, of the dramaturgy of performance, are closely connected by the experiments made in this centre.
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This paper aims to re-call into question the didascalic text based on a set of dramatic texts from the 20th century, starting from the recent acquisitions in the theory of theatrical and performative art from the fields of language sciences and especially from the theatrical semiology. From this point of view, the paper questions the author – reader relationship, related to the connection between the dialogical and the didascalic texts. In front of the plurality of this new type of writing, also called didascalic genre, this article targets the review of a few textual occurrences and the methods of their textual transposing.
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Although both written more than a decade ago, in 1998 and 2002, respectively, Arthur Miller’s plays, Mr. Peters’ Connections and Resurrection Blues, prove timeless in a conflict-dominated world, where traditional values seem dissipated and human interaction is dictated by greed and violence. While Mr. Peters’ is a play on the individual search for meaning in an increasingly exhausting and depressing world, “in Resurrection Blues lifestyle has replaced life. (…) Money, drugs, ambition, pragmatism prevail. Religion is either compromised or appropriated to serve other causes than the spirit.” Miller’s theatre thus becomes both a reflection of the tormented contemporary spirit and a means to investigate the causes which have brought humanity to this point. Once more, theatre proves able to identify and transmit quintessential aspects of humanity and, at the same time, provide clues on how reconciliation can be reached.
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Hearing and learning about different love stories, we can understand our relationships better, and we can empathize with those people by creating stronger connections between us. These videos rely on exposing the reality as it is, removing the preconceptions of a Hollywood romance. It's about capturing feelings that people do not normally want to externalize or they even try to hide due to the fact of deeply-rooted social prejudices and taboos that we have.
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Now an actress, the author of this article returned with a nostalgic look on teachers who have guided her steps on the road to the theater. With obvious gratitude and emotion, she drew two portraits using words: the one of Constantine's Moruzan and other of Mihai Mereuță. She highlights so distinct personalities, but gracious, who left their mark on many generations.
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Admired, loved or maybe contested, forgotten, ignored, envied – playing big or episodic parts, actors devote themselves to their public. Hard to evaluate, understand, their art is a lifestyle. Beyond interpretation technique, adopted masks, costume design, sound vibrations and mirage worlds, there is a man that abandons himself in a ritual aimed to thrill, arouse unrest and laughter.
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Professor Constantin Paiu, PhD was kind to have a dialogue with me as a representative of the journal “Theatre Colloquia”; he made sincere confessions with a sense of humour. In what follows, you will be able to explore the soul of a great personality of the Romanian theatre and the Iași School of theatre.
More...An Interview with Actress Doina Deleanu
This year we celebrate 155 years of artistic education at the University of Arts in Iaşi and, on this occasion, my thoughts went up to our former graduates. After being disbanded in the years of communism, the Theatre Faculty was reopened in 1990, and the first class graduated from the academic desks in 1994.
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Theatre Criticism: Where To?, Miruna Runcan’s most recent book, published by Presa Universitară Clujeană, is a collection of essays in which the author uses the starting point she declares by the enticing question in the title in order to explore an array of issues regarding the mechanisms of production and reception of contemporary performances.
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There are thousands of pages that have been written about Eugen Ionescu, Samuel Beckett and the theatre of the absurd; libraries worldwide stand as witnesses. Any new attempt is a sort of balancing act on the razor’s edge; and yet, Tamara Constantinescu takes this risk and takes advantage of her double training (theatre and journalism) to allure us into a new journey inside the world of the female (and not only) characters from the theatre of the absurd.The author withdraws in the background in order to give us the chance of approaching the cryptic bridges of the relation between the theatre of the absurd and our (non)dramatic daily lives, marked by “...disappointments, desperation or pieces of memories heavy with the regret of unfulfillment, of lost illusions, of bitter failure.” A world caught between oneiric and reality, inside which drama receives the reverberations of farce, and innocence the degree of logic. Time diluted in memories, spaces narrowed through immobility, frailty hidden in extreme gestures – all these are analysed and given meanings that can draw the reader closer to the core of the characters/couples in the study.
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This year is Tadeusz Kantor’s 100th anniversary, whose works have marked the European stage. From Warsaw to Paris, from Florence to Sibiu, he was unanimously saluted. George Banu, along with famous Polish theoretician Leszek Kolankiewicz, has organized at Sorbonne the colloquium “Kantor at the Crossroads of Art and History”, opened by Jack Lang. Many international personalities have analysed Kantor’s work and its present echoes. The text published here unabridged was the introduction to the colloquium in Paris.
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Only a truly strong person could resist to the incoherence of the times, the hardship of surviving, and, most of all the strains of having to save The Theatre as a cultural and institutional entity. Thus, one can firmly state that Andrei Oetea was a providential manager, his figure bearing connections to that of a saviour.
More...
The limit between experiment and research is increasingly attenuated. The centers, either academic, centered on research, or focused on the practical aspect, both European and North-American, which produce performances - focused on collaborative strategies - aim at the absorption of the latest techniques of visual reforms. The domain will become an important part in both research and the production of performance. On the other hand, the evolution of the choreographic performance has interdisciplinary thinking as starting point, through the involvement of filmic montage, of elements of happening and performance art, of the activity of Judson Dance Theatre, an experimental center which initially didn’t rely on a theoretical approach, but an experimental one, followed by a route from practice towards theory. The researches which will follow, the evaluations of the performance studies, of theatre analysis, of the dramaturgy of performance, are closely connected by the experiments made in this centre.
More...
This paper aims to re-call into question the didascalic text based on a set of dramatic texts from the 20th century, starting from the recent acquisitions in the theory of theatrical and performative art from the fields of language sciences and especially from the theatrical semiology. From this point of view, the paper questions the author – reader relationship, related to the connection between the dialogical and the didascalic texts. In front of the plurality of this new type of writing, also called didascalic genre, this article targets the review of a few textual occurrences and the methods of their textual transposing.
More...