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Pitanje administrativno-teritorijalnog uređenja Bosne i Hercegovine, po uzoru na bivšu Jugoslaviju koju eksplicite zagovara aktualni predsjednik Vlade Republike Srpske Milorad Dodik zaslužuje kritičku elaboraciju. Autorica u tekstu pravi poređenje između Jugoslavije i Bosne i Hercegovine iz perspektive savremenih teorija konflikata i dolazi do zaključka da Prudski sporazum nije izraz želje za rješavanjem bosanskohercegovačkih problema, već naprotiv. Prudski sporazum je etnonacionalistički dogovor koji otvara novi konflikt u BiH koji zemlju može odvesti do krajnjeg raspada po uzoru na bivšu Jugoslaviju.
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Interview with Claude Lévi-Strauss by Dominique-Antoine Grisoni
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Ovaj kratki komad je prvi put izveden u londonskom teatru Royal Court u februaru ove godine i podijelio publiku i kritiku. Kritičar lista The Guardian nazvao ga je “bolnom tužaljkom” dok The Times kaže da se radi o ‘sumanutoj političkoj ortodoksiji’ i ‘neodgovorno zapaljivom’ komadu. Izazvao je žestoke kontroverze i optuživan za antisemitizam. Čitaocima prepuštamo da prosude sami. Autorica je odlučila da ne traži plaćanje autorskih prava od onih koji žele izvoditi njen tekst pod uslovom da ne naplaćuju ulaznice a da se dobrovoljni prilozi skupljeni prilikom svake izvedbe upute organizaciji Medicinska pomoć za Palestince (Medical Aid for Palestinians - MAP).
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U ovom ogledu nemamo namjeru razraditi sve rezultate Heideggerove “destrukcije” metafizike i njezinih sastavnih dijelova, dakle logike, etike i estetike. Izložit ćemo samo osnovnu misao Heideggerova spisa Čemu pjesnici?, zapravo Heideggerova predavanja iz 1946. godine, uz dvadesetogodišnjicu Rilkeove smrti. Posrijedi je misao o svetome.
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Masovni mediji se nisu pojavili sami od sebe. Mi smo ih pozvali, razvijajući tehnologiju u skladu sa našim raznolikim odlukama vezanim za svakodnevni život. Dobili smo tako masovno oruđe komunikacije koje brzo, kratko i na mnogo adresa prenosi ili posreduje poruku. Poželjeli smo da nam u životu treba “jednodnevni bestseler" Masovni mediji su stigli sa pojavom štampe početkom XVII vijeka, u okrilju demokratskog načina uređenja društva; postavši njegovom glavnom uzdanicom. Oni su prvo masovno rasadište javnog mišljenja, sa stalnim zadatkom distribuisanja informacija, kontrole vlasti i stvaranja opšteg konsenzusa. Masovni mediji u BiH su, tokom svoga razvoja, od prve štampe preko državnih i privatnih televizija i novih medija krajem ‘90. prošlog vijeka, stalno kasnili po jedan korak na tehnološkom planu, pokazujući sposobnost da nadoknade zaostatak i uhvate tehnološki priključak. Ipak, naše prvo tragično izvještavanje iz parlamenta, bosanskog Sabora iz 1910. još uvijek stoji kao zlokobna mitološka hipoteka, koja uvijek iznova stiže na naplatu.
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Michał Zadara calls for the technology of theatre production to be dragged out of the closet. The director proposes that we resign from today’s illusion entailing “directors persuading the audience that the sufferings of a protagonist are more important than those of the driver who has transported the platform on which the protagonist stands” and concealing the tonal and visual noise that remind us “of the existence of economics, the economy and industry”. Zadara calls for us to make the theatre a tool for the exercising of a critical manner of perception that reveals the relations between what is visible and what we want to see.
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Dramatist Marcin Cecko speaks about his work on the Poznań premiere of Balladyna (the Polish Theatre in Poznań, prem: 25 I 2013) – in particular, about what prompted him to “rewrite” Juliusz Słowacki’s play, his inspirations while writing the script and the process which led him to change his script and conception for the production. Cecko raises the issues of posthumanism and biopolitics and also attempts to grapple with the Romantic paradigm. Balladyna represents a turning point in Cecko and Krzysztof Garbaczewski’s collaborative activities – up until now, both of them have rarely spoken out about political issues.
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A review of two plays based on Svietlana Alexievich’s book Voices from Chernobyl: The Oral History of a Nuclear Disaster: Czernobyl. Last minute, directed by Agnieszka Korytkowska-Mazur (the Dramatyczny Theatre in Białystok, prem: 2 III 2013) and Chernobyl Prayer, directed by Joanna Szczepkowska (the Studio Theatre in Warsaw, prem: 8 III 2013). The author notes that at the heart of both plays lies the conviction that the most vital motif in Alexevich’s reportage “arises from the reciprocal relationship between stage and audience”. Nevertheless, in Tomaszewska’s view, only the creators of the Warsaw play successfully became “advocates for the forgotten, marginalized victims”. The audience at the Czernobyl. Last minute production easily maintained a safe distance from the onstage events, because, in the final reckoning, these events were of no concern to them.
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Agnieszka Jakimiak’s Provincial Artists, directed by Weronika Szczawińska (Powszechny Theatre in Łódź, prem: 8 III 2013), as the author of this review claims, alludes quite freely to Agnieszka Holland’s film. The production concerns itself with theatre, but does not deal with it within the framework of a wider socio-political story with a plot. It could be likened instead to loose musical variations. The form of this production forces a modicum of creative labour on the spectators, who are meant to expand on the production according to their independent inclinations, as well as highlighting that the spectator issue is extremely important in theatre and should be the point of departure for any postulates, discussion or discourse.
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The author takes up the subject of noise in a short historical introduction to sound composition and the materiality of instruments, following the example set by Lugio Russolo’s manifesto L’arte dei rumori. She notes that noise is a widely recognized phenomenon, though it has not been fully theoreticized. Stasiowska provides various definitions and examples of how noise acts on the listener and their senses. The author sums up as follows: “So noise exists as a strategy for amplifying undesired elements. Being confronted by a multiplicity of grating sounds forces us to contemplate what are regarded as errors, or fixed perceptual structures”.
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