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Upravo doneti Zakon kojim se rehabilituju svi “ideološki” protivnici komunizma, počinje sa datumom od 6. aprila 1941. što je istovremeno i njegov najzanimljiviji deo. Imali smo priliku da slušamo predlagače i zagovornike zakona1 koji su svojom srčanom odbranom ratnih “ideoloških” protivnika komunizma, nedvosmisleno potvrdili da je čitava stvar i smišljena isključivo zbog njih, a da ih oni posle 1945. ustvari i ne zanimaju, odnosno, da su samo “kolateralna šteta” pokušaja rehabilitacije kvislinga iz vremena Drugog svetskog rata. Saopštili su nam i da bi čitav komunistički period trebalo jednostavno proglasiti zločinačkim čime bi, misle oni, po automatizmu bili rehabilitovani svi njegovi “ideološki” protivnici, a oni ratni proglašeni borcima za pravednu stvar. Zato možemo očekivati da će (kao što se već desilo sa četnicima) ovog puta “demokratama” biti proglašeni nedićevci i ljotićevci, pa će po automatizmu “demokrate” postati i balisti, hortijevci, ustaše, i na kraju, sam nemački Rajh. Svi oni zaista jesu bili “ideološki” protivnici komunizma, ali je, sasvim sigurno, Hitler bio najveći. Zato nije slučajno danas, njihov “ideološki” antikomunizam i početak i kraj svake argumentacije, uz prećutkivanje da su kao protivnici komunizma bili i aktivni protivnici celokupne antihitlerovske koalicije čiji je komunizam bio sastavni deo. Prećutkuje se i da je njihov “ideološki” antikomunizam u tadašnjem shvatanju pojma podrazumevao veličanje nacizma, antidemokratiju, i na prvom mestu, antisemitizam, “slučajno”, baš u vreme kada su milioni Jevreja ubijani u “Velikom Nemačkom Rajhu”.
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Opravdu se sem těch několik zvláštních bolestných slov na rozloučenou nehodí? Takto přece odcházela ztracená generace mladých, kteří umřeli na válku nemající do té doby v dějinách obdobu. Takto odcházeli i příslušníci dalšího pokolení, jež pohltily flanderské, verdunské, karpatské, tannenburské, piavské mlýnky na maso. Mnozí z těch, kteří přece jen přežili, se v odpovědích na neodbytnou otázku otázek, jak se to mohlo stát, obrátili proti řádu, který ještě nedávno vypadal na civilizační triumf a důstojný život, a teď se jevil téměř jako inspirátor útoku pochybné či zneužité civilizace na lidské žití. Vzplanuly barbussovské ohně hněvu a zároveň touhy, aby bylo jinak.
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The book "Convention, Illusion and Reality in Twentieth-Century Drama", which is based on Diana Presadă’s doctoral thesis, aims to highlight the theatrical revolution produced by the Theatre of the Absurd in the 20th century. Starting from the analysis of the works of Eugen Ionescu, Samuel Beckett, Arthur Adamov and other absurdist playwrights, the study focuses on the aesthetic paradigm of a new theatrical trend in collision with tradition, as well as on the diversification and development of the performing arts in this century.
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The book is a new monographic study of Adam Didur’s (24.12.1873 – 7.01.1946) artistic, educational and organizational legacy – an opera singer who made a name for himself in the Polish musical culture at the end of the 19th and the first half of the 20th century and who succesfully performed on all major opera stages in Poland and all over the world, including The Metropolitan Opera and Teatro alla Scala. The monograph presents the current state of research concerning Didur and his disciples on the basic of studies, theatre criticism and archival documents made available, often for the first time, by Polish and foreign archives and institutions. A lot of space has been given to the texts that bring the latests results of research on the creation by Didur and the artists expatriated from Lviv of an opera theatre in Upper Silesia after World War II.
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Series: Media i Kultura (1), ISSN 2719-9789 The texts composed in the monograph, however different in assumptions, in the adopted methodology, in the choice of (sometimes point) material that has become the basis for the diagnoses, enter into mutual interactions, creating a space for the participation of cultural researches and and cultural practices. The articles collected in the first part of the volume present a variety of conceptualization of cultural texts, recognize moduses and effects of joining its heritage, point out aspects of its co-creation and use, exhibit and critically analyze the variety of ways of participating in culture. The second part of the volume was dominated by reflections on the situation (and transformation) of the subject, culture, its recipients, and finally: the entire humanities in contemporary media reality. The basic context of the phenomena discussed here by the authors is the digital revolution, the effects of which are still not fully perceptible to us. This situation not only forces researchers to develop new tools and methodologies, but also provokes to ask questions about the opportunities and threats posed by new technologies in building (post) human identity, modifying social communication principles and establishing relationships between high and low culture.
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The book is a monograph of Lodz theater festivals, including festivals organized in drama, off, puppet, children’s and youth theaters, as well as in the opera theater, as well as in other cultural institutions. These reviews took place in Lodz in the period from the 1960s to 2016. The festivals, initiated by regional artistic circles and fitting into the history of Lodz and Polish culture, are watched by students – today graduates – of the theater specialization at Cultural Studies at the Institute of Contemporary Culture at the University of Lodz.
More...Przedstawienie przeszłości Austrii w wybranych musicalach Michaela Kunzego
Michael Kunze, librettist whose works include "Elisabeth" and "Dance of the Vampires", enjoys immense popularity throughout Europe and Asia. His biographical musicals are not only impressive shows but also fascinating attempts at introducing the audience both to Austrian history and to mechanisms of presenting the past by means of modern music theatre. "Musical as Memory Machine" discusses the creation process of Kunze’s two famous musicals, "Elisabeth" and "Mozart!", in the context of studies on collective memory and of the Euro-American history of music theatre as a form of entertainment. The book demonstrates that the musical has long been tightly intertwined with the memories of the societies where it is staged, and that the history of the musical as a genre is inextricably linked with Vienna.
More...Studium porównawcze
This comparative Polish-Italian study explores the comic potential of metafiction, and illustrates it with the examples drawn from drama works of Luigi Pirandello and Witold Gombrowicz. It is the first publication which juxtaposes this aspect of both writers’ works, and the theoretical model elaborated by the author allows reading works by other authors in this context.
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The book under the title Chekhov in Sarajevo: The Works of Anton Pavlovich Chekhov in Sarajevan Theatre in Light of Bosnian-Herzegovinian Literary and Theatre Critique offers a systematization and analysis of BH critical thought concerning this classical Russian author, whose works were performed at professional Sarajevan theatres over the course of almost a century In that sense, the book in question represents, to a degree, a syn-thesis and analysis of the reception of Chekhov’s opus in predominantly Bosnian-Herzegovinian literary critique, and moderately within BH theatre critique, which together point to the quantity and quality of Chekhov’s presence on Sarajevan stagesThe book features a scale of development of BH critique, as well as changes in reception within the historical timeline of staging theatre plays;this is why a special emphasis is made on Chekhov’s main dramas, which enjoyed a broader, stronger, and longer critical reception Other than the most prominent names of BH literary and theatre thought (Nazif Kusturica, Josip Lešić, Zdenko Lešić, Luka Pavlović, Tvrtko Kulenović, DževadKarahasan, Čedo Kisić, Gradimir Gojer, Ljubica Ostojić, Almir Bašović,and others) and relevant texts dedicated to the researched subject, the book also references anonymous articles concerning the topic, which were avail-able at the time of writing. One of the chapters is dedicated to the dramatization of Chekhov’s short stories The Witch and Ward No. 6, which appeared only within the first artistic season at the Sarajevo National Theatre in 1921; this means that the potential which Chekhov’s short stories had for theatre (and which were described as “short dramatic scenes” by BH critic Nazif Kusturica)remained mostly unrealised This chapter covers the general issue of theatre adaptation process for classic Russian prose in light of contemporary cognition, which identifies how the strategy of reading, especially theatre reading, is in fact a creative process in and of itself, the logic of which de-pends on various components which accommodate “the event of meeting”between the text and the reader.
More...Teatr Wojciecha Kościelniaka a światowy teatr musicalowy
The book presents the artistic biography and some productions of Wojciech Kościelniak, the director and scriptwriter behind a number of novel and very well received music shows ("Les Misérables", "The Phantom of the Opera", "Notre Dame de Paris", "Dance of the Vampires"). His works are usually called musicals but to stress their uniqueness, commentators sometimes use a more whimsical name, "the kościelniaks". The shows by the artist are juxtaposed with analyses of famous musicals from other countries to demonstrate that "the kościelniaks" are not only fascinating artistic experiments but also the author’s original response to key trends in global musical theatre.
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The publication presents particular and effective methods that can be applied in a wide range of target groups in socio-pedagogical context. The first chapter presents the context between social pedagogy and drama education. A brief overview focuses on basics, short history, target groups and training of social educators. In the following chapters are described selected methods and approaches of drama education. The methods are: structured drama, drama in education and storytelling. Every single method is presented in theoretical context and in practice. The text reflects the experience of authors with the application of drama education to the education of pedagogical staff and into practice. The conclusion of the publication presents the practical lessons made by Ukrainian students under the guidance of their teachers.
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The play launches an important debate about the roles and functions of teachers, about teaching practices and the need to update them to the digital era and its implications, about the integration of children with special education needs, about the increasingly problematic relationships between parents and teachers, about the ever-present bureaucracy, about the system. Education is seen as an ongoing struggle for authority. The play was developed following an elaborate research and documentation process. For several months, playwright Mihaela Michailov and theatre director Radu Apostol, interviewed dozens of teachers, education specialists, school inspectors, representatives from the Ministry of Education and theorists, to understand in depth the complexity of the problems they face and the solutions that can be activated.
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The Price of Gold is an emotional play-testimony about the coming of age of a child who grew up dreaming of becoming a sports dance champion. A child for whom the bodies of the dancers he watched represented both rigor, discipline, freedom and courage. "The Price of Gold" is a vulnerable confession in which memories from the dance hall, from trainings and camps become a subjective map of detachment from formative moments. Remembrance is a transformative act, which gives fragility the power to move forward.
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Family Offline is the show of fractured childhood between border parents (parents who go to work abroad) and children who stay at home. Whose parents are the children and how do they mature when mom and dad become a voice on the phone? Who is mother when mother is gone?
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The play highlights the history of the Replika Educational Theater Center, a space that has gone through several conversions, starting in 1903, when it housed the first Italo-Romanian Hat Factory, and since 2015 it has become a studio theater.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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The project "EVERYTHING IS VERY NORMAL - DIALOGUE WITHOUT TABOOS." is organized by the Replika Cultural Association and co-financed by the National Cultural Fund Administration - AFCN.
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The collection contains the papers from the academic round table “The Post-1989 Transition in Contemporary Bulgarian Literature,” held at Sofia University “St. Kliment Ohridski” in November 2021.Three decades after the onset of the Transition, the articles collected here explore its dimensions in the mirror of literature. What images of the post-1989 era does literature create? How do the contemporary works interpret the recent socialist past? Does literature participate in the formation of the perceptions and the memory of the transition? The above issues are also examined in a broader interdisciplinary perspective, in relation to the media, theatre, cinema, and cultural anthropology.
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Le présent volume réunit les textes des communications présentées lors du colloque annuel organisé par le Département de Français de la Faculté des Lettres de l’Université « Alexandru Ioan Cuza » de Iași, sous le nom des « Journées de la Francophonie ». En 2022, ce fut la XXVIe édition de cette manifestation scientifique, devenue au fils des années traditionnelle, et attendue avec intérêt par les francophones de la région, du pays et même de nombreuses universités étrangères, partenaires dans différents programmes et échanges internationaux.
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