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"College of Wizardry" (2014) is presented in Michał Mochocki’s chapter as an activist live action role-playing game and, at the same time, a product of social activism. This is a product that brings social justice into the gaming community with the aim to create inclusivity and acceptance for underprivileged or marginalized groups. Using extensive online communications, all scenerios and character roles were created by a huge collective of players, game creators and spokespersons for the activist groups. This effort was put together to meet the expectations expressed by the representatives and spokespersons of the underprivileged and marginalized. The official game packaging and contents include a design document with commentaries and explanations are of an ideological in nature, e.g., statements concerning gender and the LGBTQ equality. Adding a new region, new school and 20 years of recent history to the Potterverse, the creators highlighted inequalities and social tensions that underpin the discourse against privilege and
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From the very beginning the English second wave feminist theatre strongly emphasized the need to manifest the scale of oppression women were subject to in a patriarchal society. In a group of texts and theatre performances ‒ especially those influenced by the idea of radical feminism ‒ there was a vast array of issues which included phenomena such as: physical violence, sexual harassment, rape, prostitution, pornography, mental oppression or enforced heterosexuality. The point of reference for many literary and stage works was an assumption that the household space became an area of specific “colonizing” of women on many levels. Creations of some theatrical groups showed a picture of everyday life limited to the constantly repeated home rituals; other groups created a vision of the hell of domestic existence marked by physical and psychological violence. In the artistic expression the extreme form of alienation was fetishisation of women – sexual objectification. The characters from texts and theatre performances fight this form of oppression, starting from the territory of domestic and family life, from the area of marital life, and in marriage ‒ from the bed. The issues such as birth control, abortion and contraception also become important for them. Rape is often a model form of violence against women in the creations of British feminist theatre. Dramatic texts (for example written by Sarah Daniels) correspond with the works by radical feminist writers who perceive male sexual violence as spiritus movens of male history, and they regard pornography as the most visible manifestation of male domination. The radical stance of playwrights and actresses is expressed in criticizing a very wide range of practices: from telling misogynist jokes to shooting and distributing pornographic films from a group of the so-called snuff movies. It is worth noting that for English fringe theatre women’s specific experiences, including actresses’ personal experience, soon began to be a significant inspiration. However, the problem-orientated performances of the feminist groups of the British second wave avoided shallow agitation and featured the ideological content expressed in a variety of interesting theatrical means.
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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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In our research we proceed from the reality that the artistic activity differs much from other human activities through its ontological specifics, which requires taking into account the opportunities and challenges that arise in individual potential manifestation of the child, act that expresses by transposing the theoretical prescriptions into practical actions indisputable by the presence of emotional-affective reactions, by developing projects and logistical maps of action, is not waiting for certain stimuli coming from outside, but by enhancing the artistic intentions and decisions of child – subjects of education. In the process of artistic perception in instructive and formative actions is identified with the educative action itself. The considerable weight rests on the participative state kid to the design, development and evaluation/self-evaluation (through prescription of individual behavioural maps, anticipating practical actions, varying operations, performing the tasks by choosing the optimal variants for solving) and the dynamics of professional competence of teachers to achieve gradually the theoretical design process and practical actuating, by identifying educational content and valuable actions, diagnosing the individual resources, planning, forming hypotheses, sequential and final evaluation
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Jerzy Grotowski, founder of the Laboratorium Theatre and a charismatic explorer who has combined Eastern and Western modes of working with the body and psyche, has been also inspired by Indian yoga. There are four main phases in his artistic activity: performance theater, participatory theater, source theater, and vibrational song theater. In all of these phases there is a fascination with mystery and understatement. Grotowski consistently seeks a specific language for “opening up to the sacrum,” but in order to achieve this he uses carefully selected “laboratory” tools. He does not adapt ready-made techniques, but rather seeks them in other cultures, observing how they work in order to later propose solutions that seem most appropriate to him. Therefore, in all four of these phases of work, the actor, performer, participant and seeker experiencing the internal process is supposed to transform it into an external process, one that is oriented towards opening rather than closing. Particularly in the last phase of Grotowski’s work, terms such as centers of vital energy, vibration of sound when it is chanted, and verticality of movement of Energy in the body appear. During this period, the practice aims to unblock individual body centers on the vertical axis, and this flow is to be accompanied by the subjective sensation of luminosity coming not only from the body, but also, in a psychological sense, by the experience of the “expansion of boundaries” of one’s own self.
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Příspěvek se zabývá metodologií výzkumu dětského diváctví. Cílem je charakterizovat jednotlivé možnosti práce s dětským divákem po divadelním představení a navrhnout tak vhodnou metodologii pro reflexi diváckého zážitku. Důkladná analýza vybraného inscenačního tvaru i aktivní zapojení dětských diváků do výzkumné činnosti vede k odhalení komunikační roviny mezi jevištěm a hledištěm. Abychom zjistili, jakým způsobem dětský divák vnímá divadelní inscenaci, je zapotřebí zvolit vhodnou metodologii, využívající především přímého empirického poznání skupiny a její schopnosti interpretovat inscenační tvar. Komplexita divadelního umění, sdružujícího množství oblastí lidské činnosti, nabízí pro výzkum recepce divadelního zážitku dětským divákem široké spektrum možností zahrnující výzkumné metody, jež jsou charakteristické svojí multiplicitou (např. metody pedagogického výzkumu či uměleckého výzkumu). Kombinace odlišných metod může výzkum nejen obohatit, ale také dodat výzkumu větší objektivitu a relevantnost.
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Příspěvek se zabývá komunikací dětského diváka s divadelní inscenací. Na základě uměleckých výrazových prostředků divadla a vývojové psychologie popisuje specifika divadelní tvorby s dětmi v různých věkových vývojových obdobích. Divadlo je uměleckým druhem, který se vyznačuje svou syntetickou povahou. Zahrnuje ostatní umění (literární, výtvarné, hudební, taneční atd.), a tím je jeho proces komunikace s recipientem mnohem náročnější než v ostatních uměleckých oborech. Zvláště pokud si uvědomíme, že tento komunikační proces není přímý, ale zprostředkovaný různými divadelními složkami (dramaturgie, herectví, scénografie atd.), které jsou dále podřízeny režijnímu záměru. Divadlo pro děti je specifickou kategorií divadelního umění, jehož komunikační prostředky by měly být v souladu s vývojovými dispozicemi dětí i estetickými hodnotami.
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Příspěvek je analýzou dramatu Aloise Jiráska Otec. Interpretace je zaměřena na vnější i vnitřní charakteristiku postav, text se dále zabývá motivy přítomnými v díle a jejich funkcí ve vztahu ke kompozici dramatu. Drama je zasazeno do kontextu tendencí a změn, ke kterým došlo v českém divadle v poslední čtvrtině 19. století.
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František Adolf Šubert, Director of the National Theatre from 1883 to 1900, was one of the first managers of Czech culture. With his organisational talent and ability to enter into public affairs, he put the idea of a national theatre into practice; an institution which is not only a place for staging first-rate productions, but above all a centre for the whole society. He managed to come up with strategies to bring new social groups to the theatre, as well as people outside of Prague - anywhere where residents identified themselves as being Czech. In this respect, an important role was played not only by the theatre trains, but also by the involvement of the theatre in large events such as jubilees and ethnological exhibitions. No less significant was the staging of unusual productions for less affluent groups. However, from its very opening the theatre had to face criticism from a host of theatre critics over the poor quality of its repertoire and its general orientation. Often the contradictory nature of the criticisms precluded the possibility of addressing them, and today it raises the question as to what extent the expectations of the professional public created adequate conditions for the National Theatre to operate in.
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The contribution deals with the new Czech play Actor and Joiner Majer Talks about the State of his Home which was written by David Zábranský for Studio Hrdinů Theatre in Prague. This play is conceived as a polemic with the majority political view and lifestyle of certain social groups; it is constructed as a text a là thèse. We are especially analysing the linguistic (stylistic), structural and argumentative aspects of the Zábranský’s text with regard to the following performance by Kamila Polívková (2016, performed by Stanislav Majer) and its context.
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Структурована драма — це особливий тип проекту. Можна також зустріти інші терміни: шкільна драма, драма в навчанні, дитяча драма, драма історій, процесуальна драма, тематична драма, конвенційна драма або структурована драматична гра. Це поняття, які при детальнішому дослідженні позначають одне і те ж. Вони позначають спосіб навчання, який базується на досвіді та подальшому покращенні розуміння людської поведінки, самих себе і світу, у якому ми живемо. У публікації ми будемо послуговуватися терміном «шкільна драма», оскільки сьогодні з ним стикаємося найчастіше. У шкільній драмі використовуються драматичні прийоми та техніки. Для участі в драматичній діяльності учням не потрібні театральні навички.
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De aproape un secol, teatrul a devenit un capitol al istoriei filosofiei, părăsind vechile sale veșminte și încercând să camufleze ultimele rămășițe ale metafizicii. Nu se mai află în joc doar istoria unor personaje mai mult sau mai puțin arbitrare, patimile pasiunii ori dramele conștiinței. Rolurile principale încep să fie deținute de marile probleme ale existenței și de rezolvările care le pot fi propuse. Realitatea cotidiană e tot mai mult evacuată din orizontul teatralității, fiind înlocuită cu ceea ce am putea să numim, pe urmele fenomenologilor, „atitudinea antinaturală”. Nu mai poate să fie vorba despre o reflectare a vieții, despre reproducerea acelor situații și gesturi pe care le știm din experiența noastră zilnică. Teatrul devine o căutare a sensului vieții, o provocare la adresa tabieturilor și platitudinilor, o alunecare înspre mister. Tocmai de aceea, ne-am propus să înfățișăm în acest eseu modul în care gândesc teatrul trei dintre marii teoreticieni (și practicieni) polonezi ai domeniului: Witkiewicz, Kantor și Grotowski.
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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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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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Bulgarian theatre emerged after the mid-nineteenth century. The first theatrical displays were greeted with mixed reception - from sincere joy at given performances to fear of the damage they would cause. This contrast of opinions stemmed from the basic opposition of “the domestic and the foreign” for the second half of the Bulgarian 19th century, on the basis of which the new societal and cultural model of social and personal relations was built.Theatre was perceived as an element of European modernity, i.e. as something foreign to traditional Bulgarian cultural practices, and its recognition as part of Bulgarian cultural life took time. How did this happen? The thematic fields that make up the plots of Bulgarian Revival dramaturgy are also based on the opposition and evaluative comparison of the domestic and the foreign.The most commonly used model of a negative character in Revivalist drama is that of the foreigner. Byzantine characters are the traditional negative characters in historical dramas. In later plots, the Byzantines are replaced by representatives of the Greek clergy, who come to embody the generalized dramaturgical image of the foreigner - the Greek. The Revivalist present is also problematized through the theme of European modernity. Instead of a ready and easy model to follow, modernity turns out to be a threat to the “domestic”. It necessitates changes in appearance, language, family and social relations. The Christomatic example of a dramaturgical interpretation of this predicament is D. Voynikov's drama The Misunderstood Civilization.After all, urban culture was making inroads into Bulgarian society and for a little over a decade, the theatre established its place in Bulgarian cultural life. Already in the 1880s, it became an important element of the cultural policy of the young Bulgarian state.
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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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Our study aims to approach and interpret the notions of scenic slowness and dramatic acceleration in the theatrical play Les Oranges (1998) by the Algerian francophone writer Aziz Chouaki (1951-2019). First, we will try to decipher the identity of the scenic slowness and statism that welcome the anonymous and timeless protagonist of this particular theatrical play. In a second step, we will attempt to put them in relation within the acceleration of the dramatic and extra-scenic action of the play. The rapprochement of these two conditions of the dramatic text and the theatrical performance will lead us to evaluate their significant contribution to the structuring of the major theme of the play, which is seems to be a fascinating and documentary journey -but at the same time full of abundant imagination- of the Algerian history. That said, starting from the idleness of the protagonist and his immobile positioning in an apartment in Alger, Aziz Chouaki will lead us to the discovery of many aspects of the collective memory and the tormented fate of Algeria in the pre-colonial, colonial and postcolonial era. Consequently, we will try to prove that the play Les Oranges by Aziz Chouaki represents not only a dramatized ethno-anthropological portrait of Algeria and its history, but also and especially, the acute problematic of the universal human condition who’s trying to find hope in a happy and peaceful daily life.
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The analepsis or the flashback is a novelistic narrative process more than theatrical, this technique which slows down the narrative moment to enjoy more the moments of past which push us to taste the beauty of slow literature by returning to the past of the story, to awaken the sad or happy moments of the past. These trembles in chronological order sometimes occur to explain a current action in the story. An action that needs to be clarified. Therefore, the analepsis is justified; clearly clarify an event in the present. Flashback could also show nostalgia when the narrator stops the narration and goes back to the past to properly show a touching and affecting moment in some character's past. It is like an invitation to relive the past and taste the lucidity of the art of narration in classical theater. We observed the existence of this process in the theater of Jean Racine, it was to serve the theatrical intrigue and to reveal the past of the characters to the spectators, reason why, the analepsis is presented as a technique usually used in novels but apparently adapted by the theater in Andromaque and Iphigenia.
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