Художници номади – по света и у нас

Author(s): Nia Tabakova,Mila Stareyshinska-Angelova / Language(s): Bulgarian Issue: 15/2017

The exhibition So Close, So Far is an annual event representing the art of contemporary Bulgarian artists, who live and work abroad. By using examples of their works, which were displayed in the exhibition during a five-year time period, this article aims at highlighting the artistic oeuvre of a specific group of Bulgarian artists, who have chosen to develop their artistic careers beyond the borders of their home country. These are authors that by showing their works back in their homeland draw parallels between global and local and thus provide a platform for intercultural dialogue. In its essence the exhibition presents a panoramic view of the current artistic tendencies in the contemporary art world on a global scale as seen through the prism of the Bulgarian artistic Diaspora. The main themes that reappear in the exhibition – the multilayered notions of detachment and home – will be discussed in relation to the rising movement of the “global nomad“ as a product of the processes of globalization. Through detaching themselves from their local environment and subse¬quently returning to their home with a new and enriched personal and artistic perception of the world, these nomadic artists alter the established status quo, give reasons for the formation of new movements in contemporary Bulgarian art, and disturb the fixed norms of the local cultural identity. They take part in the creation of new artistic communities and spaces, serving as building blocks of our contemporary society.

Социалистическият реализъм на сцената – сблъсък на концепции. Проявите на нормативната естетика на социалистическия реализъм в сценографията на сцената на Народния театър

Author(s): Albena Tagareva / Language(s): English,Bulgarian Issue: 2/2017

This paper deals with two emblematic productions of the National Theatre and their artistic solutions that have aroused controversy in the press: Lope de Vega’s Fuenteovejuna (1946) by Stefan Surchadjiev and Fadeev’s The Young Guard (1947) by Boian Danovsky, Ivan Penkov and Asen Popov were, respectively, set designers of the two stagings. Following the Communist coup of 1944, a radically changed political situation imposed new concepts of the visual, aspects of theatricals. The artists, who had the most outstanding achievements in the development of scenography between the two world wars, were forced to give up on their ideas of production design to conform to the requirements of Socialist Realism. The aforesaid productions were the last to evince influences of former artistic movements and the National Theatre became the place where that process had established itself.

Тенденции в куклено-театралното изкуство след 2000 година в България

Author(s): Zornitca Kamenova / Language(s): English,Bulgarian Issue: 2/2017

In his research paper “Metamorphosis of puppet theatre” Henryk Jurkowski introduces the term “heterogenous theatre” – theatre that contains a variety of forms of expression, where the puppet is just one of the many elements in the play, in order to contrast it with “homogenous theatre”, a characterization of the specifics of European puppetry up until the 1960’s, where the stage components are meant to be in direct service to the puppets. On the basis of these definitions, puppetry in Bulgaria after the dawn of the new millennium can be seen adhering to many of the trends and processes present in European puppetry. Different forms of “heterogenous theatre” can be identified, in which the variation in combinations between different elements creates a wide variety of concepts, aesthetics and practices. This diversity of elements is connected to the change of requirements in Bulgarian theatre after 1989, the necessity for texts that can be used for puppet theatre, the transformation of artistic spaces, the increasing role of sound and lighting, the development of the relationship between actor and puppet, as well as new approaches to communicating with the audience. Different creators of contemporary Bulgarian puppetry have different approaches to these components in order to create their own artistic style. Along with the rise of new names on the puppetry stage after 2000, established creators from the 80’s and 90’s continue to produce compelling plays. Bulgarian puppetry has evolved into many diverse styles which include: puppetry that includes puppets with different types of mechanisms being used in a single play, object theatre, puppetry with improvised puppets, material theatre, mask theatre, shadow theatre, “black box” theatre and many others. There also exists a variety of texts, which are adapted into various forms including adapted fables and myths, dramatization on a particular subject or piece of literature, plays that focus on the musical aspect of theatre and many more. The huge potential for combinations of expressive tools and the recent dual nature of the puppet (as a subject and as an object), makes the actor’s job harder – the actor has to perform multiple functions – as an animator of the puppet (classical function), and as a dramatic persona and storyteller (newer functions). “Open animation” is one of the elements that is the basis for the idea of heterogenous puppetry, it’s beginning in Bulgaria is symbolically referred to as “coming out in front of the screen”, owing to the fact that the screen has turned into a symbol of homogenous illusory puppetry, which hides motion from the viewer, a practice that dominated up until the 1960’s. When it comes to audience, the most widely represented form of puppetry in the country is aimed at children. But while less numerous, there are other interesting examples of adult and family puppetry, and recently there has been a rise in theatre for babies (0+). The sphere of puppetry aimed at children has an educational function, which makes it important to emphasize familiar storylines, situations and characters in a fun, informative way. In this regard Bulgarian puppetry is also keeping up with the stylistic developments in other European countires. This text will focus on contemporary forms of puppetry on the Bulgarian stage and analyze problems and important trends connected to aesthetics and the stage itself, in order to prove with the use of examples that the heterogenous potential of puppetry is being displayed in Bulgaria. This mainly applies to the sphere of puppetry aimed at adult audiences, since it’s specific characteristics rely on the metaphorical and symbolical use of the puppet and bring out the synthetic nature of puppetry.

Имитационни фантазии в лютневата книга на Емануел Вурстисен (CH-Bu Ms. F.IX.70)

Author(s): Yavor Genov / Language(s): English,Bulgarian Issue: 2/2017

Wurstisen lute book emerges as a very late source of German lute tablature. Written down n the last decade of the 16th century, it stands out for its remarkable size and repertory. The latter is organized in eight books. Fantasias are placed in the third book. Their variety is in respect of chronology, origin, technique, required instruments. The paper in presence is concentrated on the imitative fantasias. Observation leads to the notion that monothematic ones are generally a later part of the repertory, while on the contrary, the polythematic ones refer to a layer preceding with decades the time of copying the manuscript.

Кратово като културен и художествен център през втората половина на XV и през XVI век

Author(s): Maya Zaharieva / Language(s): Bulgarian Issue: 1/2018

The article traces out Kratovo’s development as a cultural and artistic center in the second half of the 15th and in 16th centuries. The analysis begins with a historical part presenting the main reasons for the flourishing of the town and its importance in the Ottoman Empire. The personality of Mara Branković and her role as a patron and protector of the Balkans have an important part in its development in the second half of the 15th century. The text also presents the significance of Kratovo as one of the main literary centers in the post-Byzantine period and some aspects in the propagation of the cult of the Balkan saints. A group of monuments of monumental painting attributed by a number of researchers to the Kratovo artistic center is also analyzed. In 15th-16th centuries, Kratovo becomes one of empire’s big commercial centers which contributes to its transformation into a center of a number of men of letters and clerics. In this period the cultural life is concentrated in monasteries and churches situated in the western parts of the Ottoman Empire. The reason for that is the political and economic development of the region, on the one hand, and, on the other, the proximity to Serbia which was still an independent stated until the middle of the 15th century. In the second half of the 15th century, the need to preserve the Orthodox centers arose on the Balkans. This tendency is clearly visible from the stated historical data, which emphasize the important role of Mara Branković for the realization of a number of political and religion events related to the support for the Orthodox centers on the Balkans. She preserved the traditions inherited from the Middle Ages by which the monasteries developed some cults of the Balkan saints and the veneration for their monasteries. The moving of John of Rila’s relics from Veliko Tarnovo to the Rila Monastery is one of the most important events in the second half of the 15th century. Several decades later the cult of the Balkan saints intensified after St. George of Kratovo [St. George the New of Sofia], St. Nicholas the New of Sofia and St. George of Sofia the Newest died as martyrs. The contacts of Kratovo with other important and strategic centers in the empire influence the town’s cultural life. An example of that is, first and foremost, Mount Athos, a center attracting icon-painters and men of letters over the entire post-Byzantine period, and also Sofia. Local feudal lords who developed the artistic and literary activity in the region by their donations are another important factor.

Църквата „Успение Богородично” в Зерват, Албания

Author(s): Maria Kolusheva / Language(s): Bulgarian Issue: 1/2018

The article presents a church in the area of Northern Epirus, today’s Southern Albania that is little known in the literature. The church was built in several stages as the year of 1582/3 written on the western façade should be accepted as the final date of its erection. The ktetor’s inscription in the naos witnesses the year when the murals were laid, the year of 1605/6, as all residents of the village contributed to the paintings. The frescoes in both the naos and the narthex were made then. The two icon-painters, Mihail and Nikola, left their names in the inscription. Today there are no icons preserved in the church because they were stolen in 2010. We draw information about them from photographs in several publications. On almost all images there are partial upper layers of painting which were not removed upon the restoration of the frescoes. The program of the mural ensemble is preserved in its entirety and presents an extremely rich iconographic repertory. There are numerous scenes from different cycles: of the Great Feasts, the Passion, the Post-Resurrection appearances of Christ, the Acts and the Miracles of Christ, scenes dedicated to the Holy Mother of God, Old Testament episodes, and others. The murals have been attributed by a number of Greek authors to the famous icon-painter Mihail of Linotopi. The identity of the second icon-painter, Nikola, has not been commented on save for the study of T. Tsambouras. The author thinks his paintings are close to the Linotopi studio and attributes to him several icons originating from the church itself and from other churches in Northern Greece. Getting familiar with the murals on the site allowed us to make some important observations, which give a new meaning to the suggestions made so far. Probably the frescoes were laid in two stages. The work was assigned to two icon-painting teams led by two masters. One of them worked in the entire altar section, the eastern transept and the eastern section of the central aisle. The other one painted the central and the western parts of the three aisles as well as all murals in the narthex. The boundary between the two areas of work is easily noticeable and can be traced out in the bottom two registers of the naos. The differences in the two parts are both stylistic and paleographic. The participation of Mihail of Linotopi as the chief icon-painter as suggested by some researchers, is not confirmed. Probably he participated as an assistant to the chief master who worked in the western part of the naos and in the narthex. The person who led the mural painting work in the altar and in the eastern part of the naos may be identified as one of the masters who did the frescoes in Dobarsko and in the Seslavtsi Monastery.

Българският модернизъм и полагането на българския драматургичен канон via negadtiva

Author(s): Nikolay Yordanov / Language(s): Bulgarian Issue: 2/2018

The study deals with the establishing of the Bulgarian canon of playwriting in the first half of the twentieth century. Two situations are highlighted: the 1910s, dominated by the confrontation between the group around the Misul (Thought) journal and Ivan Vazov. At the time, Vasil Drumev was deemed to be already a ‘tradition’, bridging the twentieth century and the period of the National Revival, while Vazov became the emblem of contemporary drama, bringing to life onstage the recent or remote Bulgarian past. A keynote study by Pencho Slaveikov, The National Theatre was published by the end of the decade, directly and categorically rejecting all the existing by that time Bulgarian dramaturgy. The term canon, pertaining to Bulgarian literary practice, came to be introduced in the wake of WW1 by M. Arnaudov in his в critically acclaimed study, The Canon of Bulgarian Literature (1922), which was published in a time, when social conscience, radicalised by the postwar crisis, attempted to figure out its cultural identity and a heated debate about the intrinsic values of the national culture flared up. Postwar modernism, bringing in new views of life, had tried and launched its own aesthetic projects, each of which had to establish canons of their own: Geo Milev strived to launch the expressionist project; Ivan Radoslavov, that of symbolism; the far left, the social-class one, etc. All these echoed radical (European in the first place) projects in arts and literature in a quest for new art realities. Playwriting, though to a lesser degree than the other forms of writing, had not escape certain studies, articles and reviews’ notice. This article is an attempt to highlight the most important of those, underscoring the nonetheless recurring appreciation of their achievements in the otherwise negative critical views of Bulgarian playwriting.

Writing Memory, under the Full Moon, in the Golden Volutes of Ginkgo Biloba Leaves, or the Swirling Snow of Cherry Blossoms: the Design of Literary and Artistic Travel Diaries for Survivors of Historical Traumata

Author(s): Céline Richard / Language(s): English Issue: 1/2017

What is a travel diary for the survivors of History? What kind of apology is there for them? Faced with extreme suffering, the powers of writing may seem obsolete, yet this is far from the case. The journey may be the result of an exile, lived as an exile from their world, from others, or even from themselves. In this context, the travel diary, writing and art can go together. The question arises as to how certain literary and artistic traditions, or conceptions of nature in Asia, for example, can help survivors who are inclined to write, even paint and add flowers in their travel diaries, to stop fleeing a part of the real, which totalitarianism hides or denigrates: the beauty of rebirth, the dream, the mystery, the meaning of the possible - and of course love. How can the travel diary become, for a survivor, a kind of space-time enclave, or an admirable microcosm-refuge, within a world that has become unbearable, without denying the real world? How can it be a storage medium for one’s memories, or the strata of salutary pages? The travel diary can constitute a skylight, through which a new anchoring in the real world can become possible again, favored by poetry and art, or even by reading such a travel diary to relatives, or if it were made public.

Spaţiul şi educaţia plastică. Modalităţi de explorare a spaţiului în contexte didactice la clasele I-VIII

Author(s): Vasile Cioca / Language(s): English Issue: 2/2013

The author presents the attempts to structure a possible didactic strategy of addressing space in plastic education classes. The ways of studying and exploring space with the help of plastic means in 1st-7th grades are tested, based on Heidegger's ideas. The exercises, games, visual-plastic experiments of exploring space presented here are, in their majority, ingenious and attractive solutions

Valori etnopedagogice ca modele de formare a culturii populare la elevi

Author(s): Lina Lutenco,Aurelia Buzenco / Language(s): Romanian Issue: 2/2013

The continuous development of the cultural, national thesaurus as well as the intercultural relation leads to the development of the human-being in the society and assures an eternal humanization and culturalization of the ethnical personality. The values of popular art and their influence over the cultural, spiritual and ethic-moral formation of the human-being in the society form the synthesis concept of the popular pedagogy. Popular pedagogy as a valuable model constitutes the foundation of human general culture formation.

A köztesség spektákuluma

Author(s): Cecília Hausmann / Language(s): Hungarian Issue: 3/2018

The author approaches last year’s Venice Biennale from the perspective of performativity. Hausmann analyses the tendency of the major artworks to operate with the physical presence, the activity, and the body of the creator and/or the viewer. After a historical introduction, she focuses on Anne Imhof’s Faust as an example of contemporary participatory creations, found at the crossroads of performance art​ and happening.

A nézés performativitása

Author(s): Nagy Imola Katalin / Language(s): Hungarian Issue: 3/2018

At 14 kilometres from Bruxelles, a woman lies tied to her bed completely paralyzed. Gazing is the only action she is capable of taking. She will be the protagonist of Castellucci’s opera, Orpheus and Eurydice, via live transmission as well. Imola Nagy discusses in her study the powerful conflict between reality and fiction, capturing the performativity of the gaze through the analysis of such phenomena as medium​ recognition, the mediation process, and the confrontations of the viewer with him- or herself.

Synteza jako zło konieczne? Kilka uwag w kontekście "Ozdób i nakryć głowy na ziemiach polskich od X do końca XVIII wieku" Anny Drążkowskiej

Author(s): Anna Wyszyńska / Language(s): Polish Issue: 14/2014

Review of book: Ornaments and headgear in the Polish lands from the 10th to the end of the 18th century by Anna Drążkowska

Jak nie należy pisać prac naukowych i ich wartościować, czyli o nieudanej książce na temat sztuki nowożytnej na Lubelszczyźnie

Author(s): Marcin Fabiański / Language(s): Polish Issue: 14/2014

Мозайки от нартекса на Епископската базилика в Лихнидос (ІV-V век): символика и функция

Author(s): Marina Persengieva / Language(s): Bulgarian Issue: 1/2017

Lychnidos (todays Ohrid) is a city with long-standing settlement traditions in which different ethnicities, cultures and religions meet. In this multiplicity of mutual influences, during the Early Christian era, a Bishopric center grew up to incorporate old pagan beliefs with the new theological aspects of the Christian doctrine. This interconnection was expressed in the arts, and in particular, inthe mosaic decoration, which was an integral part of the basilica during this period. The mosaic that is the object of this article is placed in the northern part of the narthex of the Bishop’s Basilica in Lychnidos. Its allegorical imagery is a syncretized narrative of the understanding of the world in Antiquity and the new Christian theological aspects of faith. The synthesis encodes messages of the Holy Sacrament of Eucharist, expressing the essence of the ecclesiologicaleschatological nature of the church.

KwieKulik as an Unknown: A Neo-Avant-gardist Laboratory of Experience

Author(s): Agnieszka Dauksza / Language(s): English Issue: 2/2017

This article’s point of departure is the experimental character of the artistic work presented by the KwieKulik duet in the 1970s. Dauksza’s concept of a “laboratory of experience” refers to the two neo-avant-gardists’ practice of unifying the spheres of existence, art and learning. A particularly important dimension is the personal relationship between the artists Zofia Kulik and Przemysław Kwiek. KwieKulik, Dauksza argues, aimed to transgress conventions and to work out new forms of expression, commenting on the political situation and provoking actual social change.

Minden szerepben

Author(s): István Ugrai / Language(s): Hungarian Issue: 12/2016

Reflections on the national celebration of the revolution of 1956 on the 23rd October

Szemle

Author(s): Géza Buzinkay,Judit Bayer,Nóra Berend,Krisztina Németh,Judith Szapor,Gábor Gyáni,Benedek Láng,Gabriella Reuss,Anett Schäffer,Georgina Kiss,Sarolta Deczki,Károly Soós,Iván Pető,Krisztián Molnár,Gábor Tasnádi,László Gergely Szücs / Language(s): Hungarian Issue: 2-4/2018

Whispers or Silence. The press and press policies in Hungary, 1861–1867 by Ágnes Deák The Freedom To Hate. American and European Perspectives Selected papers by Robert A. Kahn Anti-judaism: The Western Tradition by David Nirenberg Social Psychology of the Collective Victim Role. Edited by Éva Fülöp and Pál Kővágó Girls of Tomorrow. Women in the Budapest School of Psychoanalysis by Anna Borgos Budapest Building Managers and the Holocaust in Hungary by Ádám István Pál Witchcraft and Demonology in Hungary and Transylvania edited by Gábor Klaniczay and Éva Pócs Witches, Wizards, and Demons in Central East Europe edited by Gábor Klaniczay and Éva Pócs Hamlet’s Moment. Drama and political knowledge in early modern England by András Kiséry Worlds of Hungarian Writing. National literature as intercultural exchange edited by András Kiséry, Zsolt Komáromy and Zsuzsanna Varga Cultures of Poetry. Perspectives of the theory of lyric poetry edited by Ernő Kulcsár Szabó, Zoltán Kulcsár-Szabó and Tamás Lénárt Bird’s-Eye View and Fisheye Optic. Literary criticism by Visy Beatrix The Moments of State Ownership. The viewpoints of economic history and of the history of its study by Éva Voszka Regime Change. edited by András Mink Jean-Jacques Rousseau’s Writings on Political Philosophy A Breviary of Philosophy. edited by Tibor Bárány Interpretations of Life-worlds. Approaches to dissolved worlds by Krisztina Németh

Two Suppers: Illustrations by Jacob Cornelisz. van Oostsanen to Passio Domini Nostri Jesu Christi (1523) and the Eucharistic Controversy of the Early Reformation / Dwie wieczerze: ilustracje Jacoba Cornelisza van Oostsanena do Passio Domini Nostri Je

Author(s): Stefaniia Demchuk / Language(s): English,Polish Issue: 18/2018

Autobiografia/psychoanaliza/kontynuacje. Wokół „autobiografikcji” Heleny Deutsch

Author(s): Aleksandra Krukowska / Language(s): Polish Issue: 1/2018

The article is an attempt to add meanings to the already existing analyses of selected autobiographical- fictitious texts by Helena Deutsch. The awareness of the textual character of both discourses: psychoanalysis and autobiography prompted the author of Confrontations with Myself to play some kind of a game with the reconstructing the autobiography recipient The representations of the subject only confirm that the latter is not so much being reconstructed in the story as created over and over, between the standards of truth and fiction, the desire and fulfillment. Codenaming of senses develops this absorbing family affair which Deutsch’s autobiography as well as the accompanying it texts are, in a difficult to stop rotary movement of tropes, suppositions and hypotheses.