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Kognitívna disonancia je psychologickým javom známym každému človeku: psychologické pnutie, pocit napätia, ktoré vzniká, keď sa dozvieme informáciu, ktorá je v ostrom rozpore s našimi predstavami či svetonázorom.
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In his paper, the author deals with the issues of acting in the context of the theatre company Teatro Tatro poetics. He focuses on the nature and typology of acting in its theoretical and generalizing form and is interested in unique variability of expression in acting, highly heterogeneous, flexible and wide-ranging. The author functionally categorizes acting primarily in terms of spatial dimension as well as thematic categories of character and directing. He pays attention to its entertaining nature in broader horizon.
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Based on the comparative analysis of two similar dramatic situations (Hugo: Les Misérables and Corneille: Le Cid), article questions how can they later develop in entirely different ways. In search for the better understanding argument narrows later to Corneille and concentrates on the ruptures in his versification – assuming that ruptures and silence have to do with respiration and as such they are the symptoms of passion. At the end of her article author concludes that in the case of Le Cid it is common to overvalue the storyline and dramatic process. But – while the conflict of passions in Corneille´s drama is omnipresent – author refuses to take habitual interpretation for granted and pointing to non-classicist traces of the drama, she suggests that in this drama, as in the most intense moments of life, we are called at the same time towards life and death.
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Nadväzujúc na myšlienku inscenácie Sul concetto di volto nel Figlio di Dio (O koncepte tváre Božieho syna), uvedenej v minulom roku vo Viedni, rozvíja Romeo Castellucci myšlienku tela a tváre aj vrámci svojho nového diela. Diptychon pozostáva z dvoch spracovaní mytologického príbehu Orfea a Eurydiky. Gluckovu operu z roku 1762 uviedol festival Wiener Festwochen a Berliozovu adaptáciu z roku 1859 bruselská opera La Monnaie. Nasledujúce riadky budú venované viedenskej inscenácii.
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This study deals with the production of the Slovak Marionette Theatre as an expression of post-traditional puppet theatre in Slovakia and with the Dezorz Puppet Theatre, an exceptional alternative puppet theatre in Slovakia intended mainly for young audiences. Its production is characteristic for bridging old traditional puppet aesthetics and post-modern and pop-cultural expressions. It is a generational authorial theatre which brings the entertainment of comedy genres to stages and public spaces. Their productions are inspired by popular and pulp literature, television, film and music. The members of this theatre grouping are connected with their audience through the same aesthetic feeling and agreement of opinion as well as a similar life style and image.
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This study attempts to trace the elements of self-critique that are connected with reflections on film by the film makers themselves. The first example alludes to the transition from critical thinking as the negation of the past to a new self-critical creative work that should no longer repeat the mistakes from the past, which is something film makers want to avoid in the future. The second example has to do with the functioning of a self-critical reflection of the film maker, who judges his own work after a certain period of time. Finally, the third example describes a self critical situation that the film maker tried to translate to the audience through a communication medium that he knows best.
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This study examines the creative position and role of the music composer and conductor Ennio Morricone in the socio-cultural and industrial context of Italian film industry in the period of the 1960s and 1970s. Using an interdisciplinary approach to this theme, the text in particular explores the link between popular genres of Italian cinema in this historical period and Morricone’s film music and soundtracks. This study analyzes music styles, genres and levels that the composer used in his compositions for popular genres such as western all’italiana (western in the Italian style), spionaggio all’italiana (spy film in the Italian style), guerra all’italiana (war film in the Italian style), giallo all’italiana (detective film in the Italian style) or poliziesco all’italiana (police film in the Italian style). These and also other genre categories of Italian cinema represented new models and variations of popular spectacle that were meant for international distribution. This industrial factor was one of the reasons for the growing global popularity of Morricone’s soundtracks because most Italian popular films produced in this period had a great success with the audience
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This article deals with the perception of history on the contemporary stage and uses the example of Oresteia, which is viewed through the analytical lens of historical drama.
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Review of: Dagmar Inštitorisová - Hlavenková-Bakošová, Zuzana a kol. Divadlo a nové médiá, intermedialita, (re)prezentácia. Bratislava : VŠMU, Centrum umenia a vedy, 2012. 139 s.
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V 50. rokoch minulého storočia sa na Slovensku zakladali profesionálne bábkové divadlá. Ich personálnu základňu tvorili ochotnícki bábkari s viacročnou praxou, alebo jednotlivci, ktorí na základe vypísaného konkurzu prejavili záujem o profesiu bábkoherca v divadle. Išlo väčšinou o ľudí so základným alebo stredoškolským vzdelaním, bez možnosti ďalšieho vysokoškolského vzdelávania v odbore. Až v roku 1952 sa na pražskej Divadelnej fakulte AMU založila bábkarská katedra. Jej prví slovenskí absolventi začali do divadiel prichádzať od roku 1956. Takto sa postupne posilňoval súbor v Žiline a v Bratislave. Krátko po vzniku piateho, najmladšieho profesionálneho bábkového divadla v Banskej Bystrici (1960) sa po roku 1961 rozšíril aj tento súbor o absolventov pražskej katedry. Uvažovalo sa ešte o založení profesionálneho bábkového divadla v Prešove a po vzore Prahy tiež o vzniku televízneho bábkového súboru v Bratislave.
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História dvadsaťpäťročnej Katedry bábkarskej tvorby na VŠMU v Bratislave sa temer prekrýva s novodobými spoločenskými zmenami, ktoré prišli po roku 1989. Neviem, aká bola dlhodobá koncepcia jej zakladateľov, lebo politické zmeny priniesli aj zmeny personálne. Jedno je však isté: v čase, keď katedra vznikala, sme ešte nechyrovali o rozpade spoločného štátu. Bolo založenie katedry v Bratislave teda akousi predzvesťou takejto zmeny? Dnes nám na to asi nik neodpovie, no tí, ktorí stáli pri úplných začiatkoch katedry tesne pred „zamatovou revolúciou“, boli, zdá sa, prezieraví. Pravdou je, že všetci pedagógovia hlavných predmetov boli absolventmi pražskej bábkarskej katedry, tzv. KLAMU – Katedry loutkářství AMU na Divadelnej fakulte.
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Jan Vedral publikoval v Slovenskom divadle č. 3/2013 polemiku (nie štúdiu, ako by sa mohlo zdať podľa názvu rubriky) Ghetto postmoderného divadla, v ktorej obvinil súčasnú kritiku („skupinu mužov a žien vyhlasujúcich sa za divadelných kritikov“) a osobitne potom mňa, nielen z obdivu k inscenáciám postmoderného divadla (pričom za postmoderné označuje v súdobom divadle paušálne všetko, čo mu nelahodí, bez teatrologickej akríbie), ale aj z ľavičiarskeho aktivizmu, arogantného sociálneho inžinierstva, posadnutosti mocou, ba dokonca z vražedných polpotovských chúťok!
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The theatre director Yuri Ljubimov (1917 – 2014) entered the annals of Russian and world theatre as the founder of the legendary Taganka Theatre in Moscow. In 1964 – 1984 the Taganka Theatre was the most famous theatre of the end of the Soviet era. Yuri Ljubimov took inspiration from Stanislavski, Meyerhold and Vakhtangov and enriched the Russian theatrical tradition with impulses from Bertolt Brecht. He created a modern theatre with a distinct civic attitude, untraditional repertoire and excellent acting company. The Taganka Theatre was considered “an island of freedom” in the sea of Soviet bans and restrictions. The history of the theatre mirrors the history of the Soviet Union from the political thaw to perestroika. The present article describes the life and work of the director Yuri Ljubimov, the fate of the Taganka Theatre and the director’s conflict with it. It points out the role of Ljubimov’s long-term partner, the famous Russian film star Lyudmila Tselikovskaya, in the existence and formation of the Taganka Theatre’s repertoire
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This article deals with the shaping of the opera company of the Slovak National Theatre in the interwar period. Its main focus is on the characteristics of Karel Nedbal’s era (1928 – 1938), but neither does it ignore the contribution of his predecessor Oskar Nedbal, who, besides other things, improved the quality of the opera orchestra in Bratislava and helped the Slovak National Theatre establish relations with similar institutions abroad. The ten years of Karel Nedbal’s work, which theatre scholars consider one of the most significant eras in the theatre’s nearly one hundred years’ history, are characterised in terms of dramaturgy, staging and music and vocal production. The article confronts facts that have been published several times elsewhere with the opinions and views that Karel Nedbal expressed especially in his memoirs Půl století s českou operou (Half a Century with Czech Opera).
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Review of: Hvizdová, Eva – Balogová, Beáta – Sedláková, Alena. "Marketing of social services with an emphasis on art therapy and art."; Prešov : Filozofická fakulta Prešovskej univerzity, 2015. 133 p. ISBN 9788055512716 by: Michaela Štefanová
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The aim of my paper is to show how to perceive the art and the influence of perception of it on human’s taste in so called standard aesthetics. I start with discussing levels of human’s perception. Then I turn to the question what is practise and theory contributing to the (aesthetic) taste. I distinguish between aesthetic pleasure and aesthetic experience. Next I argue that the (aestehtic) taste has subjective content. The taste is a complex or collection of aesthetic judgements (reasons).
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Based on the analysis of primary sources, the study documents the genesis of teacher education in Trnava, from the establishment of the teacher training in 1857 until 1950, when the teacher training institutes were abolished. It focuses on research into music education and music practice in teacher training institutes. At the same time, it profiles music teachers in these teacher training institutions and their influence on the quality of music education.
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This article uses semiotics to study two audiovisual spots produced by populist political actors (Marine Le Pen, in France, and Unidas Podemos, in Spain) with the purpose of unveiling the multimodal discursive strategies they use. The analysis presented in the article focuses on the auditive dimension and studies how Le Pen and Unidas Podemos use orchestral music as a semiotic resource for meaning- and sense-making. The analysis proposes that the use these two political actors do of orchestral music in the analyzed spots is not random, but strategic. Moreover, it is argued that these strategic uses are aligned with recent scholarship on right- and left-wing populism: while – an example of right-wing populism – Le Pen draws on a discursive strategy aimed at provoking emotions like fear and anxiety based on exclusion, Unidas Podemos – an example of left-wing populism – uses one aimed at conveying the emotions of hope and possibility of change based on inclusion.
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The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has becomean identifying feature of Veronika Rónaiová’s work. The depiction of Ludovica has its formal andsemantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appearedregularly in Rónaiová’s paintings, drawings on paper, on the wall, and her body. This study looks atthese depictions from the perspective of the concept of Nachleben and Pathosformeln developedby Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. Theconcept of Nachleben draws attention to those forms that survive and return in art as if in the eternalreturn, and in this way, survive, like Rónaiová’s Ludovika. The formula of ecstatic pathos, which isemphasized in the text, draws attention to the emotive gestures or emotional experiences that leavean artistic trace in subsequent artistic epochs. Rónaiová’s depictions of Ludovica are interpreted interms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporaryartistic discourse.
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With globalization, transformations experienced in the postmodern era have been observed simultaneously or almost simultaneously in nearly all parts of the world; thus, like in other countries, artistic transformations have also manifested themselves in Slovakia and Turkey with increased communication and transportation opportunities with the West. This study focuses on how the method of appropriation, which gained significance with postmodernism following its pioneers in the modern era, emerged, and developed in Slovakia and Turkey. This study, starting from the belief that the desire of postmodernism to resolve the concepts of centre-periphery was not fulfilled, addresses the dominance of Western art in the field of art and the necessity to diversify this reference point by considering that there are other arts besides Western art, which is mainly seen as the sole reference in art research worldwide. The two countries that appear to have completely different outlooks regarding the perspective of the beginning of artistic transformation and the use of appropriation have occasionally produced similar topics, especially during the 1990s. However, due to the different social structures of these two countries, differences have also been observed during this period.
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