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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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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.
More...
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.
More...
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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Îmi amintesc cum stăteam la Replika în curte și eram bombardată cu idei. Era începutul rezidenței mele, alături de dramaturga Alexa Băcanu. Apucasem să expun doar câteva lucruri la care mă gândisem: tema educației sexuale în România și comunicarea între părinți și copiii lor.
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Și de aici a început documentarea. Știm că în școală nu se întâmplă de obicei, dar într-un fel sau altul, tinerii află totuși despre sex. Care sunt sursele? Sunt ele de încredere? Le oferă toate informațiile necesare? La nivel de țară, răspunsul la ultimele două întrebări e nu. Suntem pe primul loc în Uniunea Europeană la numărul de mame minore. Ăsta e unul dintre primele lucruri pe care le-am aflat în timpul documentării.
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“Totul e foarte normal” nu beneficiază de un decor în sensul comun al cuvântului, ci de o configuraţie a spaţiului de joc și un raport între acesta şi auditoriu, care determină şi servesc conceptului spectacolului. Tema de la care am plecat a fost declanşarea comunicării pe teme tabu între generaţii într-o formulă ludică, prietenoasă şi jovială cu care să rezoneze ambele categorii de vârstă.
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„Nu, nu am vorbit încă, să nu îi dau idei” sau „Acum au internet, știu ei mai multe ca noi” – acestea sunt două argumente între care oscilează scuzele adulților pentru a evita tematica educației sexuale – fie ei părinți, cadre didactice, directori de școli sau autori de programe școlare. Dacă în toate țările dezvoltate, educația sexuală se predă în școli de zeci de ani, în România, educația sexuală nu se predă decât opțional în cadrul materiei Educație pentru sănătate. În 2016, numai 2.000 dintre cei 19.000 de directori le-au propus părinților să-și trimită copiii la aceste ore. Pentru mulți adulți este dificil de acceptat trecerea de la copilărie la adolescență, faptul că tinerii devin ființe de sine stătătoare care își fac propriile alegeri, inclusiv în ceea ce privește sexualitatea.
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The Renaissance spirit of Veliko Tarnovo leaves its marks not only on the medieval Bulgarian art, but also on the art of the Bulgarian National Revival period. Its traces are noticeable even in the work of painters that have not had anything in common with the city. This is exactly the case with an icon by Nikola Vasilev – the most well-known icon painter from Shumen – painted in 1891. There the Holy Brothers are portrayed against the backdrop of a fantastical capital city named to be Preslav, but containing a sufficient number of credible elements to link it with the current appearance of Tarnovo at that time. The landscape consists fortress walls that look like those of Tsarevets and Trapezitsa and several large buildings, one of which resembles the Usta Kolyo Ficheto’s Konak. Tree Bulgarian national flags placed on decorated pillars crown the whole composition and remind of the Tarnovo Constitution, turning the image to a memoir of the spirit of that time. Although the icon was mentioned by Asen Vasiliev it has not been studied in details yet. Here it will be presented in the context of the iconography of St. Cyril and Methodius typical of Nikola Vassilev whose favorite storyline is the pictures of the Brothers.
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I am a sportsperson, she thought, trying to express her very thoughts on a platform she had never hoped to appear on; I fight to be better, for myself, for my team, for my country, which I have represented in dozens of international tournaments. We work with team spirit, friendships, and perseverance. This is what I was trained for, day and night, strict as military drills… although I stand for peace and understanding. I want to show what we, the women, neither repressed nor privileged, can achieve when we set our minds and hearts! I wish to inspire youth to be steadfast and independent! Otherwise, what’s the point of this much sweat… and blood… and tears? It means so much that we cannot lose them! I’ll no longer pretend to simulate this passion for machines!
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The report “Analysis of interest in the performances of the Bulgarian state theaters in the period 2018-2022” is a kind of analysis of demand and supply in the field of performing arts. The selected period covers the time before the Covid-19 pandemic and after, aiming to interpret the changes that occurred as a result of these events. The report analyzes live performance attendance data by gender, age, education, city, employment status, and more. The data on the number of theaters by type (dramatic, dramatic-puppet, musical), by form of ownership (state, municipal, private) are commented on. The data on average number of visits to one theater, average number of visits to one performance, number of new performances, number of tours are analyzed. The data on the revenues realized by the cultural institutes are also analysed. All data used are from the National Statistical Institute.
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The digital environment provides new opportunities for artists and performers to create, produce and distribute musical products. At the same time, serious challenges arise for the protection of rights in musical works. The technological revolution has brought streaming to the forefront as a leading form of distribution and subscription as an essential part of the business model for rights management and income generation. At the same time, the digital environment reduces the possibilities for control over the use of works, increases oversupply and widens the gap between supply and demand. Generative artificial intelligence will increase both the opportunities and challenges for monetizing musical creativity. This paper examines the changes in the processes of creation and distribution of music products and their effect on artists and performers
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Photographers and artists are creators, representatives of two creative industries that create products subject of artistic property. The first are the owners of copyrights of the photographic works, and the second are the owners of the related rights of their own performances. The two categories of artists interact and work together. What intellectual property rights arise in the process of photographing of a stage performance, who owns these rights and how are they managed? What contracts and agreements are concluded between them and are the photographers and the artists equal partners?
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