"Dziś są moje urodziny" Tadeusza Kantora jako mise en abyme

Author(s): Katarzyna Fazan / Language(s): Polish / Issue: 1-2/2015

The author ponders on the pictorial conception of the titular spectacle and the paradoxes set into motion by Kantor’s emphasis on the fiction between the stage and the painter’s studio. In doing so, she poses questions and reflects on the reason why in Today is My Birthday the artist returned to the image and theatrical pictorial qualities conceived as a stage trick enrooted in the visual arts. Why did he introduce into the spectacle an almost painterly conception of reality, creating a stage with paintings on easels, and operate with the effect of a tableau vivant as well as spatially actuated photography?

"Ecce Homo” на Кирил Цонев – нови изследвания върху творчеството на художника в Мюнхен

Author(s): Valery Lalov / Language(s): Bulgarian / Issue: 4/2011

Kiril Tzonev in Munich – this is an infinite subject of artistic research. New research on the creative work of Tzonev led to discoveries concerning his paintings as well as archive materials. The great number of new aspects, elaborated on the basis of this material opened up new perspectives for analysis of the creative personality of Tzonev. The present study does not aim to generalize all these aspects but to underline the need of an indepth view in the details of each one of them, inspired by the portrait of Vladimir Dimitrov maistora by Kiril Tzonev. During the study of these well known facts and on the basis of the newly discovered information the analysis logically starts off with the detailed description which points out the key points of this research. The description of the components of the painting shows not only the wonderful skills of the artist Kiril Tzonev but also, comparing it with other works of the same artist, numerous stylistic characteristics. an additional contribution in widening the possibilities for interpretation of the portrait of Vladimir Dimitrov maistora were offered when comparison with the artistic works of other authors were made. The subject of the portrait is compared with images of ancient philosophers and propor- tions. Biographical data supplement the analysis of the painting. Subject of study are the close friendship, spiritual ties and fruitful exchange of ideas between maistora and Tzonev. The comprehensive description made of the painting’s details present an unknown up to now inscription on the canvas: Ecce Homo. This inscription allows for a much more complex interpretation. In order to understand it one has to make an iconographic review of Ecce Homo as a motive in art. This analysis offers a possibility for a comprehensive interpretation of a re- markable portrait painted by Tzonev. It is enriched with a mighty message but also proves the creative genius and intellectual might of the artist – a merited chairman of the News.

"En la forêt de Longue Attente"… ou six promenades dans les bois des Nabis et d’ailleurs

Author(s): Andreea Apostu / Language(s): French / Issue: 1/2012

This paper aims to retrace the manifold, often contradictory meanings underlying the works of the Nabis – an almost esoteric group of French artists which emerged near the end of the 19th century. Their primary sources of inspiration were, following in Baudelaire’s footsteps, remote in both space (Japanese art) and time (Medieval art). I shall attempt to analyse the manner in which several artists of this group use the medieval ambivalence of the forest in their paintings, as well as try to determine whether any major semantic shifts ensue in their treatment of this widespread imaginary topos. The paper’s main thesis is that this ambivalence is adapted to the intrinsic modernist tension between a feeling of despair, coupled with the anxiety of being faced with the positivist, essentially rationalistic explanation of existence, and an enormous desire to transform the world, so that it no longer opposes the Self.

"Hiszen itt vöröslök"

Beszélgetés Takács Katival.

Author(s): Berta Tóth / Language(s): Hungarian / Issue: 2/2016

An interview with Kati takács, actor.

"Hoffnungsvoll reihe ich mich ein zwischen die Verkäufer“. Bertolt Brecht und der (antiaristotelische) Film

Author(s): Ioana Crăciun / Language(s): German / Issue: 19/2019

Der Beitrag setzt sich mit Bertolt Brechts filmischem Schaffen auseinander und beleuchtet den Werdegang des Drehbuchautors, Filmtheoretikers und Filmkritikers Bertolt Brecht beginnend im Berlin der Zwanziger Jahre und endend im amerikanischen Exil. Es werden darin Bertolt Brechts erfolglose Bemühungen analysiert, einen neuen Filmdiskurs durchzusetzen, der den kommerziellen Prinzipien der bürgerlichen Filmindustrie trotzt. Zugleich wird darin auf Bertolt Brechts Hollywood-Welterfolg – den Film Hangmen also Die – in der Regie Fritz Langs eingegangen.

"Homo sovieticus" в зеркале польского и российского общественного сознания : cтереотипы : миры : реальность

Author(s): Joanna Korzeniewska-Berczyńska / Language(s): Russian / Issue: I/1996

"imaginea are un impact mult mai puternic decât cuvântul scris"

Author(s): Author Not Specified / Language(s): Romanian / Issue: 24/2003

Interview with Dana Altman, curator at Westwood Gallery din New-York.

"Inhabit" of Janine Antoni as a metaphor of female creation

Author(s): Edyta Janiak / Language(s): English / Issue: 2 (26)/2018

The article aims to present the figure of contemporary artist Janine Antoni by discussing her most important performances. The author of the article pays particular attention to Antoni’s work Inhabit, which she interprets and analyzes in the spirit of arachnology. This strategy intends to present Inhabit as a kind of metaphor of feminine creativity.

"Inspekty" Alicji Karskiej i Aleksandry Went

Author(s): Bożena Kowalska / Language(s): Polish / Issue: 03/2005

"Jaunais reālisms" kā postmodernisma problēma

Author(s): Jelena Celma / Language(s): Latvian / Issue: 1/2006

This article is an attempt to understand a new tendency of postmodern art. It is called " New Realism", which differs entirely from classical realism.The artisctic experience of today shows that art puts a special emphasis on the things when things are presented only as they are. This open belief in the world has been born as the opposite of a simulation and a game. And it requires for a special intensity of reception.

"Jordskott". Las zaginionych, czyli przekraczanie granic Nordic noir.

Author(s): Tomasz Adamski / Language(s): Polish / Publication Year: 0

The TV crime drama is one of the most popular genres for European audiencesand arguably also the most culturally sensitive and nuanced. The authorin his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics whilech aracterizing this concept. In the course of analyzes, however, he notices thatthe "Jordskott" series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: "Nordic noir", ecological thriller, horror orfairy tale.

"Karm stiil" nõukogude uuringute kontekstis

Author(s): Kädi Talvoja / Language(s): Estonian / Issue: 01+02/2012

Artiklis käsitletakse probleeme, mis kerkivad "karmi stiili" kunstiajaloolise tähenduse ja rolli mõtestamisel Eesti kontekstis. 1950. aastate lõpul olulist kunstiuuendust tähistanud, kuid tagantjärele Hruštšovi ametliku kunsti staatuse saanud nähtus toob esile vajaduse dünaamilisemate analüüsimudelite järele, kui seda pakub ametliku ja mitteametliku kultuuri vastandus. Vaadeldes "karmi stiili" nõukogude uuringute distsipliini laiemas kontekstis, tõstatatakse kunstnike agentsuse küsimus. Toetudes hilissotsialismi uurija Alexei Yurchaki pakutud teoreetilisele skeemile, kirjeldatakse Leili Muuga maali "Kahtlejad" (1957) näitel "karmi stiili" asendit ja rolli nõukogude diskursuse muutustes.

"Koralina" Neila Gaimana w realizacjach teatru lalek w Polsce

Author(s): Maria Janus / Language(s): Polish / Publication Year: 0

Maria Janus focuses on theatrical adaptations of Neil Gaiman’s "Coraline" in Polish puppet theatre. The analysed performances were directed by Włodzimierz Fełenczak in Teatr Miniatura in Gdańsk with a stage design by Mikołaj Malesza (opening 2009) and in the Białostocki Teatr Lalek with a stage design by Joanna Braun (opening 2011) and directed by Karolina Maciejaszek in Teatr Pinokio in Łódź with a stage design by Anna Chadaj (opening 2013). In addition, the Author discusses the performance of Rozalinda, written and directed by Krystyna Jakóbczyk in the Teatr Dzieci Zagłębia in Będzin (opening 2012), which was inspired by Gaiman’s novel. Janus presents this performance in the context of copyrights and difficulties of obtaining licenses for use of texts written by popular authors (especially from the Anglo-Saxon region). The author compares the adaptations of Neil Gaiman’s novel written by Fełenczak, Maciejaszek and the translation of the novel’s narration by Jakóbczyk (theatrical situations and visual narration vs. the narration performed live on-stage). Maria Janus also highlights theatrical references from the novel considering meta-theatrical elements that enhance the performance. Janus compares theatrical media used in performances from Gdańsk, Białystok and Łódź with special consideration to the stage design and puppetry techniques. In the second part, the author focuses on the popularity of Neil Gaiman’s Coraline among theatrical directors despite little interest in horror fiction. Puppet theatres in Poland do not produce performances based on modern epic literature, especially those nbased on fantasy. Classical fairy-tales and modern dramaturgy containing fairy-tale motives are still more popular. Furthermore, Janus reflects on the possibility of a change of the herein discussed situation. She further refers to the arguments of Bruno Bettelheim, Stanisław Grzelecki and Katarzyna Slany considering young spectator benefits from the contact with theatrical representation of youth horror literature.

"La buona figliuola" Carla Goldoniego a "Czekina albo cnotliwa panienka" Wojciecha Bogusławskiego

Author(s): Edyta Grzywaczewska / Language(s): Polish / Issue: 2/2015

„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.

"Lünka täites". Katse analüüsida Sten Karlingi kunstiteoreetilisi vaateid

Author(s): Krista Kodres / Language(s): Estonian / Issue: 03/2008

The article focuses on the history of Estonian art history writing, examining the older written scholarly heritage of Sten Karling. The author analyses the art theoretical ideas that influenced Karling's research, and discusses Karling's texts and activities as the basis for art history studies in Soviet Estonia.

"Mam marzenia" - z kuratorką i opiekunką Generatora Malta Joanną Pańczak rozmawia Waldemar Rapior

Author(s): Joanna Pańczak,Waldemar Rapior / Language(s): Polish / Issue: 4/2018

Interview with Joanna Pańczak, by Waldemar Rapior

"Maszerują chłopcy, maszerują... a śmierć im pod stopy się miota". Wybór recenzji i opisów spektaklu "Wielopole, Wielopole". 1983-84

Author(s): Author Not Specified / Language(s): Polish / Issue: 1-2/2015

"Méwilo" i "Freedom" Muriel Tramis jako pierwsze gry postkolonialne

Author(s): Filip Jankowski / Language(s): Polish / Publication Year: 0

In the chapter entitled “Muriel Tramis’ »Méwilo« and »Freedom« as the First Postcolonial Games, Filip Jankowski examines two digital games accomplished by Muriel Tramis, a game designer from Martinique. The games picture the situation of African-Caribbean slaves and their descendants in a pioneering manner in terms of the medium used. “Méwilo” (1987) and “Fredom” (1988) were created under the influence of the philosophical thought in Martinique, shaped by the pioneers of postcolonialism such as Aimé Césaire and Frantz Fanon, as well as their critics impersonated by Édouard Glissant and Patrick Chamoiseau. Both games differ in terms of applied convention. “Méwilo”, which is a thorough documentary game, focuses on questioning the following inhabitants of the city of Saint-Pierre, the day before the devastating eruption of the Montagne Pelée volcano in 1902. The opposition between the black inhabitants of Martinique and their metropolitan torturers, although strongly outlined, is subject to problematization in both games. Among the main characters of the Tramis' works are black anti-heroes who imitate the French in their ambivalent attitude to the African-Caribbean community. Hence, they reflect the phenomenon of mimicry described by Homi Bhabha. All things considered, Jankowski argues both games to feature apparent postcolonial themes.

"Mit nevezel életnek?"

Olbrin Joachim csodálatos utazása - Marosvásárhelyi Nemzeti Színház Tompa Miklós Társulat

Author(s): Kata Köllő / Language(s): Hungarian / Issue: 12/2016

Review ofTompa Miklós Company's "Olbrin Joachim's wonderful journey" directed by Kinga Mezei, presented atThe National Theatre of Târgu Mureș

"Mr. Robot" czyli powrót paranoi.

Author(s): Magdalena Bałaga / Language(s): Polish / Publication Year: 0

The aim of this paper is to show the functioning and the role of paranoid obsessions in television series Mr. "Robot" (2015) and Thomas Pynchon’s novels. Although it seems that the novels of the American writer and the screenplay havelittle in common, both use a paranoid way of thinking as a creative response tosocietal experience.