A Happy End választható
Andrea György writes about Measure for Measure at Tg-Mures: Tadeusz Bradecki puts to play tragic and comic interpretations in a direction inspired by operetta.
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Andrea György writes about Measure for Measure at Tg-Mures: Tadeusz Bradecki puts to play tragic and comic interpretations in a direction inspired by operetta.
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Anikó Varga analyzes Moliendo Café, a co-production of the German and Hungarian theatre in Timișoara: Silviu Purcărete’s spectacular and playful mise-en-scene is built on the call of coffee and the actors’ improvisation.
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Antigone at the Satu-Mare Hungarian Theatre is based on a freshly translated text. Eszter Kovács writes the review about the performance in which director Attila Balogh places the ancient story in one single big theatrical setting: a black pool of water.
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Beáta Péter writes about Édes Anna at Csíki Játékszín (Miercurea Ciuc Theatre), where the adaptation of the novel becomes a theatrical world resembling a picture postcard from the distant past that is still very valid and contemporary because of its anatomy of human nature.
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A presentation of the way in which the artists of Grupa 111 / Group 111 and their undertakings realised in the village of Lucim were perceived by the local inhabitants. The text was written upon the basis of fieldwork performed by the author in Lucim in 2003–2005. The joint activity of the artists conducted in this village was part of the past; hence the explorations studied the memory of the residents of Lucim, together with all the consequences. The image of the artists as seen by of the local community proved to be composite and multi-dimensional.The activity pursued by Grupa 111 certainly denoted direct contact with an entirely new sort of cultural practices, but both the degree of participation and involvement in ventures animated by the artists, and their assessment, were diverse.
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The author of the text took a close look at the undertakings of Grupa 111 from the viewpoint of the counter-culture movement, which took place in Western Europe from the end of the 1960s. In doing so, she focused in particular on the activity of Scandinavian artists, very similar to that taking place in Lucim. Furthermore, she indicated the way in which the ideas of Grupa Działania preceded by several decades the new paradigm of art associated with the participation of the public in the creative process. Finally, Agnieszka Wołodźko accentuated the precursory character of activities pursued in Lucim in relation to the current priorities of the cultural policy of the European Union, postulating participation in culture and an expanded inclusion of recipients.
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In this text social art, previously explored both by such artists as members of Grupa Działania in Poland, Joseph Beuys in Germany, or Suzanne Lacy in the United States, as well as sociologists, e.g. – perhaps most famously – Pierre Bourdieu in France, is defined as an enclave of civil society. As such, it can be distinguished by five interrelated characteristics: the public objective of activity and its broad range of addressees, the inclusive way the addressees are engaged in such activity – as creators or recipients of art, the social location of activity – outside both the art world and public cultural institutions, and the civic qualities of activity. This theoretical framework (a sensitizing concept) of social art is juxtaposed with thirteen empirical types of corresponding contemporary socio-artistic practices (participatory, interventionist, cooperative, collective, amateur, etc.), which “echo”, metaphorically speaking, the ideal developed by their predecessors in the 1970s–1990s.
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The article examines the creative undertakings of Grupa Działania in reference to the theory proposed in Sztuka jako sztuka kontekstualna by Jan Świdziński as well as the latter’s efforts, among which Izabela Kowalczyk perceived numerous instances of a common ground. The author is also interested in differences in the approach to the œuvre of the discussed artists and compared the activity of Grupa from Lucim and Świdziński’s key term, i.e. the context. Moreover, she indicated the significance of nomadism both for Grupa Działania and Świdziński. The successive joint question involves interest in local cultures and the artist’s acceptance of the role of the ethnographer. Finally, the article formulates a thesis claiming that the presented artists proposed a “third way” in art by following the example of Joseph Beuys.
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The text discusses the use of microphotography in art publications in the early decades of the twentieth century and the parallels established between microphotography and abstract art. As the author argues, the photographic trend of “New Vision” contributed to the growing presence of microphotography in the popular visual culture of the time, but artists’ concern preceded this popularity. Microphotography brought interest both as a manifestation of an invisible, hidden reality, and for purely aesthetic reasons, as a source of infinite variety of decorative patterns. For artists like Klee and Kandinsky scientific images proved instructive with regard to the elementary structures of design and formative forces of living organisms. Viewed in light of the Monist philosophy of Haeckel, Driesch and Francé, microscopic images were recognized as a demonstration of the infinite plasticity of matter – a document of nature’s universal creative potential that art searched to parallel.
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Boglárka Prezsmer summarizes in her study the traditions, practices and situation of Transylvanian drama- and theatre pedagogy.
More...A bibliodrámáról
Tünde Kocsis interprets the genre of biblical drama along Peter Brook’s categories of theatre, presenting at the same time the teamwork of biblical drama.
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Árpád Levente Bíró gives an account of the educational activity of the Szigligeti Theatre in Oradea, which extended to several theatrical seasons: the theatre devoted special attention to volunteer programs regularly attracting participating students in other theatrical projects.
More...Reflexiók egy tantermi előadásról
Sf. Gheorghe actor Dezső Derzsi reflected on the classroom performance based on Jevgenyij Griskovec’s play How I Ate Dog (Hogyan ettem kutyát) in which he played a character. Derzsi follows the entire trajectory of the project from the selection of the text towards acting strategies and interactive performance.
More...Interjú Wendy Lathrop Meyerrel
In the column Border Crossings we publish an interview with Norwegian-American Wendy Lathrop-Meyer, who has been applying her experience as a drama-teacher not only in Norwegian teacher-training, but also in long-lasting, recurring projects in a Tanzania sliding into socio-cultural decline. The fading of tribal customs, the forced linguistic uniformity, the lack of artistic training and the extension of women’s rights and possibilities are the themes of her discussion with Panna Adorjáni.
More...Egyén és tömeg testének traumája és eufóriája egy kínai–német koprodukcióban
Eszter Biró saw in Munich a coproduction between a Chinese alternative theatre and a German traditional theatre. The performance engaged the thinking and the senses of the audience in the perception of the body of the individual and of the mass, stretching even the comic and horrific aspects of the theme.
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Yvette Jankó Szép was in Finland: she roamed the unusual spaces of the Tampere Festival. She developed her writing along the themes that organized almost randomly the exhibition: the future post-feminist world as well as social utopia and dystopia. Her text is in itself a personal account on the borderline or meeting point of several genres.
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Anikó Varga reviews a book that is the summary of an ample research about theatrical education in Hungary. Published by L’Harmattan, the Handbook of Theatrical Education Programs (Színházinevelési programok kézikönyve) offers an image the present state of the field, organizing in a descriptive catalogue the theatrical education programs available in Hungary and discussing a series of theoretical issues related to the genre.
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The Hungarian translation of Adam Blatner’s Foundations of Psychodrama (A pszichodráma alapjai) appeared at Animula – which introduces itself as a specialized publishing house of psychiatry, psychotherapy and psychology. The subtitle of the book is Story, Theory, Practice (Történet, elmélet,gyakorlat): it is along these three approaches that the author introduces us to the world of psychodrama. The historical part deals with the beginnings of the genre, the theoretical part explores the philosophical roots of psychodrama, while the practical part takes the reader to the environment of daily existence and psychotherapy.
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