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Two categories of limitations are identified in the performing arts: physical, on the one hand, and those related to the intellectual and emotional predispositions of artists, on the other. Physical boundaries, in turn, are divided into material barriers - for example, the type of performing space and its dimensions - and the constraints generated by the anatomy and morphology of each artist. The experience had at the Vasile Alecsandri National Theater, in Iași, is evoked, while insisting on the importance of the actors' abilities to go through the different states of mind that accompany various ages of man. The discussion of limitations involves the discussion of the new. The contribution of new stage technologies to the evolution of theater is recorded. It is briefly described, in context, the experience facilitated by the show Planet of Lost Dreams, in order to advocate for the avoidance of the unwarranted use of means such as video projections, the Internet, etc. The challenges posed by the mix of 3D and 2D images are noted. The view is advanced that the total absence of limitations, as well as their formal treatment can block the development of the theater.
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This paper intends to deal with the problem of transcending the limit from the performing arts perspective. To achieve this goal, we proceed to an analysis of the concept of limit from both philosophical and theatrical perspectives. There is a wide range of possible definitions of limit as the concept in itself turns out to be ambiguous. To reflect upon different ways of surpassing the limit firstly requires the identification and investigation of the meanings of the concept of limit which is to be surpassed. Some examples of going beyond the limit in the theatre are briefly reviewed.
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Hamlet is the play that has ignited the most numerous polemics, and about the Prince of Denmark and his madness, may it be considered real or acted out, thousands of pages have been written. Hamlet is the absolute character. No other author has ever managed to create something with such a spectacular status. He is an enigma, the only one that has never given anyone the chance to fully decipher it, not one from all the people that had ever come close to it. Hamlet- the actor and the director, this is the perspective from which one will seek answers by following the text and certain unique directorial approaches. One analyzed the monologue from the second scene of the third act. In this theatre lesson, one can find guidelines on acting, but also on directing, pieces of advice that are valid today. Hamlet is one of the characters with the most monologues, pages and pages of words that cover the same dilemma – To be or not to be. One proposes to follow the acting lesson, but also the play-within-the-play scene, as they are connected from the actors’ and directors’ perspectives. The monologue presents strict guidelines for actors/directors, exemplifying them, and in the scene of the performance one can notice whether the lesson was truly efficient or not. One will follow this specific path in certain productions, considered as being unique.
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The theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget's affiliation with Max Jacob's is an attempt to approach the avant-garde, but to turn away from it in a subtle way in the last moment. This waltz-hesitation of Pinget will be the basis of a tendency to put this work in the “new novel” or the theatrical avant-garde. The literature of Pinget can be considered as a form of the art of the escape the expression of an incessantly renewed amazement through an acousmatic voice. It is through the theory of the double and the quest for secrecy that we can now reposition Pinget's theater in the perspective of a classical theater on the very margins of the avant-garde and a striking example of an ontological incomprehension between adaptation and the message left by the author.
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This comparative and multidisciplinary article reveals an original perspective on Standup Comedy, proposing the Enlightenment philosophy as a possible roots for Standup Comedy. Subsequently, the Standup Comedian is presented as the most Rational and Detached type of actor. The comparative approach uses writings coming from the Enlightenment, from two very different, but equally iconic philosophers: Diderot, whose discourse focuses on acting (The Actor’s Paradox) and Sade, whose text is directed at gender issues from what we call today a very “politically incorrect” angle (the novel Justine). My theoretical attempt is multidisciplinary, being situated at the intersection between performance studies, literary studies and rhetoric.
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Arts can provide an alternative to violence and the opportunity to give a voice to the oppressed. Music, arts and theatre can become acts of defiance, a form of resistance, or a simple bridge of reconciliation. Creativity in arts give the community the opportunity to exceed certain boundaries and urges the individuals to see the potential in them and in the whole world. We will analize, therefore, the relations between theatre and war, trying to analize contemporary examples of global conflict zones: theatrical protests against war, performances by refugees and the impact of these in education. Using theatre as a form of awareness of human rights, we are not educating only the audience – we also lead to public awareness, empathy and people-to-people relationships. The vision of a theatre that connects thoughts, feelings and actions represents a powerfull symbol of a democratic society. Theatre, as the most public of art forms, embracing the other arts under it’s hat, can become a form of remodeling a society, using our imagination.
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Maurice Maeterlinck, the author of some of the plays associated with the symbolist aesthetic, in which the character is often an unseen presence associated to destiny or death, writes in the first part of his career a collection of dramas in which the heroines seem to appear each time under different guises. At the end of his career, Maeterlinck returns to the mysterious universe proposed in his first text – The Princess Maleine, finishing the circle of love dramas, the dramas of the profound self discovery. The princess Isabelle comes and claims the unfulfillment of her sisters from the previous texts, which she afterwards saves. The obsession of the water, a lethal substance for most of Maeterlinck’s heroines, becomes for Isabelle the unconscious need for purification. Being the last text published during this author’s life, it contains within its structure fragments from almost all his previous work, and thus there is a certain continuity and unity between the obscurity of this author’s beginnings and the light of revelation which precedes the great travel to the unknown.
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With a selection of both themes and delicate topics of the present, the Myths Reinterpreted in Contemporary Francophone Dramatury Anthology brings together established voices and young spirits around texts focused on young audiences. Jean-Pierre Dopagne, Axel Cornil, Marine Bachelot Nguyen, Veronica Mabardi, Gustave Akakpo, Jean-François Guibault and Andreanne Joubert are the authors present between the covers of this mosaic, but harmonious volume. The great figures of the Greek tragedy are seen again by the dwarves on the shoulders of the giants, much like the present with which they come to overlap.
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Amongst the 18 notated manuscripts (today located in Slovak depositories as part of our precious cultural heritage), we can find Notated Missal ms. 387 from the former Evangelical College Library in Bratislava. It is preserved in the Central Library of the Slovak Academy of Sciences in Bratislava. Currently it is the subject of deeper research. Its most disputable aspect is its provenance. According to many scholars, it dates back to the 13th century, because it does not include the Feast of Corpus Christi. On the basis of a later note in the calendar (f. 5) we may also assume that the manuscript was written (or, at least, utilised) in the city of Lund, Sweden. For confirmation or refutation of such a hypothesis, the author will take into account the considerations regarding the hymn Rex sanctorum angelorum, that may represent one of the clues in order to get closer to the truth.
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The Graduale Cassoviense is a late medieval musical-liturgical manuscript. Apart from the standard Gregorian repertoire, it also contains original local chants. Moreover, it also includes several alleluia chants that—so far—have not been found in any other sources or reported in the existing databases. A mutual comparison of these chants (as well as their comparison with other repertoires) provides a chance to show their genetic connections and conditionality. The repertoire shows a late medieval explosion of local musical and poetic production in the territory of Central and Eastern Europe. Nevertheless, this production shows different aesthetical bases and rules than the typical Gregorian ones. For such reasons, we can define it as a post-Gregorian work.
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This article concerns the performance practice of organ-playing in 17th century France. The starting point is the anonymous manuscript Manière de toucher l’orgue dans toute la propreté et la délicatesse qui est en usage aujourd’hui à Paris (Organ performance manners regarding the style and its nuances currently practised in Paris), written probably between 1670 and 1685. The greatest value of this manuscript is that it provides important information about the new trends in liturgical organ-playing introduced during the late 17th century in Paris. This article is a development of the ideas sketched by William Pruitt (1986). His analysis, however, was limited to factual aspects and an overall description of the source. This article, using the hermeneutic research method, takes a broader look at the practical issues that may be useful for music historians and for organists who want to deepen their historical knowledge about early French organ music.
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The subject of research is the piano composition Subject and Reflection from Mikrokosmos (vol. VI) by Béla Bartók. Via a detailed analysis of this work, the author proves that the structuralism of polyphony proposed by the Hungarian composer, as well as its tonal background, has a deep aesthetic and philosophical background. Bartók followed his own creative path, which was significantly influenced by his interest in folklore. His original musical language was based on such factors as original harmonics, a conciseness of musical expression (typical of folk melodies and rhythms, and foreign to the expressive poetics created by the 19th century artists) and the courage to use dissonant chords.
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In this paper, I offer an analysis of the performance art of Nam June Paik that suggests his works, especially those from the 1960s, are essentially “musical” when viewed through the influence of John Cage’s notion of music-as-action. In Paik’s work aural, visual, and theatrical elements are integrated such that performance becomes a unifying and meaning-generating force. I conclude by suggesting that Cage’s influence set the tone for Paik’s expansion into the experiments with television and video that would occupy him for the remainder of his career.
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This article consists of three commentaries. The first concerns the recognition of Stanisław Moniuszko’s Litanies of Ostra Brama as “votive music”. These Litanies meet the criteria of having, amongst other things, a title to the piece, the intentions of the composer, a liturgical function and a symbolical votive attribute, namely the introduction of a new invocation titled Sancta Mater, which undoubtedly refers to the Mother of Mercy of Ostra Brama, to the text of the Litany of the Blessed Virgin Mary. Another commentary draws attention to the parody contained in the narrative poem Beniowski by Juliusz Słowacki, taken from the text of the poem Do Ciebie, Panie/To You, Lord by Jozef Bohdan Zaleski. The author discusses Moniuszko’s religious solo song, which was specially composed for this text. The article ends with a short commentary related to current research on Moniuszko and the basis for further research.
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