IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247 + 1
Book review: IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247, NLB. 1.
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Book review: IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247, NLB. 1.
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EVA BORECKÁ: TRADIČNÁ MODERNA NASLOVENSKU. ARCHITEKTI FRANZWIMMER & ENDRE SZÖNYITRADITIONALISM IN THE MODERNMOVEMENT IN SLOVAKIA.ARCHITECTS FRANZ WIMMER ANDENDRE SZÖNYI 2018, Akademické nakladatelství CERM,Brno, 126. ISBN: 978-80-720498-75
More...A reprezentáció tere mint nyitott konstelláció
Imola Csizmadia deals with the significance of (the search for) space in the context of the theatrical performance. She states that the search for space has become a central and crucial question of contemporary art and theatre since performances try to liberate themselves from the institutional theatrical frames, as well as since contemporary art practices have been looking for completely new ways of seeing and showing, manifested in the abolition of previous conventions defined by space. The study analyzes how space can change due to the gesture of artistic “designation”. All this is demonstrated through the example of the Tg-Mureș street-performance Curva periculosa (dir.: Erzsébet B. Fülöp).
More...A Jégszivárvány című drámaantológiáról)
Tünde Kocsis writes a review about the Norwegian drama anthology Jégszivárvány (Rainbow of Ice). The book was published as part of the Drámatájak (Drama Landscapes) series of Napkút publishing house in Budapest, with texts selected by Norway-based Ferenc Kovács Katáng. In the volume there are dramas by Arne Lygre, Tore Vagn Lid, Olaug Nilssen, Maria Tryti Vennerod, Fredrik Brattberg and Johan Harstad, translated to Hungarian by Ferenc Kovács Katáng and László Borka. The dramas report about crisis situations in the family and at school, opening new dimensions with a good sense, according to the reviewer.
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Zsófia Domsa translated six dramas by the contemporary Norwegian playwright Jon Fosse to Hungarian. The title of the book published in the Polar Books series is Valaki jön majd (Someone Is Going To Come). Besides the drama with the same title, the volume also contains the dramas The Name, A Summer’s Day, Winter, Deathvariations, I Am the Wind. The punctuation of the texts is negligible, the characters are mainly universal, such as Woman, Man, Other, Daughter, Mother, Father. The dramas strengthen each other. The reviewer considers that the most poetic text is I Am the Wind. This text, as well as the other ones, orbits around solitude and loss, while in this one it seems as if an already dead soul were looking for the meaning of life.
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Our column is based on an image and the text related to it. The image is that of the author of the text with his daughter, playfully „fighting” in the kitchen. The author’s philosophical/poetic text related to this is about the double nature of theatre/role-play. He expresses his strong option in favour of life instead of theatre.
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The Transitions by Siim-Tanel Annus was a major performance art event in 1987, and took place at the height of the liberation movement in Estonia. In this article, the different forms in which the performance has survived will be explored. The analysis will revolve around the notion of ‘trace’ and will argue that the afterlife of the art event is as important as, or even more meaningful than, the original performance. The significance of The Transitions lies in its intertwinement of art and politics, which only happened in retrospect and was not the original intention of the artist. This case also demonstrates how unforeseeable developments around a performance come to dictate its later interpretation.
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The text implicitly compares the principles of the production, especially the theatrical, with the principles of creating a narrative conflict in video games. It explicitly focuses on the processes of video game simulation. It‘s carried out through the optics of two approaches to video game theory. The first is the aspect of professional discourse in which it uses already established professional terminology from theatrical theory and tries to identify aspects of video games that correspond with it. In doing so, the author of the text suggests that there are two basic video-game principles – competitiveness and interactive narration. Those principles oppose each other while focusing on the second. So the author understands the production as a kind of simulation and argues why this storytelling principle also appears in video games. The second principle of thinking about video games is thinking from the perspective of the players. In this context, the author seeks arguments to confirm his thesis. In the unstable terminology of video games, he reveals basic thinking in opposition to competitive playing and role-playing. Ultimately, he describes the relationship between the production and simulation in the context of video games as a narrative medium.
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The important, interesting, or just downright quirky news from TOL’s coverage region. Today: Hungary and the EPP; nuclear energy in Slovakia; rainbow Madonnas in Poland; a series about Chernobyl; and views of the Pamirs.
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To, co zasługuje na nazwę „sztuka”, zawsze odwołuje się do pełni ludzkiego doświadczenia. Kicz powstaje z okrojenia tego doświadczenia. W przypadku kiczu religijnego może to być wycięcie strony negatywnej, czego efektem są zalewające nas obrazki różowiutkich aniołków pływających na chmurkach.
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Siła Zanussiego polegała na tym, że nie stawiał kropek nad „i”. Podejmował i podejmuje w swoich filmach tematy filozoficzne, teologiczne, egzystencjalne i eschatologiczne. Artysta nie ukrywa, że jest katolikiem, ale nie indoktrynuje, nie wyrywa chwastów, z dystansem patrzy na symbiozę sacrum i profanum.
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Works composed by the Taizé Community often appear in liturgical hymnals. Regardless of the Christian denomination as well as the country and language of origin of these songs, they are played in Catholic churches during the celebration of the Holy Mass and at Protestant gatherings and prayer meetings. These works are commonly called the Taizé canons, even though, strictly speaking, not all of these pieces are canons. The fact that these songs are sung throughout the world during ecumenical prayer services and gatherings points to their popularity and the fact that they have become a symbol of the Taizé Community. This phenomenon can be attributed to the fact that the Taizé canon is based on a variety of musical sources that combine simple musical forms, clear rhythms, and balanced harmonies with rich and novel melodies. Because of Jacques Berthier and Josephe Gelineau’s compositions, the Taizé Community’s music is simple yet original. And thanks to the compositional involvement of members of the Taizé Community, particularly of Brother Jean-Marie and the community’s Prior Alois, new compositions have continued to reflect the characteristic style of the Taizé repertoire that has developed over many years. As a libre propos on the topic of the Taizé Community’s musical compositions, this article presents the relationship between the musical sources, lyrics and languages, and musical compositional techniques of the Taizé songs that undoubtedly reflect the ecumenical character and vocation of the Taizé Community.
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Czarno białe fotografie Elżbiety Lempp niezależnie, czy są to pej zaże, czy portrety – najbardziej znane są jej portrety ludzi kultury, w szczególności pisarzy – to zamknięta w kadrze wielowątkowa opo wieść. Sama artystka swoje prace określa mianem fotografii narracyjnej. „Na zdjęciach pejzażach, na zdjęciach scenkach, ale też na zdjęciach portretach – pisał Marek Bieńczyk w posłowiu do albumu Krajobrazy literackie. Fotografia 1985–2007 – wzrok ma wiele do zrobienia, dużo do przebiegnięcia...”. Prezentowane na stronach 75, 97, 119, 143, 201 zdjęcia zostały wy konane w latach 2001–2017 i pochodzą z następujących cykli: Biały dom, Azja w porę, Słowa, Słownik fotograficzny.
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The Passion 2000 project, which came about through the initiative of Helmuth Rilling, posed a particular challenge for composers from outside of European culture and different religious traditions. However, the Chinese composer, Tan Dun, and the Argentinian composer, Osvaldo Golijov, met this challenge by composing the Water Passion and La Pasión Según San Marcos, respectively, and opening up the traditional Passion genre to new perspectives. Both composers began their works with the words of the Gospels and then added in new texts to imbue their works with a more universal message. These interpolations, which refer to twentieth-century tragedies, bring the concept of Christ’s suffering into modern times. By adding aspects of their own cultures to their works, Dun and Golijov essentially broke with the tradition of the Passion genre by presenting the events of the Passion contained in the Gospels through the prism of Far Eastern instrumentation and South American rhythms, while still maintaining the power of Helmuth’s request. Despite obvious references to Johann Sebastian Bach, these works present an unconventional approach to the Passion genre and open this form of religious music up to new possibilities for communication between the artist (composer) and the listener.
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The preelection is based on published in 2017 book Sacrum and profanum in coral-percussion music of XXI century by Joanna Maluga and Leszek Lorent. The composition for percussion solo, traditional voice consort (natural voices choir) and four trombones is presented as a centre of the article. Missa sine nomine is an extraordinary composition among others by Zalewski, where he tries to interpret the faith in God interpreted by the institution on Church and by vox populi. The article shows not only an analysis of the composition, but also a practical way to prererferformance, based mostly on the dialogue between composer and conductor.
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There is no single definition of socialist realism, nor is there a single name - either in Europe or in the world, for the entire propaganda and artistic movement. Technically speaking, the name of socialist realism is not widely used in Russia itself, but it is difficult to overestimate its role in the birth of a new myth, a new transcultural code that emerged nearly 10 years after the October Revolution as a result of rejecting constructivist accomplishments by the political establishment. The article strives to search not only for the definition but also for the roots of socialist realism, by mapping out new paths of its cognition. The role of propaganda in the recent history of Russia, is generally underestimated.
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