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This paper presents an aspect of the propagandistic practices in the state cultural policy, viz. the making and use of the feature film Time of Viiolence as a tool for manipulating public opinion in the coercive name-change campaign of the mid-1980s in Bulgaria. This campaign was a policy of assimilation of Bulgaria’s ethnic Turks. The coercive name-change campaign initiated by the communist authorities was called a ‘revival process’ in 1985. The author considers chronologically all the stages in the making of the film, going as far back in time as when Anton Donchev wrote his novel Time of Violence. The context of the novelisation, director’s choice, the concomitant production processes are gradually traced and analysed. The paper makes an attempt to comment the reviews and the film’s impact on the social and cultural life in this country and how the released film was used by the government for propagandist purposes.
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The article poses the issue of the adaptation techniques in collating Byzantine singing models with Slavic texts. It provides a critical survey of the methods of comparison that are applied. The author introduces a newly-found neumed record (in the manuscript Athens No 928, f. 154a, from the second half of the 15th century, Late Byzantine notation) of the sticheron for Theophany after the automelon "Oi aggelikai...", which is a late Slavic translation of a hymn by Theodore Graptus. An analysis is made of the melody consisting of two repeated psalmodic singing models, which make up the six-line sticheron stanza on the basis of the scheme A A B B A AB. The results of the analysis give enough ground to assume that the singing of this sticheron follows an early Byzantine psalmodic chant known in Byzantine Music studies as "echos singing", prior to the emergence of the idiomela in the 8th century. The author defends the hypothesis that in the Old Bulgarian period, when the same automelon was an active element of Old Bulgarian hymography, it was this type of earlier singing that was adopted. This made possible the reproduction of Slavic singing in the oral transmission up to the 15th century.
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Разговор между Миглена Николчина и Еньо Стоянов
The text presents a discussion on the variety of concerns that are accompanying the continuous rise in popularity of video games today. The discussion focuses on the "medicalization" of the so-called video game addiction, the question oThe text presents a discussion on the variety of concerns that are accompanying the continuous rise in popularity of video games today. The discussion focuses on the "medicalization" of the so-called video game addiction, the question of the reasons for the overexposure of violence in this novel cultural form, the dangers, inherent in some of the business practices, espoused in this largely unregulated industry, as well as the conditions for the reception of its products in Bulgaria.
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Location – a brief review of the spatial model development from ancient times till now. Differentiation of two main tendencies: outside the administrative centre or close to the city centre. Which is the right location? Premises for the right function of the model: easy and convenient access and approach to the building, well organized parking, functional and aesthetic interaction between the model and the surrounding environment; right channelling of pedestrian flow. Bulgarian examples. Functional structure – a number of functions cohabit harmoniously in the same building. Main rules: first, convenient and logical vertical communication through elevators and moving stairways; second, organization of the traffic within the building, so as not to have weak or strong points; third, no interaction between the different activities when planning the zones of the trade sites, so that each zone to attract customers of various financial segments. Natural evolution of the functional structure over the years. World examples of contemporary practice: Publicis Drugstore, Paris France; Q 19, Vienna, Austria; My Zeil Shopping Centre, Frankfurt, Germany; Kanyon Shopping Centre, Istanbul, Turkey; Westside Shopping and Leisure Center, Bern, Switzerland; Nаmba Parks, Osaka, Japan. Exploitation and renovation concepts for the existing models worldwide.
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The text examines the web documentary in its relations with other productions, the names used for it and the variants claiming its own importance. An overview of publications has been made, which follow its development and emphasize some of its highly appreciated realizations
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The genre of figural composition in the works by the New Artists is not dominating their oeuvres, but occurs in a manner much different from the previous periods. The subject matters clearly evince the views of most of the authors members of the Society, expressed in the emergence of socially committed subjects indicative of the New Artists’ striving to keep pace with the trends in world art at the time. It was undoubtedly the new subject matters that most naturally produced the major changes in the interpretation of the ‘narrative’ in an artwork or strictly speaking, what was witnessed was a new interpretation of the subject in a figural composition. The idea of the New Artists’ efforts to renew fine arts was not spontaneously hit upon, but rather drawn on external inspirations. The New Artists initiated a new trend within the then realities in this country, renewing the monotonous course of fine arts.
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The study aims to clarify the problems connected with the plot treatment of the figure genre in the context of the creative ideas of the artists – members of the association of New artists. The text analyses, examines the main parameters of the genre – the plot, imagery, environment, composition, relationship work-viewer. On the basis of all this a notion of the general tendency and character of the figural composition created during the period from the 1930s and the beginning of the 1940s is presented.
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A gold ring-seal, having a Bulgarian inscription on it (Сѣновъ. прстенъ) is published in the article. The object was found among the stock in one of the tombs, explored during the excavations (1992-1995) in the necropolis of the church of the Forty Martyrs in Tarnovo. Investigating the techniques, style, iconography and the engraving of the inscription on the ring as well as comparing it on the base of analysis with all Bulgarian gold ring-seals, we can date it back to the 14th с. The niello-technique used and the ornaments of the examined object allows to a certain extent its manufacture to be determined at the end of 13th с. and the first half of 14th с. The personality of the buried man is identified not only by the name Sen / Seno, but also on the basis of the rest of the tomb stock and the stratigraphic observations, the subject of another scientific research.
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The evolution of the new technologies and media in the digital age has had a profound impact on the theatre as a specific area of art and culture. The new technologies and media have enabled the creation of completely new forms of art, mainly within the digital culture. The rapid and widespread expansion of the Internet, the development of new personal communication devices and the emergence of social media have caused radical changes in the distribution channels of cultural products based on their digitization and dematerialization. The purpose of the essay is to examine the aspects of the technological advances in the digital age and their impact on the performing arts, namely the theatre. We will look into the evolution of the new complex theatre arts starting from the first multimedia experiments in the late 1950s to the digital interactive virtual theatre platforms today. In doing so, we will start with the awareness that the use of virtual technology not only allows to change the space of the play in the theatre building, but also creates a new form of communication with the audience inside or outside the theatre. The first theatre to become a leading concept as a combination of a play and cinema, i.e. live actors and film, appeared in Prague, the Czech Republic in 1958, and was presented for the first time at Expo 58 in Brussels. It, essentially, still exists and is called LaternaMagika. Using examples of specific theatre productions worldwide, we are going to try to answer the question to what extent digital technologies and media, directly or indirectly, will affect the concept of theatrical production and what their impact is on the audience watching a particular theatrical performance. That is, whether and to what extent the theatre will remain preserved in its classical appearance or will it become a „virtual game” in which its basic characteristic – the direct contact with the audience – will be lost?
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The provocative title ”The Mystery of the masks” was liked by the students from 10th grade whose specialty is Interior design. The lesson consists of small parts of the contents of the comedy Tartuf. The image of the main character Tartuf complements the idea for his deceitful essence. The pictures drawn by the students emphasized on his unreal piety and mean glimpse. The main question in this lesson is: why do we need masks? The answer is: in order to recognize the faces of Truth and Lie, to approve sense! The exhibition of masks helped students to choose which one they like more or which picture characterizes them more.
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The object of this article is a special type of reliquary, called “taxidiote boxes” (gr,”taxid” way) having a certain function during the Revival period on the Bulgarian lands. They are related to a spiritual movement of the“monks – taxidiotes” (translation from a Greek means monk on his way)on the Balkans, which is a result of the historical situation during the Ottoman conquests. Although this activity naturally subsides after the Liberation, this movement remains a social, cultural and spiritual “phenomenon” in the history of Bulgaria.
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The article’s goal is to imagine a productive form of teaching creative writing as part of a Master's program in fields only remotely connected to literature and literary studies, such as digital media and videogames research. The text begins with a discussion on talent as the ability to perceive and submit to adequate and working models of writing. The topic is then further developed by analyzing talent within the framework of specific creative tools such as close reading and worldbuilding. Finally, the idea of creative writing as a model oriented and model guided activity is connected to the nature of the computer game as a space inhabited by a variety of new discourses, which the player - like a careful and attentive reader – has to learn to read and work with, thus making them part of her personal experience.
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The study explores Bulgarian theatre of the National Revival period in the context of the nineteenth-century Ottoman Tanzimat reform project (1839–1876). With the end of the Crimean War and the Ottoman Reform Decree of 1856, known as hatt-ı hümâyûn, the earliest theatrical events held by Bulgarians were covered by the press. They coincided with the earliest performances of European type staged in Istanbul by Armenian companies that shortly after gave rise to the Turkish national theatre. Krustio Pishurka, Sava Dobroplodni, Dobri Voinikov, Konstantin Velichkov, Todor Peev, etc., the pioneers of Bulgarian theatre, all studied in Istanbul. The theatre in Gedikpaşa quarter hosted performances of plays by Konstantin Velichkov, Dobri Voinikov, etc. In the 1850s, 1860s and the 1870s theatre became part of the then fashionable among the majority of the Bulgarian society form of social etiquette, which presupposed socialisation and communication that went beyond closed family and professional communities. It was through theatrical performances that Bulgarian public discovered in the third quarter of the nineteenth century the act of representation a new actor on the historical scene, i.e. the emergent Balkan nation, was in needed of.
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The collection of dance music manuscripts from the late 18th and early 19th century by Jiří Hartl is unique among European sources. Jiří Hartl was a skilled musician, playing the violin, clarinet, organ and bassoon. He was also responsible for the local organ, establishing a tradition of instrumental music. This is evidenced by his collection, which contains 840 dance instrumental melodies (1810– 1820). The records are those of the first violin with instrumentation glosses, solo contributions of other instruments, and the names of most of the dances. The collection also contains verbal notes, which help to reconstruct the composition of Hartl’s band. The manuscripts contains the dances ländler, steyrisch, schotisch/egosse, marsch, ungarisch, zweitritt, contra, menuetto, deutschen, hulán, třínožka, bauer, bažant, bonapart, englese, furiant, husa, kalamajka, kögeltanz, švihák. Hartl’s legacy and life story epitomize the versatile work of small-town teachers in Bohemia in the early 19th century – an essential support for cultural growth and a successful national emancipation movement.
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The proposed study examines the intersections between dance therapy methods and ancient ritual practices. In this regard it brings out two basic methodological approaches in the choreographic art as a compositional method in dance therapy. Modern artists who have created new methods in dance therapy, in which can be distinguished links with ritual and spiritual practices from the Antiquity are also indicated.
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