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In the construction of a contemporary choreographic vision, multimedia is also used as a second parallel action – for example, A la recherche de Don Juan by Maurice Béjart or A’propos Medea by Margarita Gradechlieva. Sometimes it marks the hero’s dreams (in Matthew Bourne’s Swan Lake). Or, emphasis is placed on the place of action (in Alice’s Adventures in Wonderland by Christopher Wheeldon). Rarely do video projections gain autono-my and tell a story that differs from what happens on stage, as in Adoration and Violence – variations on the theme Don Giovanni (by Boryana Sechanova). But the impact is stronger when choreographers design the plot in the field of dance. In Snow White and the hip-hop group “The Dwarves”, Tonika Todor-ova uses multimedia both as a décor (the dance halls of Snow White and the Stepmother), as a video link (when the dwarves call the Prince), or when Stepmom finds Snow White’s video lessons on TV. Film art is increasingly becoming a source of stories for choreographers.
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The technology of the so-called AI (AI – Artificial Intelligence) became extremely popular after the emerging of platforms like ChatGPT and ones generative for images like Midjourney. Many researchers argue whether this is real artificial intelligence, explaining that the more accurate terms should be machine learning and ANN – Artificial neural net-works. The ideas behind all that technology could be traced back to Turing and his famous paper “Computing Machinery and Intelligence”, where he asked the simple question “Can machines think?”. There he also proposes a test, now called the Turing test, that became a symbol for determent of artificial intelligence. As no machine has ever passed it, we have to accept that what we observe is just new generation algorithms that, together with the new generation of computing power and growing database online, could imitate any form of art. But as it is purely and visibly imitation, we should ask the fundamental question is it truly art?
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This paper is based on my student thesis in comparative literature. The material examined consists of two sources, the video game Bioshock, and the novel based on the video game, the prequel Bioshock Rapture. Theories regarding traditional literary studies, adaptation studies, remediation, and transmediality are utilized, whereas the content is analyzed through gender theory. The adaptation can be considered as an adaptation of the storyworld, rather than the conventional form of adaptation. Manifestations and representations of gender are analyzed based on how they are transmediated between two rather different types of media. The analyses conducted indicates that gender, as understood within the paper, is represented rather stereotypically to direct criticism against the representation itself. This kind of representation is also emphasized in the transmedial process of the novel adaptation.
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This article delves into the daring practices of the French artist ORLAN, investigating her visionary approach through the lens of a post-critical perspective. We explore the dynamic interplay between new digital technologies, such as augmented reality, posthumanism, body art, and feminism, as embodied in ORLAN’s transformative works. Drawing from a post-critical stance, we analyse the transformative potential of ORLAN’s art, moving beyond mere critique to propose constructive alternatives. Augmented reality and her surgical digital performances in which she alters her body enable ORLAN’s interventions to challenge established norms of identity, personification, and aesthetic sensibilities. Following this, she considers technology to be the extension of the human body throughout her practices. The collaborative and dialogic dimensions of ORLAN’s augmented reality installations resonate harmoniously with the tenets of a new wave of critical theories, fostering participatory environments and nurturing communal engagement. By embracing a post-critical lens, this analysis unveils the transformative vision of the artist, underscoring its seminal import within the sphere of fine art movements, feminism, and the reconceptualisation of identity, embodiment, and aesthetics.
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This article examines the illustrative techniques in the work of the artist Salvador Dali in the second half of the twentieth century. His illustrations for the book "Alice in Wonderland, bible and Don Quixote are the subject of research. The graphic techniques and compositional techniques in the artist's work are analyzed.
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This article examines the influence of abstract art on the work of contemporary fashion designers. The object of research is the work of Piet Mondrian and its application in modern fashion designers. Different fashion collections are analyzed.
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Bulgarian fine arts from the first three decades of the 20th century have an extremely diverse character. With the appearance of different styles on the Bulgarian art scene, artists have often been wandering between the national idea and foreign art. On the one hand, the Bulgarian artists, who had studied abroad and felt the true nature of symbolist art, wanted to speak in its universal language of the themes, but on the other hand, they wanted to emphasize their native and cultural affiliation which distinguishes them from the other nations. A significant part of the artists participating in the Native Art movement recognized symbolism as an appropriate artistic language for the visualization of Bulgarian folk songs and myths. With the establishment of the Native Art artistic society in 1919, a new chapter in the country’s cultural life began. It gave a safe haven to many different creative personalities, all of whom united by the main motive of searching for characteristics of the “native.“ Paintings of nymphs, mermaids, dragons, vampires, monsters, witches, and other images from the folklore tradition began to appear more and more often on the walls of art galleries. The Bulgarian artist became more interested in the authentic folklore of his/her nation as a true source of inspiration. This article aims to examine various source materials (songs, legends, fairy tales) and to systematize and present the main mythological creatures from Bulgarian folklore, which finds its visual form in the works of Bulgarian artists from the first three decades of the 20th century.
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During the 18th century, science developed rapidly and played an important role in society. Anatomy and the related sciences were no exception. The most important work on human anatomy at that time was 𝑇𝑎𝑏𝑢𝑙𝑎𝑒 𝑆𝑐𝑒𝑙𝑒𝑡𝑖 𝑒𝑡 𝑀𝑢𝑠𝑐𝑢𝑙𝑜𝑟𝑢𝑚 𝐶𝑜𝑟𝑝𝑜𝑟𝑖𝑠 𝐻𝑢𝑚𝑎𝑛𝑖 by the German anatomist Bernhard Siegfried Albinus (1697–1770). He owes his popularity to the illustrations in his book, drawn by the Dutch painter Jan Wandelaar (1690–1759). They are distinguished by outstanding scientific accuracy and precise execution. Bernhard Siegfried Albinus’s Tabulae Sceleti et Musculorum Corporis Humani is the most famous anatomical treatise of the 18th century, which set new standards for the anatomical illustration thanks to the popularity of the engravings of Jan Wandelaar. Standards were created by the partnership between artist and anatomist.
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The article analyzes a beginner’s guide to icon painting, written by the 20th-century iconographer Nikolai Shelekhov in Germany in 1965. It contains important advice, recipes for the ancient technique of icon painting, and also moral rules concerning the iconographer. By studying the guide above, one may conclude that the author possessed great professional skills and a sense of proportion and beauty. The work gives a more complete idea of the manner and techniques of iconography, as well as of the goals set before painting the icon. “Usually, technique is given the last place, being considered a matter of some special artistic cuisine, an extremely uninteresting and boring matter. This is one of the most ossified, deep and sad misunderstandings, because the technique is not only a random way of expressing the thoughts and feelings of the artist, but often a guiding, even decisive moment in creativity” (I. E. Grabar).
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Katalin Ágnes Bartha's article on the premiere of The Tragedy of Man in Cluj Napoca.
More...Látó 2023/8–9.
The August/September thematic issue of the literary journal Látó featured five recent contemporary Hungarian plays. Marcel Bélai reflects on the impressions the texts made on him as a director, as well as on the possibilities and problems raised by Csaba Székely’s Az igazság gyertyái (The Candles of Truth), Sarolta Döbrentei’s Semmelweisre várva (Waiting for Semmelweis), János Háy’s Elem (Battery), Zoltán Egressy’s Szarvas a ködben (Deer in the Mist) and Leonidasz Purosz’s Honvágy (Homesickness).
More...Drámatábor a Székely Mikó Kollégiumban
The coordinators of the summer drama camp of the Székely Mikó College report on this year’s experiences in a four-handed piece. Each day was divided into two parts: in the morning, the focus was on drama games, and in the afternoon they dealt with a community problem in a global simulation as characters in an imaginary world they created together. They could take on the role of members of the Avanzsálók (Advancing) tribe, who have lived their daily lives in peace on an island for centuries, but now have to face a new threat, a hostile power. The camp was also an important milestone for the organisers, as it marked the first step in their work together in the field.
More...A nagybányai Teleki Magyar Ház és a szatmárnémeti Borókagyökér Egyesület Lépésház színjátszó táborai
The author of this report has been organizing drama camps together with Blanka Moldován for almost a decade under the auspices of the Teleki Hungarian House in Baia Mare, and in recent years also in Satu Mare, in the Lépésház event centre of the Borókagyökér Association. In the present article, Gergő Frumen summarises their experiences accumulated so far, and clarifies such basic questions as who actually attend these camps, what is the personal motivation of the camp leaders and the methodology they use – for example, how they channel the wish expressed by a considerable number of participants to create a presentable production.
More...Csalamádé tábor
The author, as the organiser of the Csalamádé drama camp, may well be self-consciously biased when asserting that the summer event organized primarily for high school students, can be a solution to boredom, loneliness, or even school problems lurking below the surface. During the two weeks, six theatre professionals – Gábor Kolozsi Borsos, Ákos Páll Gecse, Tamás Kiss, Szabolcs Korpos, Dorottya Sikó and György Kányádi – held workshops for the participants. Beyond the professional programmes, we also get a taste of the camp life experience – Helga Balázs confesses she is delighted that it starts to be a privilege to be a Csalamádé-camper.
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The collective creative method, also known as devising in contemporary theatre-making, is gaining ground in the practice of theatre groups and collectives in Romania. In this context it seems necessary to examine the history of the concept in Transylvania, in particular in the period between the Second World War and the regime change of 1989. According to Adorjáni, first it was the Soviet model of collective working methods, and then mostly the Western European and North American experiments that had an impact on local theatrical thinking in this period. The study draws on the press coverage of the time to support this view.
More...Hatházi Andrással beszélget Köllő Kata
András Hatházi knows that it is difficult to define what ”authenticity” means exactly in the case of an actor, yet for him it is the most important professional value, and he feels that his work in film has brought him closer to finding it. In the interview, he reflects on the difficulty of acting in Romanian, on the problems of domestic actor training, on the existence of Hungarian film industry in Transylvania, as well as on the difference between a stage situation and an interview situation.
More...Pálffy Tiborral beszélget Köllő Kata
In recent years, Tibor Pálffy has taken on the role of director on several occasions at the Tamási Áron Theatre. In this interview, the theatre critic Kata Köllő raises the question if he has similar ambitions in film directing, too. Pálffy, also known by the nickname ”Hobo”, toys with the idea, but he is sure that the filming would take place in a theatrical setting and would focus on the actors. His experience as an actor has shown that film and theatre are very different worlds, and as a teacher he believes it would be good for students to have more opportunities to get to know the camera.
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Lovassy Cseh’s essay calls into question the classification of Transylvanian vs. universal, theatre vs. film actor when evaluating the qualities of István Téglás. He observes Téglás’ art of acting in four films: the way his body movements are permeated by a subtle blend of consciousness, attention and control, his delicate gestures, the mystery of his presence, his pinpoint attention and the way he maintains silence. Téglás’s work as a film actor is characterised by an authentic and profound portrayal of the character, born out of a mixture of instinct and awareness.
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