Техника и технология на стенописите в църквата „Покров Богородичен“ при постницата „Св. Ев. Лука“

Author(s): Milena Donkova / Language(s): Bulgarian / Issue: 7/2011

The development of techniques and technologies in mural painting in the period of the Bulgarian National Revival is still an insufficiently studied matter. Alongside changes in styles, changes in the materials used for wall painting are witnessed over the period. Introduction of oils in the texture of the painting layers as a binder in their own right in the form of oils or combined oil emulsions is a most typical and significant characteristic of the painting of the period. The paintings by Toma Vishanov show even at first sight that they have not been done using the traditional tempera technique, evidence of which is provided by the high intensity of the colouring of the murals, hardly achievable with tempera technique. His murals are a rare example of the use of oil as a binder in its own right in the painting of that period. Toma Vishanov’s wall paintings mark a new stage in the development of monumental painting in the period of Bulgarian National Revival. The use of oil-based emulsions as a main binder occurs for the first time within Bulgarian lands in his wall paintings.

Технология и комуникация. Съвременното кино за деца и юноши

Author(s): Radostina Neykova / Language(s): English,Bulgarian / Issue: 2/2017

While analyzing media arts for children and adolescents, we cannot help directing the attention towards understanding psychological aspects and specifics of the audience’s age. The choice of technology and the expected communicative relationship is based precisely on typical trends, the examination of genre characteristics, importance of external factors, the development of their various skills and more of the targeted child and adolescent age group.

ТЕХНОЛОШКЕ И УМЕТНИЧКЕ ОРИЈЕНТАЦИЈЕ ЕЛЕКТРОНСКОГ СТУДИЈА РАДИО БЕОГРАДА

Author(s): Vladan Radovanović / Language(s): Serbian / Issue: 49/2020

I planned the establishment of the Electronic Studio of Radio Belgrade back in 1966, while I was working at the Experimental Studio in Warsaw. The proposal for the establishment of the Studio was accepted only by Aleksandar Acković, the head of the Third Program. For financial reasons, a computer studio was not established, but rather an analogue one with voltage control. Its main task was to realize a part of independent electroacoustic music. In order to master the process of composing, composers were trained for independent work or collaborated with Studio staff. In the range between the objective and the mental, both determinism and indeterminism were chosen. Media orientations ranged from electronic immanence to simulation of vocal-instrumental music using electronics. Electronic music components for multimedia works were also realized in the Studio. The stylistic orientation encompassed both modernism and postmodernism. After the war in the 1990s, Studio activities were completely reduced and this situation remained until its reactivation in 2015.

Типове художествени фестивали и артистично многообразие

Author(s): Lyubomir Kutin / Language(s): Bulgarian / Issue: 2/2015

Art festivals, particularly in recent years, have participated increasingly actively in the exchange of cultural values in artistic life. An adequate evaluation of their role for the contemporary society requires a more precise definition of their specifics, potential, benefits, and possible adverse consequences. The paper analyses the attempts at classifications of the arts and types of festivals. Using the provided data, a model of a typology of art festivals is proposed. The model takes into account both the achievements of the theoretical apprehension of the arts, and the specifics of the festival practices, which draw energy from various systems of social life.

ТИПОВИ НА ОРА ВО ИСТОЧНОТО ИГРООРНО ПОДРАЧЈЕ НА МАКЕДОНИЈА

Author(s): Stojanche Kostov / Language(s): Macedonian / Issue: 4/2017

The subject of this paper is the most common types of dances in the eastern region of Macedonia. This region abounds with a diverse repertoire of folk dances that have been practiced in the past, and some of them are performed today. In order to identify a dance, it is important to have a good knowledge of its dance pattern. The knowledge of the dance pattern helps us to realize many different elements of the dance: the rhythmic pattern of the steps, the starting position, the direction of movement, the shape of the game etc.

Титул

Author(s): Author Not Specified / Language(s): Bulgarian / Issue: 1/2012

Титул

Author(s): Author Not Specified / Language(s): Bulgarian / Issue: 2/2013

Титул

Author(s): Author Not Specified / Language(s): Bulgarian / Issue: 3/2014

Тихомир Арсић (1957-2021)

Author(s): Boško Puletić / Language(s): Serbian / Issue: 196-197/2022

Том Стопард в България

Author(s): Kamelia Nikolova / Language(s): English,Bulgarian / Issue: 3/2019

The study deals with the earliest productions in Bulgaria of Tom Stoppard’s post-modern drama in the 1990s and at the turn of the twenty-first century. These were just a few, based on plays by the British playwright: Rosencrantz and Guildenstern Are Dead, Every Good Boy Deserves Favour and Arcadia, but each of them generated key transitions and turns in Bulgarian theatre practice in the wake of the political upheaval of the late 1980s. Looking at the theatre map of Bulgaria of the last three decades, it becomes apparent that two have been the productions based on Tom Stoppard’s plays that have marked the transition of Bulgarian theatre from the socalled ‘late/belated modernism’ to the early conceptual postmodernism (the performance of Rosencrantz and Guildenstern Are Dead, believed to mark the beginning of British post-modern drama, by the National Theatre, London, in Sofia in 1996) and from conceptual postmodernism to performative aesthetics (Arcadia by director Galin Stoev, 2000/2001, Ivan Vazov National Theatre, Sofia). Both events were followed by intensive changes in the staging practices and acting of many young and some of the innovatively minded established actors and groups. These changes gave key impetus to some of Bulgarian directors and performers to embrace the latest trends in contemporary dramatic arts at the turn of the century. And if the virtuosic performance of London-based National Theatre in the mid-1990s brilliantly reasserted the nascent at the time stage practice of some of Bulgarian companies to relish the play with quotes and references, revitalising it, Galin Stoev ‘s Arcadia set the aesthetics of performative theatre, of a performance as a real-time authentic experience of both actors and spectators. To explore this inspiring dialogue between Tom Stoppard and contemporary Bulgarian theatre, the study presents this emblematic writer of post-modern dramas to then proceed with the major Bulgarian productions of his plays. In conclusion, Tom Stoppard’s role in the development of Bulgarian post-modern theatre is reviewed.

Томи Кърклисийски: „Музикално-теоретична мозайка“

Author(s): Snezhina Vrangova / Language(s): Bulgarian / Issue: 1/2021

Tomi Karklisiyski’s book “Musical-Theoretical Mosaic” is an ingenious musicological study incorporating multidirectional vectors of the phenomenon of music towards the world of creativity. The four thematic parts: Around the World of Music Genres and Forms, Literature – Music, Culture – Music and An Attempt at a Musicological Sketch include four studies conducted in different periods and marking significant stages in the long and rich creative career of the author. Through the lens of music itself in terms of composition, genreness, ritual, memory, but first and foremost spirituality, in this brilliant text there come to be heard (albeit in contrast, but cohesively) music’s critical and theoretical interpretation, national literary and poetic works, problems of cultural reception and self-reflection on the development and current condition of the Bulgarian music genre system, i.e., musicology and music education.

ТОНАЛНИТЕ И ФОРМАЛНИТЕ КАРАКТЕРИСТИКИ НА ИНСТРУМЕНТАЛНАТА МАКЕДОНСКА ЕТНОПОП МУЗИКА ОД 80-ТИТЕ ГОДИНИ НА 20-ТИОТ ВЕК

Author(s): Alexander Dimitrijevski / Language(s): Bulgarian / Issue: 20/2021

The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. 353 The instrumental Macedonian ethnopop music was the main subject of interest in one of my previous researches dedicated to its most profound development especially in the 1980ties. In this paper the primary focus is set to the tonal and formal characteristics of this music as a unique music phenomenon and its musical pieces as its primary product. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces. Also, a special attention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music versus the reproductive process of this music.

ТОНАЛЬНИЙ ОБРАЗ МАСОВОГО ТЕАТРАЛІЗОВАНОГО ВИДОВИЩА В КОНТЕКСТІ СТВОРЕННЯ ЗАГАЛЬНОСЦЕНІЧНОГО ХУДОЖНЬОГО ОБРАЗУ

Author(s): Nikolaj Kripchuk / Language(s): Ukrainian / Issue: 1/2018

Purpose of the Article. The article aims to determine the problems and their solutions of the sound design of a mass theatrical performance when creating a tonal image of the production. The methodology of the research consists in the application of musicological, cultural, art, system-structural and comparative methods which allowed us to consider the object under study as an integral part of the vast area of spectacular art at the present stage. Scientific Novelty. In the article the process of the sound decision of the mass theatrical performance was studied for the first time, the features of creating a tonal image of the production were considered, the specifics of the localization of the sound center and the specificity of the integrated sound reinforcement system were characterized, and the director's musical and performance competencies were accentuated. Conclusions. The embodiment of the director's plan depends mainly on the general concept of the musical decision of the production. The contemporary director, considering the dialectical connection between the development of art and culture, scientific progress in the context of technical means of expressiveness, must have musical and staging competences, which are the primary factor in creating a tonal image of a mass theatrical performance. Such view of study makes it possible to understand this process as a general aesthetic phenomenon.

Топиката като смислов хоризонт на оперната интерпретация. Особености в операта до Глук

Author(s): Irina Haralampieva / Language(s): Bulgarian / Issue: 1/2009

Тотю Тотев на 70 години

Author(s): Stanislav Stanilov / Language(s): Bulgarian / Issue: 3/2001

Травматичният поглед на филмовата памет: принудителната асимилация във фокуса на посттоталитарното българско документално кино

Author(s): Andronika Martonova / Language(s): Bulgarian / Issue: 3/2021

Documentaries cover the subject of the extremely tragic processes of forced assimilation of Muslim population in Bulgaria in different ways. During the Communist regime, they feature the negative political visions. Social engineering in the totalitarian state aimed at confessional unity of the nation and this process was especially intense during the 1980s. Documentaries were a part of the government manipulative tools that targeted revival of the communist nationalism and an apprehensive play on the strings of patriotism. Cultural propaganda covered up repression, assaults, forced change of names, forced deportation, internment in prison camps, harassment of intellectuals from the Muslim community, and human rights violation.After 1989, Bulgarian filmmaking started interpreting this traumatic past in a different way, making a reassessment of history. Documentaries also took an active part in the debate on totalitarianism, using the screen to throw light on the political crimes. Beyond any dispute, one of the most painful subjects is the violence against Muslim communities that escalates to genocide. The subject of assimilation was more intensely covered during the 1990s and in the beginning of the Millennium. During the last decade, it gradually faded away and young authors today even neglect it. Although many good films have been made, we still get the feeling of insufficiency and understatement. The cinematic interpretations reactivate and question the traumatic memory, and further diagnose society. Quality documentary filmmaking always provides a multifaceted image of the past, preserves memories, and manages to aestheticize history in opposition to the trivial media images of the trauma.This paper analyses the genre and typological patterns specific for post-totalitarian Bulgarian documentaries. The focus of the study falls on leading authors, such as Maria Trayanova, Tatiana Vaksberg, Ivan Rossenov, Adela Peeva, Iglika Trifonova, Antony Donchev, Stanislava Kalcheva, Irina Nedeva and Andrey Getov, Dimitar Kotzev-Shosho. Two imagery trends are mainly identified: 1) documentary investigation with reconstruction of historical chronology and handling extremely valuable archives; 2) domination of the apprehensive portraiture genre, where personal records of events shape the picture of events in the past and track the consequences in the present. So far, Bulgarian film studies lack any full comparative study of the screen interpretation of assimilation processes before and after 1989.

ТРАДИЦИОНАЛНЕ НАРОДНЕ ЕКОНОМСКЕ ЗГРАДЕ НА ПЛАНИНИ ТАРИ

Author(s): Miloš Matić / Language(s): Serbian / Issue: 177/2021

Traditional folk architecture on Tara mountain, generally speaking, belongs to cultural areal of traditional building of dinarska brvnara type, i.e. building made of wood. In direct connection with Zlatibor mountain, where we can find some of the best examples of vernacular architecture, traditional building on Tara mountain does not show any specificity but at the same time does not lag behind comparison with other regions with the same type of building. In this paper we are presenting results of ethnographic field research in traditional folk construction of economic buildings. The field research was accomplished during years 2015 and 2016 in villages on Tara. The emphasis is on the economic buildings which are directly derived from structure of economic activities of rural population and we are taking into account both traditional and contemporary economic buildings. In this paper basic forms of organisation of space in households are presented as well. Preliminary analysis of the economic buildings on Tara shows that they clearly follow needs of traditional economy, needs which are determined with the culture of social organization as well as with the structure of economic organization. Construction and architecture of economic buildings also points out that they are on high utilitarian level and that they can represent relations between some economic activities.

Традиционната кунчю опера – развитие, характеристика и символика на образите

Author(s): Iskra Mandova / Language(s): Bulgarian / Issue: 1/2021

Kunqu or Kun opera appeared and developed as a new kind of dramatic art during the Ming Dynasty (1368–1644). By the end of the 16th century it had occupied a central spot on the Chinese stage. Two centuries later it became one of the symbols of China and since 2001 it has been part of the UNESCO List of Masterpieces of the Oral and Intangible Heritage of Humanity. This paper discusses the emergence, development, symbolism and characteristic features of Kunqu such as roles, costumes, libretto, language, composition, examples of famous operas, makeup, music and dance.

Традиционната турска музика и колективното пеене

Author(s): Mete Gökçe / Language(s): Bulgarian / Issue: 13/2019

The report presents characteristics of traditional Turkish music and the late entry into Turkish culture of choral singing, under Western influence. It commented the history and evolution of performing and educational institutions in Turkey, parallels between instrumental and vocal music, the views andcontributions of Turkish musicians. The information is drawn from various sources, but is presented in author’s „Puzzle“. It also acquaints with professional attitudes and personal experience of Mete Gökçe as a choral conductor and pedagogue.

Традиционни и съвременни интерпретации на музикално-танцов фолклор в градска среда (унгарски реалности)

Author(s): Natalia Rashkova / Language(s): English,Bulgarian / Issue: 3/2018

The article presents research work on a joint project of BAS and the Hungarian Academy of Sciences, relating to the research on good policies and practices of safeguarding, adoption and upholding of traditional skills from various areas of folk culture and displaying those in specific venues in a contemporary city. The fieldwork observations conducted in Budapest evinced the strong presence of folk music and dance in the events and celebrations held in the city. Established institutional cultural models and method for teaching and joint experience of folklore are highlighted such as Zoltán Kodály’s concept of safeguarding traditional folk music, his method for teaching folk music and the Dance-house (‘Táncház’) movement that enjoyed international recognition and were inscribed on the list of UNESCO’s Intangible Cultural Heritage and the Register of good safeguarding practices.