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The first part of the journal is devoted to a prominent researcher and pedagogue of the Department of Musicology of the Palacký University, Prof Alena Burešová, PhD (1947) to her life jubilee. The readers are offered a selection from the rich publishing activities of the author from the 1970s to the present, whether it is academic studies on domestic and international topics, reviews, or other texts of scientific and popularizing nature. One of the chapters presents also an unpublished selected bibliography focused on children's choirs from the 1970s, partly the early 1980s.
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Hudba a ztišení, tak by se dal ve zkratce shrnout další koncert z cyklu Music Olomouc, který proběhl 5. října opět v Uměleckém centru UP. Vystoupil zde ansámbl Konvergence, vedený Ondřejem Štochlem. Všem uvedeným skladbám byl společný jednak důraz na témbrovost jednotlivých nástrojů a použitých technik a jednak práce s tichem. V průběhu večera zazněly jak skladby zavedených skladatelů (Tristan Murail, Salvatore Sciarrino, Jakob Ullmann), tak i současných českých autorů z okruhu skladatelského sdružení Konvergence (Tomáš Pálka, Michaela Pálka Plachká, Ondřej Štochl). V rámci recenze není prostor na podrobné hodnocení všech skladeb, z nichž každá byla – přes výše naznačené spojitosti – svébytným dílem. Zastavme se spíše u některých otázek, které koncert před pozorným posluchačem rozprostřel.
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The paper is an overview of the Ottoman Turkish archival records stored in the “Oriental Collections” department of the National Library “St. St. Cyril and Methodius”, which are related to the history of Kazanlak and its district from the 17 th century to the period after the Liberation. The presented records are part of various collections: “OAK” and “НПТА”, as well as from some archival funds (main funds, the so called “A” massif funds and pre-funds) of Kazanlak, Stara Zagora, Plovdiv and the old sanjak Chirmen. It is presented also a brief review on the history of the town and the region.
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András Hatházi’s essay explores the pedagogical and technical issues regarding actor training raised by the shift of approach and, at the same time, by the diversity seen in contemporary acting in our region. In our Marginalia-section we attempt to set the author’s thoughts in reflection with the side notes written to the text by actor(-teacher) and director colleagues, thus creating abroad context of interpretive perspectives. The contributors are: Katalin Berekméri actor(-teacher), Balázs Bodolai actor, Bálint Botos director, Zsolt Csepei actor, Dorka Porogi director, Ferenc Sinkó actor, choreographer(-teacher).
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At the Shanghai Theater Academy’s summer course, participants from 18 different countries had the opportunity to study this traditional Chinese art form. Emőke Bodor’s article delves into the details of Peking Opera training, exploring the impact of discipline and precision on artistic expression. The training included both practical and theoretical courses, putting great emphasis on the importance of movement techniques, costumes, masks, and gesture systems. The report uncovers the complexity of the Peking Opera genre, from the intricate ”water sleeves” movements to the power of stage presence, highlighting the profound aesthetic and cultural significance of the genre.
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The article examines comparatively two Romanian stagings of Chekhov’s masterpiece The Seagull: the 1974 TV adaptation directed by Petre Sava Băleanu and the performance produced by Dumitru Acri" in 2023 for the “Radu Stanca” National Theatre in Sibiu. While my analysis reveals two completely di#erent artistic visions of the play – one austere, which strives to capture the essence of Chekhov’s text, and the other explosive, which aims to bring the Russian playwright into our contemporary context -, I believe these two visions are complementary and should be evaluated primarily in terms of internal coherence rather than by asserting one’s superiority over the other.
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This paper reviews two of the most important recent productions directed by Silviu Purcărete (Death and the Ploughman, staged in Iași in 2021, and Gertrude, staged in Bucharest in 2023), focusing on how the components of these two productions influence the audience's perception of the spaces in which they take place. The author will prove that the main objective of a theatre performance is to occupy this space through various means (scenographic and interpretative). Thus, through the presence of these elements, a theatre performance offers the audience a new understanding of the significance of space.
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