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СОВРЕМЕНОСТА И УМЕТНОСТА

Author(s): Ana Stojanoska / Language(s): Macedonian Issue: 2/2014

Уметноста секогаш е во тек со современоста. Да си современ во уметнички контекст, значи да имаш однос кон сопствените современици и актуелните трендови што тие ги пласираат. Во областа на изведувачките уметности, современоста подразбира следење на актуелните новини и нивно имплементирање во сопствената работа. Современоста и уметноста секогаш се темат што нуди вонредни можности за истражување. Секој уметник, но и научник претендира неговата работа да е имплементирана во современите текови на културата.

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Соната «Пам’яті Боккеріні» М. Кастельнуово-Тедеско: неокласичні риси гітарної творчості

Author(s): Tymur Ivannikov / Language(s): Ukrainian Issue: 40/2018

The purpose of the article. In the article neoclassical features of the guitar creativity of the famous Italian composer of the first half of the twentieth century Mario Castelnuovo-Tedesco are revealed. The methodology is based on the use of historical, phenomenological, comparative, structural-functional methods that allow us to embrace the discourse in the context of the creative searches of a musician. The scientific novelty of the study lies in the phenomenological approach to the analysis of the guitar work by M. Castelnuovo-Tedesco, not studied in Ukrainian musicology. Conclusions. The original author’s intentions were noted on the example of the sonata «Homage to Boccherini» for solo guitar in the original version and the edition of Andres Segovia. Appeal to the genre and style features of guitar quintets by Luigi Boccherini typical for neoclassicism is traced.

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Сонати О. Скрябіна як репертуарний здобуток одеських піаністів

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 41/2018

The purpose of the article is a trailing of the depth of the influence Odessa music-cultural ambiance on Skryabin and intensities of the assimilation inheritance Skryabin in Odessa on example piano offerings and creative searching for Mystery, on the material of the stocking up which were formed up three last Sonatas creator "Prometheus." Methodology emerges the intonation approach of the school B. Asafjev in Ukraine, noted forming in him of the style comparative analysis and history, hermeneutic foreshortening of the musicology method. Scientific novelty of the work is based on concepts of deep sense achievements to salon art Odessa, confidence to which has formed by еnthusiasn of acceptance an Odessa public of the pianist and composer A.Skrjabin in 1898 year, as well as unconditional honouring of music abstraction рrоmystery image-that three last Sonatas of the composer, which have formed music themes of Mystery. Conclusions. Piano school to Odessa had an essential headwaters in the success of the first night of the piano concerto in 1898, which has pawned piety of Skrjabin on essences salon основ his pianism and composition. In Skrjabin composition, ecstatic lyrics discharges profound theatrical antithesis in favor of the mоnоlоgue all embracing joy Overcoming of dramatic/tragedy to being, which entailment dares the handhold on Skrjabin chiming. Mystic generalization of Skrjabin chiming. Withstands the naturalism a Russian Heel and Rachmaninov, but has general with them headwaters in an orthodox instrumental type of church ringing, inseparable from an abstraction of dancing manifestation to sounding.

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Софийски музикални седмици: завръщания

Author(s): Diana Danova-Damyanova / Language(s): Bulgarian Issue: 2/2020

With the opening of the borders after the end of the totalitarian regime, the Sofia’s musical life was “refreshed” both with beloved Bulgarian performers and composers, who spent a significant part of their career abroad, and with those with whom the native audiences met for the first time. Sofia Music Weeks International Festival was a naturally attractive centre for these long-awaited comebacks. Moreover, in 1990 the event was even said to has made a great comeback, interpreted in a broader sense as a return of emigrant musicians, but also as a presentation of previously tabooed music and of foreign conductors and instrumentalists In the light of the continuous expansion of the geography of the participants, the homecoming of famous Bulgarian performers is a lasting trend in the last decade of the rich history of Sofia Music Weeks

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Социалистическият реализъм в сценографията. Разчупването на модела

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Социалистическият реализъм в сценографията. Разчупването на модела

Author(s): Albena Tagareva / Language(s): Bulgarian Issue: 2/2019

This article seeks to highlight some of the key factors of influencing a change in the set design in Bulgarian theatre. The imposition of Socialist Re-alism was a process involving imitation, copying and applying the Soviet model as the only one put in place for six or seven years in Bulgarian theatre practice. Breaking through the dogmatic framework began at the National Theatre, but developed as the so-called conditional scenography across the theatres in the country. This change was propelled first and foremost by Stalin’s death and the Plenary Meeting of the Bulgarian Communist Party held in April 1956, along with the Soviet Mossoviet Theatre’s first tour of Bulgaria, by the young generation of set designers and directors and the expansion of the theatre network.

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Социално-битови приказки за деца в балетни постановки

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Социално-битови приказки за деца в балетни постановки

Author(s): Julia Yordanova / Language(s): Bulgarian Issue: 2/2021

In the report I analyze the ballets The Puppet Fairy (Vaganova Ballet Academy, Choreography by Nikolai and Sergei Legatov - 1903, renewal and editing by Nikolai Tsiskaridze - 2016) and Cinderella (Ballet Theater at the State Kremlin Palace, choreography and staging Vladimir Vasiliev - 1994), which are defined as social and everyday tales, although with them as in almost all ballet works on fairy tales plots, the real to be mixed with the fantastic-magical. The focus of the report is on the stage reading - the libretto and the most popular choreographic realizations. Prokofiev and Bayer.

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Социалнополитически рефлексии в пейзажа през ХХ век

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Социалнополитически рефлексии в пейзажа през ХХ век

Author(s): Milena Blazhieva / Language(s): Bulgarian Issue: 2/2019

On the face of it, landscape painting appears to be neutral with regard to the sociopolitical context where an artwork is created. In fact sociopolitical conditions often significantly impact the development of the genre even when an artist seems to be indifferent to both social and political processes. The paper deals with different examples to illustrate various responses by the artists to the sociopolitical reality. The range of such reactions was wide, from intentional retreat to sharp criticism.Landscapes painted under totalitarianism or authoritarianism and created more often than not under political or social pressure played a special role, becoming something of a political proclamation.

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Соціокультурні передумови виникнення романтизму: світоглядно-естетичні орієнтири

Author(s): Yuliia Moskvichova / Language(s): Ukrainian Issue: 2/2020

The purpose of the article is to determine the socio-cultural prerequisites of the occurrence of Romanticism as a world cultural movement; to examine the basic worldview features of Romanticism and the theoretical concept of the Romantic art having been formed among German aesthetes; to determine the specifics of the Ukrainian Romanticism. The methodology of the study consists of applying aesthetic and cultural, historical, comparative, and systematic analysis methods. Scientific novelty. The worldview and aesthetic orientations of European and Ukrainian Romanticism are systematized, the key problems of the Romantic ethic and aesthetic are clarified; an attempt was made to reveal the conformity of national ideas of Ukrainian Romanticism with the modern worldview and the idea of national consciousness of Ukrainian society. Conclusions. In terms of style, Romanticism is not the only artistic style, but a wide direction, based on the artistic method, the priority of which is freedom, often in its extreme forms. The principle of universalism is a special feature of Romanticism, which combined art, philosophy, and science. The self-worthy human personality acquires particular importance, and Ukrainian Romanticism wasn`t an exception. The formation of Romanticism in Ukraine promoted the awakening of national consciousness, the affirmation of the historical identity of the nationality, cultural traditions, language, and literature. Ukrainian romanticism is closely linked to the national liberation movement, which defined the themes and motives of this direction.

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Соцреалістичний канон та балетна критика середини 30-х рр. ХХ ст

Author(s): Alina Mykolayivna Pidlypska / Language(s): Ukrainian Issue: 3/2019

Purpose of the article is to analyze the aesthetic canon of socialist realism and the principles of D. Lukacs and M. Lifshits in the projection on ballet criticism of the mid-30s. XX century (on the example of the ballet «Bright Stream» by Shostakovich-Lopuhov, 1936). Methodology. The use of methods for analyzing sources, concepts, comparing critical assessment approaches to the consideration of the ballet «Bright Stream» ensured an objective study. Scientific novelty. For the first time, the aesthetic principles of Lukach-Lifshic and the socialist-realist canon were extrapolated to the plane of ballet criticism of the mid-30s. XX century (on the example of the ballet «Bright Stream» by Shostakovich-Lopuhov, 1936). Conclusions. The requirements for observing the principles of socialist realism in art, the main of which were partisanship and nationality, were transmitted through critical articles. Opposing the simplified understanding of realism and its reduction to established stylistic canons, the founders of the journal «Literary critic» (Moscow, 1933–1940) D. Lukach, M. Lifshic, and others defended extra list criticism, since the artistic value of a work cannot be revealed exclusively through a prism style; substantiated the realism of art through proof of the reality of the content of any work of art; introduced the principles of friendly discussion and deep mutual respect of the critic and creator. The article «Ballet Falsehood» (February 6, 1936, criticism of the Shostakovich-Lopuhov ballet «Bright Stream» at the Bolshoi Theater, Moscow) played the role of a translator of the aesthetic requirements of the authorities for the art of ballet, a model of propaganda of mono-ideology through criticism. The article became a kind of warning to critics about the consequences of positive evaluations of ballets without correlating them with the canon of socialist realism.

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Спадкоємність в історії гітарного виконавства

Author(s): Elena Olegivna Drozdova / Language(s): Ukrainian Issue: 3/2018

The purpose of the work. Identification of continuity, the process of the emergence of elements of creative technology in the history of the art of guitar performance. The research methodology is a systematic approach to studying the history of musical performance; cultural and musicological methods of analysis to identify the historical continuity of the technology elements of performance. Scientific novelty. Introduced in understanding the structure of performing guitar musical creativity system-forming concepts of "technology" and "technological process." From the standpoint of these concepts, the appearance in the guitar performing arts of new ways, methods of sound extraction, tone control technologies and the expressiveness of the sound line, individual sounds and chords is analyzed. Conclusions. The analysis of various aspects of the guitar performance technology in the historical aspect reveals two directions of practical significance of such analysis: 1) it allows to correlate the methods and methods of sound production with the traditions of the creation epoch; 2) helps to exclude stylistic features that are not characteristic of this work in the technique of mastering the guitar performance.

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СПАДКУВАННЯ ТРАДИЦІЙ У НАВЧАННІ ХУДОЖНІЙ ВИШИВЦІ

Author(s): Anastasia Vitaliyivna Varyvonchyk / Language(s): Ukrainian Issue: 1/2021

The purpose of the study light the problem related to the tracking of the historical evolution of embroidery, creative activity of the people's masters (on the example of the popular master P. Vlasenko), and determine the development of educational and teaching activities in the direction of embroidery art. The problem of restoring real events of the historical and pedagogical process occurring in schools-workshops on Ukrainian lands is updated. The leading task arose the question of drawing attention to the names of the patients of the late XIX century of the twentieth century, which contributed to the development of professional pedagogy, but whose activities through prohibitions and persecution did not receive appropriate lighting and was comprehensively studied. To develop an urgent problem of Ukrainian self-identification, it is important to establish deliberately forgotten figures, restoring the stupid pages of history Methodology is based on the principles of historical and art historical analysis, methods of systematization of factual material, and typological analysis. To identify the personal contribution of masters in the development of art embroidery, a biographical method of historical, psychological, historical, and pedagogical knowledge was used. Scientific novelty. It is the disclosure of new facts and a solid analysis of the pictorial activities of patients, which were engaged in the development of decorative and applied arts. For the first time, a biographical study of the vital activity of the Master of People's Art of the Ukrainian SSR P. Vlasenko, clarified its contribution to the Ukrainian culture. Reflecting a picture of a person's life as a whole, the relationship between individual histories with the history of society is covered. Conclusions. Based on the results of the study and art historical generalization, we can draw conclusions that traditions and modernity are closely intertwined. Paying attention to the treasures of folk art, telling about the unique experience of the masters of the past, the ways of development of educational and teaching activities in the direction of embroidery art are determined. The transfer of art historical experience when teaching students the basics of composite constructions, recognizing the technological and technical execution of traditional ornamental embroidery, makes it possible to apply the surveyed skills in the future.

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Специализираните (служебни) пътувания – пренос на художествени идеи и прагматичен опит

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Специализираните (служебни) пътувания – пренос на художествени идеи и прагматичен опит

Author(s): Maria Miteva / Language(s): Bulgarian Issue: 2/2020

Travelling, as an opportunity to transfer art ideas and gain experience, is a phenomenon important to the adopting cultures in the periphery. The social development of Bulgaria witnessed throughout the 1930s a real inclusion in the cultural processes of the main European centres. This article deals with the three types of business trips in the said period: to study a particular problem; endeavours that transferred national content to a foreign milieu as well as participation in international professional events. The text examines more precisely the Bulgarian participation in the 1935 International Congress of Architects, organised by a group of French architects and co-hosted by Prague, Vienna, and Budapest. The choice of the Bulgarian participants was made on the basis of these specifics and on the delegation were as follows: arch. L. Tonev, a French graduate; arch. T. Krastanova, a graduate of the Vienna University of Technology; arch. D. Fingov and arch. B. Kapitanov the sculptors V. Zidarov and D. Luchiyanov, who worked for Sofia Municipality. The Architect journal provided a platform for the delegates to cover extensively the event: from information about the course of the congress to an excerpt of arch. L. Tonevs’ speech to a report by the Bulgarian delegates and a number of publications on the topics discussed at the congress. The readers of the journal of the Society of the Architects in Bulgaria obtained in a timely fashion an idea of the overall picture of that important event. The unreserved sharing of what had been learned, seen and experienced was adequate to the efforts of the Bulgarian specialists to develop a local professional community according to parameters set by the leading centres in Europe.

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Спецификация и основни параметри за качество на хартията

Author(s): Denitsa Ivanova-Alexandrova / Language(s): Bulgarian Issue: 1/2018

The paper pulp and the product created by it are characterized by specific parameters, categorizing the type and the different purpose of the paper and the cardboard. The composition of used ingredients, which, depending on the species and percentage ratio of the individual components, creates high-quality papers, more specialized for printing traditional and digital graphics or lower quality papers intended for domestic, mass use(books, newspapers, magazines, promotional materials, etc.). Basically, the raw materials used for paper production and at the same time responsible for the individual characteristics of the product can be divided into four groups: fibrous material, binders, fillers and colorants.Thanks to their qualitative and quantitative composition, specific physical characteristics are distinguished, determining the surface of the paper (appearance), its opacity or transparency, strength, weight and thickness, grain, aging. The report concerns precisely the specification and quality parameters that give an individual look to the different types of paper and cardboard.

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Специфики на теренната и архивната работа на Тодор Джиджев (върху материалите в Музикалнофолклорния архив на Института за изследване на изкуствата)

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Специфики на теренната и архивната работа на Тодор Джиджев (върху материалите в Музикалнофолклорния архив на Института за изследване на изкуствата)

Author(s): Diana Danova-Damyanova / Language(s): Bulgarian Issue: special/2021

The text focuses on just a fragment of the copious content of the Folk Music Archive at the Institute of Art Studies, which was the result of Todor Djidjev’s field work. From the early 1960s to the late 1980s while doing in-depth theoretical research, this authoritative scholar also carried out intensive work in terms of recording, archiving and deciphering musical folklore in his capacity of collaborator to the Music Institute at the Bulgarian Academy of Sciences. His specific manner is characterized by precision, clarity and attention to important details often remaining unnoticed at the rapid pace of doing documentation work on field expeditions and business trips. His numerous notes beside the lyrics and the ever-present information about the performers provide interesting historical data on settlements, descriptions of customs, useful explanations of obsolete, foreign (mostly Turkish) and dialect words. His diligently notated examples, immaculate in terms of their veracity to the originals, provide a moel in terms of conscientious marking of all phonographed song samples for the purpose of achieving maximum objectivity.

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Специфични аспекти на пътуване в съвременното анимационно кино

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Специфични аспекти на пътуване в съвременното анимационно кино

Author(s): Radostina Neykova / Language(s): Bulgarian Issue: 2/2020

The text explores the specifics and different variants of travel construction, the use of road symbols and the transition in distance and time in several key examples of contemporary animated cinema.

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СПЕЦИФІКА ВИГОТОВЛЕННЯ АРТЕФАКТІВ ПЕРВІСНОГО МИСТЕЦТВА

Author(s): Tetiana Ihorivna Sovhyra / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools at hand have become cultural artifacts, and in the end – and works of art. The introduction of technological inventions has radically changed the specifics of the manufacture of art products. Consequently, as a result of the transformation of technological devices and understanding the logic of the organization of the production process, there is not only a decrease in the form of artifacts but also an improvement in the aesthetic form.

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Специфіка орнаментальної стилізації декору стилю модерн

Author(s): Svetlana Obskaya / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to analyze the symbolic meaning of the zoomorphic, phoromorphic, ornithomorphic and insectomorphic motifs of the Art Nouveau decor, to reveal the specifics of ornamental stylization. Methodology. The article applied the system-historical method of research (for understanding the specifics of ornamental stylization in development), system analysis (ornament of modern style is considered as part of a sign system), as well as methods of classification and comparative analysis (used in the study of visual material). Scientific novelty. The ornamental motifs of the Art Nouveau décor are analyzed; the prerequisites for the emergence and development of the floral and geometric ornament, the principles of stylization of ornamental images and their symbolism are determined. Conclusions. The innovation of images prevailed in the works of modernist artists, who developed a new color, shape, texture, and most importantly – a unique ornament, which became a characteristic feature of the style. Floromorphic, zoomorphic, ornithomorphic, insectomorphic, anthropomorphic and geometric motifs, which were distinguished by relative figurativeness and allegory, become the leading theme of modern ornamentation, interpreted as a symbolic system that conveys an unreal, amazing and wonderful world. Modernism arose at the same time as symbolism - without much relevance to philosophical idealism or emotional symbolism, modernists used many stylistic forms designed by symbolists to give their art ideological significance. The quest for Art Nouveau artists is an attempt to create a personal mythological space by appealing to fantasy, elements of the mystical, immaterial, and, in some cases, the non-standard use of the primary principles of plastic language.

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СПЕЦИФІКА СТАНОВЛЕННЯ ТА РОЗВИТКУ ХУДОЖНЬОЇ МАНЕРИ МИКОЛИ МАЛИШКА (1961–1967 РР.)

Author(s): Yurii Horpynych / Language(s): Ukrainian Issue: 1/2021

The purpose of the article. The article identifies the main factors that influenced the formation and development of Mykola Malyshko‘s artistic style in the context of the cultural and artistic processes of the 1960s. Methodology. The following scientific methods are combined: analytical, systematic, historico-cultural, contextual, comparative, and art analysis. The use of these methods allowed us to investigate the period of study of Mykola Malyshko at the Kyiv State Art Institute in 1961–1967, to outline the circle of communication of the artist, as well as to determine the characteristic features of his creative style. Scientific novelty. The work is the first fixation of unknown facts from the creative biography of Mykola Malyshko. Conclusions. During the studied period, Malyshko tries himself as an easel painter, monumental painter (mosaic), sculptor. After analyzing the currently existing information, namely «Svoboda, yak vyiavliaietsia, – tse volia dlia svavoli… : [besida Oleny Yehorushkinoi ta Pavla Hudimova z khudozhnykom M. O. Malyshko ta yoho druzhynoiu N. M. Denysovoiu], s. Maliutianka, Kyivskoi obl., 2012–2013 rr.», we can confidently assert that the main factors that influenced the formation and development of Mykola Malyshko‘s artistic style in the 1960 s, were active participants in the activities of the club of creative youth «Suchasnyk» and attempts to move away from the methods of socialistic realism in art. This is clearly illustrated by: a mosaic portrait of T. G. Shevchenko made in 1961; exhibitions at the Taras Shevchenko Kiev State University 1963–1964; the development in 1967 of scenography on the occasion of the 70th anniversary of Les Kurbas, which he implemented together with colleagues Viktor Grigorov and Viktor Ponomarev during his studies at the Kiev State Art Institute and in sketches from summer student practice in 1962 and 1964, that the artist himself considers significant in the formation of personal creative style.

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Специфіка театрально-глядацької взаємодії в українському музично-драматичному театрі (остання третина ХІХ – початок ХХ століття)

Author(s): Irina Mykolayivna Yan / Language(s): Ukrainian Issue: 40/2018

The purpose of the Article. The article considers the specificity of theatrical-spectator interaction in the Ukrainian music and drama theater in the context of ethnic-social processes of the last third of the XIX – beginning XX century. The methodology of the research is the use of historical-cultural, comparative and art methods. This methodological approach allows us to explore the ideological-aesthetic and creative aspects of the theatrical-spectator relations in the Ukrainian musical and drama theater, which directly influence the direction of theatrical activity. The scientific novelty of the work is to the analysis of the specific features of theatrical and spectator interaction in the Ukrainian musical and dramatic theater in the sociosphere of society. Conclusions. The activity of the outstanding masters of the Ukrainian scene promoted the national culture among a broad audience, encouraged the formation of its spiritual priorities and was an essential factor in ethnocultural identification.

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Список научных публикаций С. С. Рябцевой

Author(s): / Language(s): Russian Publication Year: 0

List of works by Svetlana Ryabtseva

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