"A legjobb, amit tehetek, ha nem mondok semmit"

Interjú Dima Levickij ukrán dramaturggal

Author(s): Panna Adorjáni / Language(s): Hungarian / Issue: 3/2017

Panna Adorjáni spoke to Ukrainian dramaturg and theatre creator Dima Levickij about his site-specific audio-walks on Kiev’s Maidan and in Pripjaty, as well as other theatrical projects. They also talk about the financing of independent Ukrainian theatre as well as about the ways and means that enable the use of theatre as a form in order to communicate with people.

"Artyści" – serial przełomu: tekst w kontekście produkcyjnym.

Author(s): Artur Majer / Language(s): Polish / Publication Year: 0

The article discusses factors determining the production process of the TV series "Artists" by Monika Strzępka and Paweł Demirski. Using production culture methodology, the author of the article demonstrates how the production background can be used to understand the message of the series. The article showsthat numerous factors influence this outcome message, including decisions within the production team, structural and organizational changes in Telewizja Polska, financial limitations, artistic compromises or even political changes in the country.

"Bakelito perlai": tarpukario Lietuvos dailė ir gyvenimas

Author(s): Miglė Banytė / Language(s): Lithuanian / Issue: 2(27)/2002

"Beypazarı’nda Kilim Dokumacılığı ve Bitkisel Boyacılık

Author(s): Sinem Hürem Şanlı,Esra Bıyıklı,Ümran Kaya / Language(s): Turkish / Issue: 4/2014

Weaving is one of our ancient handicrafts and fabric weaving was born due to necessities such as covering up, dressing, protection from cold. Afterwards, various techniques, motifs and compositions were developed which led to the richness of Turkish weaving today. One of the most common techniques of Turkish weaving is rug weaving. Rugs woven in Beypazarı Public Education Center and vegetables used in dyeing the wool yarns for rugs were analyzed in this research. In Beypazarı, hall rugs are woven in patterns entitled with names from the region such as Çitimel, Başaklı, Kurtağzı, Beypazarı, Avşar and Ejderha. The most used of these is the hall rug called “Çitimel”. In dyeing of the yarns used in rugs, acorn dust, yellow bush, pinar weed, walnut shell, madder and indigo are used.

"Collaboration, at its Heart, isn't about Control". Interview with Sougwen Chung

Author(s): Bojana Radovanović,Sougwen Chung / Language(s): English / Issue: 4/2020

Interview with Sougwen Chung by Bojana Radovanović

"Declaration of Immortality" – Inspirations Derived from Creative Documentaries by Wojciech Wiszniewski

Author(s): Urszula Tes / Language(s): English / Issue: 24/2014

In his documentary Declaration of Immortality, Marcin Koszałka intentionally refers to the style of Wojciech Wiszniewski. Visual creativity is strongly exposed here, both in the style of filming and the presentation of the hero. The main character in the film, Piotr Korczak, reminds of the monument-like heroes from Wiszniewski’s films, like protagonist from Wanda Gościmińska. A Weaver Koszałka filmed the scenes in the Potocki Palace in Krzeszowice in the manner of Wiszniewski’s long tracking shots. Visual creativity in Koszałka’s and Wiszniewski’s films encompasses the staging, precise frame composition, and their intentional artificiality, which does not nullify the documentary their nature. Form in the works of the directors of Primer (Wiszniewski) and Declaration of Immortality (Koszałka) interacts more or less with the spirit of Stanisław Witkiewicz’s art. Koszałka, like Wiszniewski, ‘dismantles’ reality, exposing the illusion of cinema to present a guru of mountain climbing (Korczak) as a ‘hostage of immortality’. The lonely hero from Wiszniewski-like staged scenes in Declaration of Immortality is presented as an ‘outgoing star’ whose fame has passed, giving way to alienation or a sense of failure. The tension from Declaration of Immortality emerges from the contrast between the way of filming (heroic style), and the meaning of particular scenes. The cinema of Wojciech Wiszniewski includes symbols, metaphors, and allegories. Th is artistic conception goes well with Marcin Koszałka’s concept of cinema, which – since the making of Existence (2007) – has become more and more symbolic, incorporating Baroque-like formal ideas based on strong contrasts to evoke ‘cognitive discomfort’ in the viewer.

"En la forêt de Longue Attente"… ou six promenades dans les bois des Nabis et d’ailleurs

Author(s): Andreea Apostu / Language(s): French / Issue: 1/2012

This paper aims to retrace the manifold, often contradictory meanings underlying the works of the Nabis – an almost esoteric group of French artists which emerged near the end of the 19th century. Their primary sources of inspiration were, following in Baudelaire’s footsteps, remote in both space (Japanese art) and time (Medieval art). I shall attempt to analyse the manner in which several artists of this group use the medieval ambivalence of the forest in their paintings, as well as try to determine whether any major semantic shifts ensue in their treatment of this widespread imaginary topos. The paper’s main thesis is that this ambivalence is adapted to the intrinsic modernist tension between a feeling of despair, coupled with the anxiety of being faced with the positivist, essentially rationalistic explanation of existence, and an enormous desire to transform the world, so that it no longer opposes the Self.

"Inhabit" of Janine Antoni as a metaphor of female creation

Author(s): Edyta Janiak / Language(s): English / Issue: 2 (26)/2018

The article aims to present the figure of contemporary artist Janine Antoni by discussing her most important performances. The author of the article pays particular attention to Antoni’s work Inhabit, which she interprets and analyzes in the spirit of arachnology. This strategy intends to present Inhabit as a kind of metaphor of feminine creativity.

"Joannes Breutelt nobis fecit..."

Author(s): Gražina Marija Martinaitienė / Language(s): Lithuanian / Issue: 2(23)/2001

In Lithuania, cast metal works such as bells and cannons came into use in the 14th century. These were imported items or moulds cast by masters sporadically visiting Lithuania. Only late in the 17th century arrived Johannes Breutelt, born in Lorrain, who seems to have worked for about more than 20 years only in Vilnius and to have made it famous as an important European centre of casting. The author analyzes the life and creative work of this master who so far is not well known. Based on the archive, unpublished sources, the author presents data on J. Breutelt's work in the capital of the Great Principality of Lithuania, specifies its dating, and tells us about his place of residence, property, family. The most significant data are related with revealing many of unknown works of the master, guns in particular. The author has compiled a list of cannons and bells, which allows to perceive the scale and character of I. Breutelt's creative work. Short characteristics of each item present the type of moulding, decorations, inscriptions, the present place of still existing works or the place where a description can be found, their fate peripetias. The paper is illustrated by photographs of J. Breutelt's casts found in Lithuania, as well as diminished copies of the ornaments and inscriptions, which have never been published before.

"Jordskott". Las zaginionych, czyli przekraczanie granic Nordic noir.

Author(s): Tomasz Adamski / Language(s): Polish / Publication Year: 0

The TV crime drama is one of the most popular genres for European audiencesand arguably also the most culturally sensitive and nuanced. The authorin his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics whilech aracterizing this concept. In the course of analyzes, however, he notices thatthe "Jordskott" series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: "Nordic noir", ecological thriller, horror orfairy tale.

"Kairos" fotografii – moment i wartość

Author(s): Joanna Spalińska-Mazur / Language(s): Polish / Issue: 2/2011

Since we have handed over the manufacturing process to machines, the art-photographyreaches the limit where creation is identified with cropping. The article essentially focuseson works by Georges Rousse, who can hardly be placed in the indicated paradigm and whooften declares that his painting interventions in places of different architecture result fromhis drive for sanctification of the places that may disappear or become empty. In case of thistype of activities, we are not dealing with the reflection of the actual history of the placesor a narrative that can be presented, but with the exploration of the possible time orders –not so much logical as imaginary; we are dealing with a higher register of sensations – withheterotopia. Geometric and monochromatic paintings that Rousse creates, based on simplearchitectural patterns to better modify the perception, disappear along with the places thatcontain them. The explosive moment of this art-photography, its kairos, urges the audienceto learn the mystery of the documented places; to travel in search of their original shape andenergy.

"La buona figliuola" Carla Goldoniego a "Czekina albo cnotliwa panienka" Wojciecha Bogusławskiego

Author(s): Edyta Grzywaczewska / Language(s): Polish / Issue: 2/2015

„La buona figliuola” („The Accomplish’d Maid”) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel „Pamela, or Virtue Rewarded”. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and „La buona figliuola” took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. „La buona figliuola” was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it „Czekina albo cnotliwa panienka” („Czekina or a Virtuous Maid”). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – „Czekina or a Virtuous Maid”, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.

"Méwilo" i "Freedom" Muriel Tramis jako pierwsze gry postkolonialne

Author(s): Filip Jankowski / Language(s): Polish / Publication Year: 0

In the chapter entitled “Muriel Tramis’ »Méwilo« and »Freedom« as the First Postcolonial Games, Filip Jankowski examines two digital games accomplished by Muriel Tramis, a game designer from Martinique. The games picture the situation of African-Caribbean slaves and their descendants in a pioneering manner in terms of the medium used. “Méwilo” (1987) and “Fredom” (1988) were created under the influence of the philosophical thought in Martinique, shaped by the pioneers of postcolonialism such as Aimé Césaire and Frantz Fanon, as well as their critics impersonated by Édouard Glissant and Patrick Chamoiseau. Both games differ in terms of applied convention. “Méwilo”, which is a thorough documentary game, focuses on questioning the following inhabitants of the city of Saint-Pierre, the day before the devastating eruption of the Montagne Pelée volcano in 1902. The opposition between the black inhabitants of Martinique and their metropolitan torturers, although strongly outlined, is subject to problematization in both games. Among the main characters of the Tramis' works are black anti-heroes who imitate the French in their ambivalent attitude to the African-Caribbean community. Hence, they reflect the phenomenon of mimicry described by Homi Bhabha. All things considered, Jankowski argues both games to feature apparent postcolonial themes.

"Mr. Robot" czyli powrót paranoi.

Author(s): Magdalena Bałaga / Language(s): Polish / Publication Year: 0

The aim of this paper is to show the functioning and the role of paranoid obsessions in television series Mr. "Robot" (2015) and Thomas Pynchon’s novels. Although it seems that the novels of the American writer and the screenplay havelittle in common, both use a paranoid way of thinking as a creative response tosocietal experience.

"Na melinę" – zapomniane dzieło Stanisława Różewicza.

Author(s): Jarosław Grzechowiak / Language(s): Polish / Publication Year: 0

The film by Stanisław Różewicz "On the Hideout" (original title: "Na melinę") was included in the series of television films Day One, Last Day (original title: "Dzień ostatni, dzień pierwszy", 1965). For many reasons, however, it was detained by censorship, although it represented high artistic values. The article is an attempt to examine both the content of the film itself and its literary prototype, as well as the answer to the question why it has not been broadcast for over 15 years.

"Quo Vadis?" by Enrico Guazzoni and "Quo Vadis?" by Gabriellino D’Annunzio: Production – Dramaturgy – Reception

Author(s): Anna Miller-Klejsa / Language(s): English / Issue: 18 (25)/2017

The paper concentrates on two feature films based upon Henryk Sienkiewicz’s novel about ancient Rome – "Quo Vadis?" (dir. Enrico Guazzoni [1913]) and "Quo Vadis?" (dir. Gabriellino D’Annunzio, Georg Jacoby [1925]). Both films belong to the peplum genre, popular during the era of silent cinema. The paper reconstructs production circumstances of both films as well as their historical reception. It is argued that both films can be seen through the prism of socio-political contexts, including the colonial ambitions of the Italian state.

"SACRUM" І "PROFANUM": CВЯЩЕННЕ І СВІТСЬКЕ В ЦЕРКОВНОМУ МИСТЕЦТВІ

Author(s): Michael Selivatchov / Language(s): Ukrainian / Issue: 1/2017

Purpose of Article. The purposes of the article are to determinate the contents and limits of the notions "Sacral art", "Ecclesiastical art", "Christian" art", to trace the reasons and causes of the changes in the domestic usage of those notions within 20th century in the Art’ history, as well as in the Artists’ practice. Methodology. On the background of his own professional experience and analysis of the special literature the author has prepared an essay on the border of Art History and Cultural Anthropology with applying of historical and historiographical approaches. Scientific Novelty. The provenance of the abovementioned relative but not synonymic notions is traced; their contents and limits are précised; adequacy of using in contemporary Ukrainian and possibility to translate on other languages are checked. Conclusions. The domestic phenomena of our days, known as a "sacral art", do not fully combine an artistic and ecclesiastical fetchers, as it usually coincided in the past. That is why in such a cases applying of a modern conventional notion "sacral art" is more appropriate, than of traditional for our country during 19th – beginning of 20th ct. term "ecclesiastical art". It especially concerns the decorative arrangement of the Church’ services, which is much more close to the art craft or art industry, than to the art itself.

"Seramik Tasarımında Güzeli Arayış Sürecinde Yerel Değerlerin Esin Kaynağı Olarak Kullanımı"

Author(s): Mehmet Fatih Karagül / Language(s): Turkish / Issue: Special/2017

The beauty that has been tried to be addressed with such fields as mathematics, architecture, geometry has been among the subjects of philosophers since antiquity. Although the concept of beauty varies according to the periods, beauty is in fact related to the conception of the people. According to Aristotle, the values we can grasp will be beautiful, otherwise considered as non-aesthetic. Although 144 there is not a formula of the ideal beauty, the concept of beauty changes in an abstract and concrete way, according to the persons who monitoring. Throughout the ages, we can see that the Anatolian coasts have been governed by different civilizations and are a source of rich cultural composition. With its strategic and geopolitical importance, Çanakkale shores also witnessed a significant part of this process. Foreign powers always want to possess these lands and the beauty of the richness of these lands. The word "Hellespont" is one of the names used throughout the history of the Dardanelles. Hellespont is a local value for Çanakkale as geographical environment, cultural wealth and sense of meaning. A series of thematic works on using Hellespont as inspiration in designs will be addressed in this notice.

"So that finally it is all about life in poetry". Lyrics by Bogusław Kierc

Author(s): Karol Maliszewski / Language(s): English / Issue: 2 (26)/2018

The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.

"Suszyć, skruszyć, zmielić, zważyć". Kino gatunków a filmy z Panem Kleksem

Author(s): Radosław Pisula / Language(s): Polish / Issue: 15 (22)/2016

Polish genre cinema in the time of Polish People’s Republic was in stagnation due to the sociopolitical situation. Limited access to the thriving foreign film industry suppressed a natural evolution within the genre cinema. However, the liberalization of stagnant and overly politicized rules in the communist film industry brought change in the 1980s.The government used to saw movies as a way to sell propaganda in the country. This cultural revolution was marked by the appearance of a new generation of directors, similar in some ways to American New Hollywood; rise of a VCR market and laxity of political restrictions.One of the best representatives of this progression is the Mr. Kleks movie trilogy. Adaptations of Jan Brzechwa’s cult book series: Academy of Mr. Kleks (1983), The Travels of Mr. Kleks (1985), Mr. Kleks in Space (1988). All of theme were directed by Krzysztof Gradowski. The series is a perfect example of a genre-melting pot. Something unprecedented in the Polish cinema.Although there are many radically different conventions in the story, the narrative is very coherent. The release of the first installment clearly marks the beginning of the transformation in the Polish film industry.In the article, I will present the ways in which the film genres are functioning in the Mr. Kleks movies and analyze how these highly original productions were part of a turbulent period of transformational change in communist Poland.