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Ágnes Karolina Bakk’s article offers a short overview of theatrical performances and experiments that took place in the online space since the start of the internet-era. In this paper she analyses and contextualizes shortly the listed production based on their characteristics such as co-presence and liveness.
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Virtual Reality enables us to be present in a physically absent world. In the VR-play Illegitimate (Adrian Sitaru, 2018, Hungarian Theatre of Cluj), a theatre performance that combines live action on stage with VR technology, the viewers can simultaneously be present in two realities, and decide which is more convincing or more stimulating for them. This awareness works against the immersion, but at the same time gives the viewer a feeling of in-betweenness. The author argues that the loops, defined by Manovich as “a new narrative form appropriate for the computer age” are also the key for the possible reality switches and joinings.
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This essay (following Chantal Bilodeau’s call for new dramatic theories) investigates the patterns with which we are thinking about the world when re/presenting it on the stage in Western cultures. Considering the current social-political framework and the transition of our societies, the essay explores what those different dramaturgies are that can be observed in contemporary theatre. If the Aristotelian form can be described as hierarchical, conflict-led, and expressing patriarchal values, how did dramaturgy (the art of recognising patterns and thus creating meaning) respond to this challenge? What are those non-hierarchical or rather: heterarchical dramaturgies that promote a more equal worldview? What are those shaping dramatic theories that can also acknowledge, include and describe the organisation and operation of a wider range of artworks? Looking at recent examples of drama, performance and contemporary dance, Trencsényi draws up a parallel universe of new dramaturgies (including complex systems theory, stratification, game-theory, and musical dramaturgy) that are open, playful, dynamic, and instead of binary thinking promote a more complex worldview. She examines the main principles behind them and how they operate, and discerns what value and overall meaning arises from these different dramaturgies in theatrical composition.
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After the lockdowns in Romania ended, Nóra Balázs discussed with the director Botond Nagy the changes which resulted in a new situation and possibilities that will affect the genre of theatre. In the frame of the interview they discuss the working methods of this young creator, his relation to the classics, inspiration sources, and his relation to his co-creators and actors as well as his awards. In the interview Botond Nagy also reveals how he spent his lockdown period.
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Długo zastanawiałem się, czy Carl Spietzweg powinien zostać bohaterem jednego z rozdziałów mojej książki. Całe jednak wokół niego zamieszanie skłoniło mnie do umieszczenia obrazu tego artysty Kobieta z ciężarem na głowie (il. 1) w swojej opisowej kolekcji. Sam tytuł dzieła nie jest moim wymysłem, z takim trafiło do mnie wraz z licznymi opracowaniami wykonanymi na zlecenie właścicielki obrazu. Do zajęcia się obrazem Spietzwega skłonił mnie jeszcze jeden fakt – otóż niewyobrażalne ceny, jakie obrazy tego artysty osiągają na rynku antykwarycznym. Naprawdę nie wiem, skąd ta nagła popularność tego twórcy i dlaczego jego dzieła są tak drogie.
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Among the European missionary groups in China, only the Jesuits established themselves firmly at court, first in the late Ming and then under the succeeding Qing dynasty. The Milanese painter and lay brother Giuseppe Castiglione (Ch. Lang Shining) served three successive Manchu emperors, designing a suite of late Baroque buildings for the Yuanmingyuan, an imperial palace to the north-west of Beijing. When the palace was looted and burned during the Second Opium War, a set of bronze zodiacal water spouts designed by Castiglione disappeared from Beijing, only to re-appear publicly at auction during the last 30 years. Ai Weiwei has replicated the set, both in bronze and gilt bronze, questioning its Chinese pedigree and, more broadly, whether objects commissioned by an occupying power can be regarded as national treasures, an issue especially relevant to China since large parts of the country were under foreign rule for almost a third of its imperial history. Castiglione is now regarded in China and Taiwan as a highly significant figure in Chinese painting history.
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W dniach 27.09.2019–02.02.2020 w zabytkowej Hali Maszyn łódzkiego EC1 można było – po raz pierwszy w Polsce – oglądać wystawę „Sztuka DC. Świt superbohaterów”, będącą wspólną inicjatywą Art Ludique – Le Musée, Warner Bros i DC Entertainment. Łódź jest czwartym miejscem na świecie (wcześniej były to Paryż, Londyn i Abu Dhabi), w którym fani superbohaterów i uniwersum DC mogli zobaczyć z bliska oryginalne plansze komiksowe, szkice koncepcyjne i artefakty pochodzące z filmowych ekranizacji przygód bohaterów DC Comics (Kwiatkowski 2019). Wystawa „Sztuka DC. Świt superbohaterów” jest syntezą wielowątkowego i uobecnionego w różnych mediach świata bohaterów DC. Układ wystawy – zajmującej w sumie ponad 1000 m2 (Ec1 Łódź 2019) – sprawia, że zwiedzający wchodzą w świat Batmana i Supermana przez ścieżkę „sentymentalną”, przedstawiającą kolejno okładki i przykładowe strony z komiksów DC, które ukazały się na przestrzeni osiemdziesięciu lat – zaczynając od pierwszego wydania Supermana z roku 1938 (pierwszy raz z postacią Supermana czytelnicy mogli spotkać się na kartach „Action Comics” nr 1). Układ ten pozwala prześledzić zmieniającą się estetykę komiksu i zarazem pokazuje, w jaki sposób kluczowe postaci należące do Warner Media ewoluowały w czasie i w jaki sposób przez prawie sto lat DC Comics kształtowało nasze wyobrażenia o superbohaterach.
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Review of: Inštitorisová, Dagmar. Jozef Ciller. Čítanie v mysli scénografa. Bratislava : Culture Positive, s. r. o. v spolupráci s VŠMU v Bratislave, 2019. 303 s. ISBN 978-80-971430-6-0.
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The essay is an analysis of the most important, yet actually quite sporadic artistic adventureof Schulz, which was fiction writing. The question discussed is apparently paradoxical:was Bruno Schulz a writer? The author argues that there is a difference betweena writer and a man of letters, i.e. someone who is a professional in the literary field. Schulznever became the latter and this is what makes his biography significantly different fromthose of the typical literati among whom he had many friends. In comparison to them,Schulz wrote very little, started writing quite late, and the period when he really wasa writer lasted only several years. One might say that writing fiction indeed rather happenedto him – it was not a permanent disposition of his artistic existence. That hadcrucial consequences for the form of his writing.
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A reprint of Oskar Aleksandrowicz’s story, “Z dworu ślepej bogini,” published in the Lviv periodical Chwila (1937, no. 6632, p. 11-12). The story includes four yet unknown illustrations by Bruno Schulz.
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Reprint of a text by E. Menar, “Sztuki graficzne. Z okazji odbyć się mającej wystawy grafiki oryginalnej w Borysławiu,” published in the periodical Świt. Organ urzędników naftowych w Borysławiu (1921, no. 5, p. 2-4).
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The icon depicting Christ Pantocrator is kept in the Monastery of the Temptation near the town of Jericho and has not been mentioned in scholarly literature until now. The commemorative plate in the base of the icon tells us that it was created in 1879 by zograph Zahariy Dimitrov Dospevski. He is the son of Dimitar Zograf, who was the elder son of the founder of the Samokov art school Hristo Dimitrov. It is known that Z. Dospevski, following the April Uprising and the events that came after it, spent six years of his life, up until 1882, in the Jerusalem region. His work during that period remains mostly unexplored by academic publications. The zograph worked actively in the Monastery of St. Sava, where he finished the frescos on July 19th 1880, as documented by an inscription on the murals. As for the icon of Christ Pantocrator, we may assume, based on the commemorative plate which also serves as the zograph’s signature, that it was created as a gift on behalf of the zograph and his family, whose names are present on it.
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The article explores the practices of institutional critique in Polish contemporary art. A quantitative survey of cases of institutional critique reveals major problems faced by artists and their perceptions of the autonomy of the visual arts.
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In the last quarter of the 19th century, Zionism emerged as a political and cultural movement, the main goal of which was to realize the everlasting quest of Jews to return to Zion, a quest expressed in Biblical texts and in daily prayers throughout Jewish history. The Zionist movement was inspired by the 19th century European wave of national aspirations and was fueled by disenchantment from the promises of modern emancipation that failed to end anti-Semitic persecutions and pogroms. The waves of Zionist immigrations from late 19th century to the 1930s lay the foundations for the Jewish state, with agricultural and urban settlements like the Kibbutzim, or the “first Hebrew city” Tel Aviv, social and political institutions, defense forces of underground organizations, along with impressive body of original cultural and artistic works that revived the Biblical Hebrew language. Zionist leaders had also engaged in intense diplomatic efforts to achieve international recognition for the quest of Jewish independence in the Land of Israel. In 1920, the League of Nations sanctioned a Jewish homeland in Palestine. In 1947, the United Nations decided on the establishment of a Jewish state, along with an Arab state in Palestine. Whereas the Arabs rejected the UN partition plan, the Zionist leadership declared the creation of Israel in May 1948, a move followed by diplomatic recognition from numerous countries, led by the USA and the USSR. In contrast, the declaration of independence was immediately followed with invasion by the armies of neighboring Arab states, whose stated goal was to destroy the new state and “throw the Jews to the sea.” Against all odds, the Israelis won in their war of independence.
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The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.
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The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did not limit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestar for guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.
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The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.
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This article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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