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Szerszeń tries to interpret the oeuvre of respected American photographer Lee Friedlander. Friedlander’s photos are difficult to interpret – his art is placed within such diverse traditions as „street photography” or „pop art”. Parmigianino’s 16th century "Self-portrait in a Convex Mirror" is perhaps the most interesting interpretative context.
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Szewczyk’s article focuses on Godard’s self-thematic films and on questions about the status of cinema in an era of the advancement of new technologies. In her analysis of Godard’s films, Szewczyk tries to define the concept of ‘self-thematic cinema’ and to trace the peculiar deconstruction (understood as factorization) of a cinematic work performed by the French filmmaker. Szewczyk is, first and foremost, interested in the diagnoses of cinema made by the director of "Breathless" in the period in which many filmmakers, including Godard, pronounced the death of cinema while theoreticians of culture yet again discussed a “crisis of representation”.
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The Surrealists rarely reflected on photography but it was one of the most popular, hot and timeless means of expression. Although many Surrealists practised photography as a sideline and regarded it as fun rather than art, Surrealist photography cannot be overestimated. Using the examples of the photos of Man Ray, Jacques-André Boiffard, Dora Maar, Claude Cahun or Brassai, Taborska tries to classify various forms and aspects of the art. She also tries to define what makes a given photo „surrealist”. After David Bate, Taborska divides Surrealist photography into three categories: the mimetic, the pro-photographic and the enigmatic. The first, most conventional type of photography records reality. The second one denotes the photography that records reality staged for a picture. In this case, the photographed object is surrealist while the impression created by the photo results solely from the nature of the object. In the enigmatic mode of ‘Surrealist’ photography that resists easy interpretation, the photographer uses darkroom techniques (solarisation, rayograms, double exposure) and procedures such as collage. Taborska tries to touch on the phenomenon of the unique humour of the Surrealists and their extremely ironic ideology. Although it is close to the revolutionary and perverse aura of Surrealism, its reflections always fit the discourse of art, in the broad sense of the word.
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The text is an analysis of Andrzej Barański’s film "Fotografia jest sztuką trudną" (1998), the adaptation of the humourous columns by Stanisław Czycz, printed on the pages of the Przekrój magazine in the years 1964-1969. The perverse hobby column was made up of mis-taken pictures and commentaries by the amateur photographer. Marecki proposes a thesis that thanks to the adaptation of the peculiar content, Barański managed to make a self-thematic film on the ontology of cinema and on the questions given to representation.
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Kobieta Wprawdzie trochę boję się powiedzieć to głośno, ale niech tam: artysta, o którym chcemy rozmawiać, zasługuje na miano wybitnego twórcy. I może to złudzenie, jednak na niektórych zdjęciach w rysach jego twarzy znajduję pewne podobieństwo do... Federica Felliniego.
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In order to adapt to the requirements of a modern society, starting with the 20th Century theatre has crossed all conventional boarders: it moved outside the formal theatrical background, it emerged into new artistic fields, giving birth to new forms of art. The concept of Educational Theatre appeared for the first time in Great Britain in 1960, but the premises for the formation of Educational Theatre can be identified as back as the late 19th, when Henrik Ibsen and George Bernard Shaw had brought back the educational part of theatre to attention. Educational Theatre owes its existence to the revolutionary pedagogy of Political Theatre. Erwin Piscator and Bertolt Brecht considered that theatre cannot and should not exist just as a superficial form of entertainment, but that it has an important social and educational mission to fulfil.
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The staging of a classic is also an encounter of the present with fictitious characters and conducts, which have already been invented. Stage management includes the personal interpretation suggested by the text, whereas the coordination of the components of the show is dictated by the director’s own aesthetics, who progressively becomes an artist with a particular style of expression. The director’s task is to continuously reshape the play, in agreement with social dynamics, and thus he turns into an inventor of original stage laws. The creators’ endeavors to keep the great dramatic past and the great plays alive have intermingled with the incessant search for new reinterpretations and new meanings in Chekhov’s work. Stage practice has supported the assumption according to which only a bad play may be staged in a single manner, whereas a good play is able to give rise to endless interpretations. This is also the case with A. P. Chekhov’s Cherry Orchard. One of the memorable interpretations of this play dates back to February 6, 1985, when the director György Harag came to the National Theater of Târgu Mureş to lay the foundations of his last directing job (he did not know that at the time!). In July 1985, while visiting Romania for a few days, Lucian Pintilie sees Harag’s enactment, which he finds “absolutely fabulous”. A few years later, more precisely in 1988, in his staging of the Cherry Orchard at Arena Stage in Washington, Pintilie gives (yet again!) the full measure of his unmistakable personal style, his own manner of staging classical plays in a mysteriously modern way.
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I propose you to make acquaintance with Mrs. Mihaela Bețiu, PhD, actress, lecturer at the Acting Department of the “I.L. Caragiale” National University of Theatre and Film Bucharest (UNTAC) where she is also manager of the Research Department and editor coordinator of the CONCEPT journal and more. In 2011-2012 she was Pro Dean of the Faculty of Theatre. But there would be many other things to add. In 2008, she presented her Ph.D. thesis, entitled The Actor and Performance between Norm and Deviation, scientific coordinator Adriana Marina Popovici, PhD, Professor, the paper not being published yet because of the author’s eagerness to move on to new projects. A sure thing is the fact that in the year 2000 she became a member of the teaching staff of UNATC, where she enthusiastically teaches theatrical pedagogy at the class coordinated by Professor Adrian Titieni.
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Narrative is important in art and one person show; either going on writing version, whether it deals with non-verbal way, the show is a story and the actor tells a story. There is an opinion stating that a story to be compelling must give birth to mental images. If recently the one person show took a so large scale on the world stage, this may be due to the fact that modern man feels the essential feelings call, far from any antics and virtuosities. Theatre cannot be accepted from this wave and is forced to acquire the specific language because it is not sufficient the expression of disparate images. Picture narrative professionals designed a set of proposals towards better communication of a message. Based on the concept of scriptwriting, the actor or director develops individual characters, creating a world stage with its own rules and causal relationships. Light in the performance needs fluency, mystery. The light should not only reveal, but rather to know what and how to hide. Theatrical space thus becomes a world with its own rules (graphics, compositional, mechanical); we develop spaces and spatial rhythms with light. The supreme goal is the ability to print light’s status of a character.
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The new generation of theatre people is gaining nowadays more and more autonomy from the traditional institutionalized models. The artist that unfolds his/her activity in the new millennium is often a self-educated person who must acquire organisational skills, totally focus on his/her projects and see beyond his/her writing. Drama is nowadays deeply rooted in the present, but, somehow, we might witness cases when an excessive ‘present’ is harmful in our theatres (the performance Rosia Montana from a physical and political point of view at Hungarian State Theatre in Cluj, a collaboration with dramAcum, a text by Peca Ştefan, directed by Gianina Cărbunariu, Andreea Vălean and Radu Apostol and the performance A middle state of degradation at Teatru Fix in Iaşi, a text by Peca Ştefan, directed by Ovidiu Caiţa). The drama of nowadays has given up its rigour of mystery, shall we witness a display of “instincts”?
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Revolutionary or not, but certainly having an intense and lasting effect, the innovative ideas from the start of XX century in the arts area meant very much for the present-day image of theatre. The rediscovery of Orient, the dialogue with other continents, then the appetency for experimental things, the explosion of all those “-isms” of European avant-garde are reasons for the stage to break up the barriers, to find a new type of actor and, after all, to define itself differently. The new theories produced the awareness about the fruitful encounter of arts: musical composition, choreography, fine arts. At the same time with a logistic explosion, with “adoption” of European artists by the galleries and stages in United States of America, simultaneous with the apparition of international theatrical research centers, of laboratories and workshops, real pots of ideas where techniques and tendencies retrieve themselves together, in this effervescent ensemble, the theatre exceeds the classical stencil and enters a zone of heteroclite, often becoming “element” in an ensemble of signs, and functioning only in this formation. Today the artists do not have a single orientation and, beside their primary instruction, they explore interfacing domains. The theatre transforms. This is how Marina Abramović works with Robert Wilson, Jan Fabre is not only a plastic artist, but also a script writer and director, Jan Lauwers is educated in plastic art, but also dedicated many years to theatre, and the examples could go on.
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The elaborate form whose content is structured through myth and symbol will endure in the dynamic context of development determined by the Space – Time unit. The research carried out has revealed the existence on the cultural level of a multitude of symbols in the artistic productions which started from the metamorphosis of form. In the workshop – the space of artistic rendition, volumes and the spectacular nature of visual expression are meant to support the implementation of the conclusions I reached, which is the concept of form metamorphosed three-dimensionally. Among the preliminary objectives I set out in my research of form metamorphosed in the visual arts, the following are essential: detailed observation of some aspects connected with visual metamorphosis of some elements of expressiveness in the 19th century and early 20th century; detailed interdisciplinary and transdisciplinary analysis of visual expression, of the spatial and temporal context in which it is metamorphosed by the creators, and of the concept of background; transgressive comparison of the change of aesthetic and stylistic benchmarks, starting right from the fundamental structuring of some elements of morphology which belong to the archetypes of form; highlighting the role and importance of myth in the construction of symbolic form; the assessment of the value of symbol in the transmission of visual message through the emblematic importance of form in a certain spatial and temporal context; looking into some reciprocities with regard to metamorphosis as a specific bivalent process determined by the stimulus of movement; vast approaches to visual metamorphoses of forms in the creations of some representatives of the trends and movements animated and supported by the artistic manifestations of the first half of the 20th century; adequate implementation and readaptation, through my own interpretation, of some consecrated sculptural concepts in the sphere of personal creation. I developed the platform of the research content through a relation to some benchmarks in the history of art, which I deemed relevant to the theme of my research. The journey into the ancestral spaces of some vanished civilizations brings about topics related to myths, archetypes and symbols, these being the foundations upon which the creators developed metamorphosed forms of most striking visual expressivenss in world culture. In the visual arts, metamorphosis implies a complex process. The concept manifesto, correlated with the surrealist view of language platforms working in a manner adapted to visual art dicourse: the knowledge of rendering the human figure, the landscape, the anatomic peculiarities of an animal or or the specifics of a building; transforming one form into another form; the transformation of the artist’s personality, which is determinig in the creation process; the involvement of temporality and spatiality; the reprise of concepts crystallized in the works of consecrated artists
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A new generation searches for its identity and the Iasi School of Theatre defines itself through all it does, combining restlessly the creative instinct and rigour. Their performances force you to wake up, admire them, beyond clumsiness and pride, value them and hope that they will have enough strength to live under the sign of the Art of Performance. Minodora Lungu decided to face her fears, search for herself and define her creative identity in a challenging exercise as a director. Good Night Alice is designed to catch the viewer in a web of metaphorical images and persuade him in accepting the reality of a risky balance between worlds and shades that we experience in the depths of our soul. From „Silence!” a young puppeteer wants to carve his own way. Yes, the 2014, class in „Performing Arts” is full of surprises; it is hard to choose and the choice is subjective. I let myself be caught by the silence. Iulian Lungu, dynamic, effervescent, rebel and non-conformist reveals his sensitive side - without words, in a moving speech of gestures. The puppeteer and the puppet started their journey into the world with an one-man-show marked by the vibrant pace of the unsaid, and they come to tell us a story about love, art and loneliness. Everything happens openly, no secrets.
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This is a personal reflection on the necessities and difficulties an actor might encounter in his/her work, especially concerning the detachment from one’s own personality in the search for a truthful character, for a plausible, created psychology, other than one’s own. It also touches some well-known methods proposed by celebrated theatre people and is, more than anything, an attempt to open a possible discussion. It had as a background the intention to dissolve a few prejudices or some too radical positions and to throw a new light on ideas and separations which have gotten a bit old and don’t seem to be functional any longer. The relationship between rigor and instinct is seen from a personal point of view that was formed through practical confrontation with the creation of character. It is based on years of experience as an actress, playing in different languages and working with different methods, but it has also been written from the perspective of a passionate theatre spectator and of a reader of books of and on the theatre.
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Aiming optimization of the future professional dance actor, we explore the relationship between dance and physicality, expressive body ritual theater, theater from Antiquity and reaching Artaud, Grotowsky and men. We follow the most important moments in modern theater pedagogy from Stanislavski and Craig R. Wilson Dalcroze and with a focus on Biomechanics Meyerhold's theater.
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Based on the novel The Skilful Hidalgo Don Quijote of la Mancha written by Miguel de Cervantes, we have done the puppet show The Last Don Quijote. I have maintained the main features of the characters, taking them out of the Iberian landscape and placing them in various contemporary situations, on an imaginary way around the world. The new adventures are set on stage by combining several techniques of the animation theatre, among which the means of the shadow theatre, less known, with the main quantity. The construction of the scenic image was done by using several sources of light, on both sides of the screen, among which an overhead projector. It offers a variety of possibilities. The play of proportions, the colours of the background and the details form, together with the scenic dynamics, the dramatic tissue. The technique requires both the study of the procedures of theatre scenic transposition, and some cinema techniques. The four actresses who form a homogenous cast, a team, are facing an exercise of non-verbal scenic expressiveness, in order to gain the mastery in the art of the animation theatre.
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The creators of the recital have chosen the classic screen for their short wired marionettes staging, imagining the basement belonging to a family of artists. The well written text is given depth by the excellently chosen musical highlights and by the movement and action created through the expressive attitudes of the marionettes. The setting, with occasional embossed bricks, the window which acts as a shadow screen (in the scene the scary cat appears) can only fill the performance’s special atmosphere under the warm, intimate light of a single projector.
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We chose three undisputed classics names of European theater for several reasons: meeting of the classical text with new technologies in the theater is one of the biggest stakes; in front of a multitude of original experiments, we intended to pursue what remains and what is lost in the remake of these texts. The investigation of image functions related to the text was another topic that we focused on. Some important ideas have emerged from these exercises: simplicity helps a lot in multimedia projections; a too complicated proposal may cumber the staging, and no longer achieve the original goals. A stronger contrast in light design increases the dramatic nature of a framework. An open attitude to the news is important for the designer and artist, otherwise we risk not to move forward in our creations or to recopy us. Even if puppets or projections are used, the characters retain the major features that come from the analysis of the basic text. This can be done using colors, tones that the light fixtures change, shapes that they project. For the same pieces of text we could find other solutions, over some time, which could maintain the style in which the fragment was written and which can arouse the viewer impressions. Precisely because of this versatility that the stage directing gives us, the texts will never get tired.
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The 2014 Master of Arts examination, summer session, went off accordingly from the point of view of the one who had undertaken the task to assure its successful conclusion. Let’s call it a stage of promotion for the future actors who are willing to specialize in the context of the E.U.-3x2x3 regulations. Now, at a road’s end, one ought to discuss the notion of a Master’s study in Performing Arts. It is a two year stage, according to the norms in force. How can we “cover” it? It is a matter we are all preoccupied with.
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Two movements which complete each other have appeared over the last decades in contemporary choreography, Non-dance and Nouvelle danse, two attitudes that are challenging traditionalism in dance. These are “products” of more artistic directions, the most important of which being the reform of the American Merce Cunningham and his influence on the French artistic territory starting with the ‘70s. Other sources – which bring their contribution to the process of consolidation of the new dance – come from the direction of the French mime tradition (Marcel Marceau, Étienne Decroux, Jacques Lecoq) and the German tantztheater. Choreographers combine these tendencies, the body with visual arts in the performance space. New names come forth, for instance Marin Maguy, Jean Claude Gallotta, Boris Charmatz, who create strange and provocative combinations of the body and multimedia performance.
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