An Unfinished Interview with Artist Nic Ularu

Author(s): Ioana Petcu / Language(s): English Issue: 18/2014

: On an island vestured with trees, in the central zone of Iaşi city, but hidden by the blocks on Cuza Vodă Street, we met a man “freshly” came out from rehearsals in the National Theatre, and he had the grace to answer affirmatively to our invitation to stay an hour or two for a dialogue with the “Theatrical Colloquia” magazine. About theatre, film, visual arts or dramaturgy we have talked with Nic Ularu, melting the moments on voice recorder and in lemonade jugs. Our interlocution – feeble interlacing of ideas – tried to depict an entre deux (continents) or entre plusieurs (passions) artist, who practices the scenic act or the literary one as a challenging sport, as a lithe poetry.

Textual Space and Scenic Space in La nuit juste avant les forêts by B. M. Koltès

Author(s): Diana Nechit / Language(s): English Issue: 18/2014

The present article seeks an interpretation of the textual perspective of the double stance of the theatre space: the space of representation and story, in a reference to the Koltesian drama, namely La nuit juste avant les forêts. The playwright and the textual core were chosen as an attempt to settle and shade these theoretical concepts, based on a text meant to be read rather than performed. The analysis is structured on three levels of interpretation: an historical perspective, the development of the theory of forms and theatrical techniques, as well as the continuous swinging between the textual and the dramatic supremacy; a second perspective that seeks dramatic space operation, namely, the indexes of spatial level concerning both the performance and the text behind the performance – or the spatial stage directions and a final perspective regarding the arrangements for the textual outline used for building the story. Starting from spatial analysis, we also approached a definition of the Koltesian character and of the narrative resort addressing its monologue in an emblematic Koltesian dramatic space: the tentacular and anguishing city that grinds its occupants. The character is seen as an outsider, a foreigner who gets lost in the urban night.

Ridi Pagliaccio! A Performance about One’s Soul, Life, Profession and Ardent Passion

Author(s): Anca Ciofu / Language(s): English Issue: 18/2014

Ridi Pagliaccio!, as the show was called, is a syntagm very dear to her as it is the quintessence of our profession: no matter how you feel, how sad or depressed you are, you, the actor, should always be happy and playful on stage!... Ilinca managed to bring together in a very skilfull manner the three main acting characteristics: the art of acting, of shadow puppetry and marionette manipulation. She also expressed poetically the (intimate, I may say!) relationship between the puppeteer and the puppet, the manipulator and the object that is being manipulated.

Compulsory Readings in the Yorick Collection

Author(s): Alexandra Ioana Cantemir / Language(s): English Issue: 18/2014

Any revisiting of a piece of writing holds forth a process of reevaluation of both the written material and the echoes it has in the reader’s conscience. The second meeting with a text that is challenging through its denial of finite, one-fits-all answers, but rather creates one’s need to ask (themselves) new questions would be rendered less significant the moment one has the feeling of having already come upon and grasped the meanings of said writing. Stanislavski, Grotowski and Brook are bound by their urge to search and the inability to be content with the answers they came upon. One’s first contact with the texts in which they describe their thoughts on theatre is usually due to the compulsory readings lists of every theatre academy – their rereading is truly necessary.

The Complexity of Theatrical Performance

Author(s): Elena Ciortescu,Irina Dabija / Language(s): English Issue: 18/2014

Combining several individual arts such as poetry, dance, pantomime, painting and music, theatrical performance is undoubtedly one of the most complex cultural acts which involves the presence of actors and audience, being thus based on real-time action. Its complexity implies the presence of authenticity and creativity in the process of designing and achieving it; otherwise, their absence would trigger a lack in diversity and variety. Creativity appeals to and is, to a certain extent, based on every human being’s instinct while rigour is primarily related to the written and unwritten rules, to the education and training provided by study, experience, traditions, nationality, culture, religion, social status. Authenticity stems from the uniqueness of theatrical performance, its singularity being given by the fact that no representation will be identical either to a previous or a subsequent one.

Zemaljski život i dramsko-teatarski glasovi Gordana Muzaferije

Author(s): Sanjin Kodrić / Language(s): Bosnian Issue: 42/2008

IN MEMORIAM: GORDANA MUZAFERIJA (1948-2008)

Provokativan teatarski tekst

Author(s): Dijana Pupić / Language(s): Bosnian Issue: 42/2008

Vanredno stanje ljudske osjećajnosti

Author(s): Jelena Gajević / Language(s): Bosnian Issue: 42/2008

Mizerabilii pe Facebook/ De la Victor Hugo la Karaoke

Author(s): Adina Baya,Cristina Chevereșan / Language(s): Romanian Issue: 07/2013

Bertalan si Sigma la Venetia/ Quod Erat Demonstrandum

Author(s): Daniela Magiaru,Ileana Pintilie / Language(s): Romanian Issue: 07/2013

Spune-mi o poveste

Author(s): Daniela Magiaru / Language(s): Romanian Issue: 07/2013

I Bóg stworzył Knotza

Author(s): Zbigniew Nosowski / Language(s): Polish Issue: 637-638/2011

W tym numerze WIĘZI kapucyn Ksawery Knotz – głoszący wszem wobec duchowe piękno erotyki małżeńskiej – opisuje swoje doświadczenia z mediami. Ostatnio przytrafiła mu się kolejna przygoda – i to już nie z prasą czy telewizją, lecz z filmem. Działalnością o. Knotza zainteresował się reżyser Konrad Szołajski. Przekonał stację HBO Central Europe do tego, by sfinansowała długotrwałą produkcję filmu dokumentalnego o życiu seksualnym katolików. Kamera towarzyszyła o. Knotzowi podczas rekolekcji dla małżeństw i w bardziej osobistych sytuacjach. Przede wszystkim jednak Szołajski zachęcił trzy pary małżeńskie współpracujące z kapucynem do opowiedzenia przed kamerą o swoim przeżywaniu erotycznego wymiaru miłości.

Ksiądz z kobietą w kinie - Wyjść z wewnętrznego piekła

Author(s): Katarzyna Jabłońska,Andrzej Luter / Language(s): Polish Issue: 637-638/2011

Ksiądz Muszę przyznać Ci, Kasiu, rację – irańskie Rozstanie Asghara Farhadiego to film rzeczywiście znakomity. Kobieta A tak się, Andrzeju, przed Rozstaniem wzbraniałeś Ksiądz Bo denerwuje mnie nagły i powszechny bzik na punkcie kina irańskiego, tureckiego, a najlepiej palestyńskiego. Pachniało mi to polityczną poprawnością i kilka filmów tę moją tezę potwierdziło. Rozstanie mnie zachwyciło, uważam je – tak, użyję tego słowa – za arcydzieło.

Israelisches Kino auf dem Weg? Bericht vom Jerusalem Film-Festival

Author(s): Ralf Dittrich / Language(s): German Issue: 02/1995

Eksperimentalno pozorište u Kini i "Autobuska stanica" Gaoa Singdijena

Author(s): Mirjana Pavlović / Language(s): Serbian Issue: 113/115 I/2006

Up to the eighties of the 20th century, modern Chinese drama has mostly relied on the realistic, Ibsen dramatic tradition and Stanislavski theatrical methods. Of course, Brecht, Pinter, Beckett and Ionesco played an important role in the new development of Chinese drama. All this enabled the development of experimental theatre in China, which began to search for new means and ways for the theatrical shaping of reality. Thematically, experimental drama was aimed at the problems of contemporary Chinese society.

ACKNOWLEDGMENTS

Author(s): Anca Mănuţiu ,Eugen Wohl / Language(s): English Issue: 1/2012

The present issue of Studia UBB Dramatica, dedicated to Tadeusz Kantor and Polish Theatre, represents a joint project between the Faculty of Theatre and Television from the Babeş-Bolyai University of Cluj, Romania and Cricoteka, Center for the Documentation of the Art of Tadeusz Kantor, from Krakow, Poland.

WATER, A PHYSICAL MATTER* WITHIN THE CONTEMPORARY ARTIST’S REACH

Author(s): Marcel Bunea / Language(s): English Issue: 2/2011

History of European thought is constantly crossed by the presence of the symbol in all its diversity of existential and spiritual manifestations. By extension, the visual arts have to do with a key binomial, namely imagined reality versus symbolic reality. The “old” Heraclitian “materials”: water, air, fire and earth, become from the second half of the twentieth century work materials used by artists in their creation.

Piękno i groza

Author(s): Katarzyna Jabłońska,Andrzej Luter / Language(s): Polish Issue: 659/2015

Począwszy od Długu — który sprawił, że chciałam uciekać z kina — czekałam na każdy jego kolejny film. Oczywiście wiedziałam, że od kilku lat walczy z chorobą nowotworową, ale przecież pomimo niej powstała wspaniała Papusza i trwały prace nad kolejnym filmem: Ptaki śpiewają w Kigali, według opowiadania Wojciecha Albińskiego. Miałam nadzieję, że Krzysztofowi Krauzemu (1953— 2014) uda się nie tylko dokończyć ten nowy film, ale też wygrać z chorobą. Jednak to ona zwyciężyła.

Dlaczego pan podróżuje?

Author(s): Peter Brook / Language(s): Polish Issue: 01/2005

Całe życie chciałem opuścić teatr...

Author(s): Peter Brook / Language(s): Polish Issue: 01/2005