Mamutica - komedija u trinaest nesretnih prizora
A play by Kristina Gavran: Mamutica - komedija u trinaest nesretnih prizora
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A play by Kristina Gavran: Mamutica - komedija u trinaest nesretnih prizora
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Psychomotoriktherapie orientiert sich an einem Pädagogischen-therapeutischen Konzept der Entwicklungsförderung. Sie Sich mit den befasst Wechselwirkungen Zwischen Wahrnehmen, Fühlen, Denken , Bewegen und verhalten , Eulen Deren körperlichem Ausdruck .Dieser Bericht bietet einen Überblick über die wissenschaftlichen Erkenntnisse Psychomotorische Therapie, welche ergänzende Komponenten dieser Programme können auf eine Verbesserung des emotionalen Wohlbefindens. Die Autorinnen realisiert die Bewertung der Psychomotorische Therapie-Programme im Hinblick auf die psychomotorische Komponenten (neuromotorik, senzomotorik, psychomotorik und sociomotorik). Die Ergebnisse zeigten, Unterschiede zwischen verschiedenen Programmen je nach S
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The paper presents an empirical study in the area of implementation theatre forum for people with mild and moderate mental retardation in an environment of sheltered housing. Forum Theatre already takes place in primary schools, in orphanages, in the Roma community and so on. There is a lack of experience and research studies with the target group of people with intellectual disabilities. The present research was carried out in several phases over a period of one year. The main objective was to determine whether it is possible to use forum theatre techniques and subjects with mild to moderate mental retardation - whether this target group will be able to process the theatre forum to engage, understand the meaning and function of these techniques and that these techniques can be used as an alternative remedy to solve the problem and conflict situations. The research sample consisted of 11 adult clients of sheltered housing with mild to moderate mental retardation and 11 members of the realization team of the forum theatre (7 Actors and 4 employees in direct care in sheltered housing). Used qualitative research methods were focus groups (always followed the realization of the theatre workshop forum), participant observation and quantitative method was a questionnaire. Research has brought new insights and information.
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The text is an attempt to reveal the tricks used by the artist to gain popularity. Using the theory of the performative turn in art as a reference, Lady Gaga is defined as a performer who orients her message to a viewer, not a listener. Embedding her analysis within a social context, the author moves towards a diagnosis of the changes taking place in pop culture and lays out in part a concept for a “a new popular culture”, in which achieving a certain impression in the audience requires a more complex set on actions on the part of the artist than in the past decade.
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The text poses questions about the phenomenon of opera, and, thus, theatre, which continues to be attacked as an anachronism, which nevertheless boasts a large audience and continues to find a place for itself in contemporary art. Discussed are the ways in which opera effects the viewer, as well as various concepts researchers have developed on this topic. Building on the ideas of Linda and Michael Hutcheon, the author looks at opera’s narrative, noting in particular the role of the theme of death. Opera’s specific approach to the subject of death and dying may be the key to understanding the effect it produces in audiences. The text ends with a reflection on the relationship of the modern viewer to death and, consequently, to the opera.
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A great part of German sacred music is dedicated to the holidays in the liturgical year of the Evangelical Lutheran Church of Augsburg Confession. After the Reform by Johannes Honterus in the first half of the 16th century, the Transylvanian Saxons took over the religious and musical principles of Martin Luther. Thus, re-organising the religious divine service and translating the Bible into the congregation’s native language was accompanied by solid musical education and by ensuring the vocal-instrumental music a permanent role within the cult. The ”70 arias for Sundays and holidays in the liturgical year for treble voice, 2 violins and basso continuo” by Johann Sartorius junior originate in the Transylvanian church music practice in the second half of the 18th and the 19th centuries, respectively the custom of solo singing within the Vesper divine services on Sundays and holidays.
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The opera-operetta performer is a person who dominates his/her environment, by his/her vocal and soul perceptions and qualities, connected to the psychical and intellectual ones. All these are facilitated by the structure of the human brain. In the search-process for the image of music performance, the leading role is held by imagination, which has a special importance in the psychical life. A genuine nucleus of the image afferent to performance, is considered to be intonation. Usually, the opera singers aim not at performing, but at understanding; not at reintonating, but at finding the most adequate intonations to the spirit of the studied musical oeuvre. The manner in which the opera singers conceive the task of performing, displays manifold individual differentiations, strictly connected to the artistic personality of each of them. The performance is related to the artist’s frame of mind and mood of soul.
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Expression for the most subtle feelings and ideas, the sounds language is a language of intelligence and sensibility, a multiple potential meanings component of the human being. It develops the imagination, the creativity, the intelligence and sensibility and contributes to the development of social interpersonal relationships as a predictor for success having a determinant role in the accomplishment of school performance, the development of personality and character. The musical activities give an intellectual and emotional support to the individual in exploring and understanding of the human universe, determining him to communicate and respond to challenges, to control his feelings and respond to creative experiments that involve cooperation, concentration and discipline. The educational system may lead to the formation of a homogeneous and complex human personality, which will meet the challenges of the continuously changing contemporary world, only through a harmonious and balanced distribution of the studied scholar disciplines during the school period, where the artistic education plays a complementary but determining role. The main objective of the educational act, with a determining role in the formation of the human personality must be the development of multiple intelligences.
More...Wojciech Krukowski 1944–2014
Article about Wojciech Krukowski, Polish art historian, artist, curator, editor, ex-director of Zachęta National Art Gallery in Warsaw.
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Maryla Zielińska describes the foreign reception of Tadeusz Słobodzianek, opening by reflecting on the dichotomy between the number of stagings in Poland (two) and abroad (a great number). She ponders what interests foreigners in themes of Polish history, and the theatrical potential in the work's restrictive form. The critic compares Poland's “canonical” staging by Ondrej Spišák with performances in Oslo, Vilnius, and Helsingborg. Zielińska notes differences in terms of the directors' approaches to history, Jews, and extremism, and also in the drama's reception, which is conditioned by the socio-political situation in a given country and the world.
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Bernhard, or: Us and Them is a record of a discussion on Thomas Bernhard that took place during the Conrad Festival in Krakow (23.10.2015). The participants addressed the writer's problematic relationship to his native Austria and his prohibition on the publication and staging of his works within the country. The discussion covered the scandalous and fateful Austrian premiere of Heldenplatz in 1988. This topic served as a point of departure for speaking of Krystian Lupa's plays based on Bernhard's texts, i.e. The Woodcutters in Wrocław and Heldenplatz in Vilnius, as well as the earlier The Lime Works. The interlocutors also discussed Bernhard's plays and novels in terms of their translation difficulties, their linguistic attributes, and the writer's characteristic inextricable relationship between his life experience and his art.
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Pola Sobaś-Mikołajczyk reviews Yana Ross's play Heart of a Dog (Municipal Theater in Uppsala, premiere: 17.11.2015), stressing the timeliness and gravity of the refugee issue, which problematizes the adaptation of Mikhail Bulgakov's novel. The author points out the motif of the laboratory as an anthropological machine that turns Sharik the dog into a person. She particularly focuses on the process by which Sharik adapts to the inflexible framework of social structures and habits, which might be seen as a sort of animal training.
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Beata Guczalska reviews Platonov, directed by Konstantin Bogomolov at the Stary Theater in Krakow (premiere: 19.12.2015), pointing out that the casting of males for the female roles and females for the male roles was not meant to prompt reflection upon gender issues. To her mind, the play more aims to examine the nature of theater. She analyzes the actors' interpretations in particular, demonstrating their various strategies in distancing the performer from the character. At the same time, she notes that this distance does not overrule emotion, motivation analysis, and the characters' feelings. In conclusion, she sketches a portrait of the director and, making reference to his Ice at the National Theater in Warsaw, she states that Bogomolov is having difficulty defining his relationship to the Polish stage tradition and his own role within it.
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Monika Wąsik writes of The Promised Land directed by Remigiusz Brzyk of the Nowy Theater in Łódź (premiere: 4.12.2015). The author stresses that the director only brings out the main plot lines of Władysław Reymont's novel – in her opinion the performance is like a handout summary of the text. Wąsik takes a critical approach to the director's conservative rendition of Reymont's novel – she points out the performance's weak portrayal of the context of antisemitism, xenophobia, and poverty. She does appreciate, however, the interesting strategy of casting most of the actors in dual roles.
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Paweł Schreiber reviews Anna Smolar's Dybbuk (Polski Theater in Bydgoszcz, premiere: 4.12.2015). First he situates S. Ansky's text in the contemporary framework of the play. He notes that the contemporary touches are not entirely effective. He does, however, laud the director for her skillful use of the “theater in the theater” motif (Dybbuk performed by middle-school students) and for showing the students' and teachers' complex responses to Jewish culture, which is shown as incomprehensible and remote.
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Rape: Voices was created on the initiative of the STER Foundation for Equality and Emancipation and was directed by Agnieszka Błońska (premiere: 7.12.2015 at Powszechny Theater in Warsaw). Sylwia Chutnik wrote the script, based on interviews with women who have experienced sexual violence. The performance is a weave of stories told by several women. These stories intertwine in private lives and in the courtroom. The actresses (professional and amateur) are so authentic in their roles that one might well gain the impression that they are telling their own stories. Only two actresses create theatrical characters, the naive Little Red Riding Hood and the older woman, who experienced sexual violence at different stages of their lives.
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Infighting and political interference threaten to shatter the country’s leading opera house and ballet company.
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One of the symbols of pure abstraction, the cube called “Theatron”, which was set up in the exhibition hall of the Academy of Drama Arts, was converted into a form of action art. Black cube with the working title "Theatron" as an ideal of avant-garde space remain an open story of the conscious artistic provocation which can, in a subjective way, continue to collect, interpret and document various ideas and concepts. The function of the suprematic space was reviewed by actors of the Academy of Dramatic Arts in Tuzla (ADU), guided by their knowledge and experience and by inspiration and coordination from their mentor Baisa Bakin. The show “Theatron - Art Cube on the trip around the world, “which was created as part of a seven-day art workshop “Theatron” with German artist Wassa Marjanov and with students of The Academy of Drama, University of Tuzla, was performed on Monday evening at the Academy of Drama in Tuzla. It was designed by docents and assistants of the Academy - Baisa Bakin, Sanela Babić, Damir Altumbabić and Dragan Pirić. The show included seven actors, students of the second year of ADU in Tuzla, in the class of professor Vlado Kerošević: Damir Masić, Ana Franjčević, Edin Suljetović, Haris Mrkonja, Gordana Džepina, Siniša Kahvić and Asja Husičić. ( A. D. S. , 2007).
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Risk existency challenges of modern society in the theater over the producer. Besides the unquestionable knowledge production, moments he was informed of the turbulent currents of social (in) significant impact on the production process. Produced by the addition, which is a good connoisseur of theatrical art, and someone who has strong qualities and the ability to recognize at some point social movements and anticipate the challenges of a new organizational positioning institution or project. Understanding the broader context existency theaters in a particular social setting is a special brand of producer who understands the time and adjusts his theatrical form with which to manifest. Social stunts form of theater that challenges the very least be a stimulating and creative designers work on the formation of new theatrical forms.During the posttransition produces a multitude of byproducts whose essence are speed, quantity, superficiality and banality, which undoubtedly has its reflection in organizational and production company in the field of theater. In such an environment to be faced with byproducts, both in society and in the theater, and try to eliminate as many of their causes. Completely no byproduct can not be eliminated from society, but in a theater production company sphere can be kept under constant control of the invention to cause lands adapting organizational or production form. Positioning and placement under the technical control and supervision of byproducts in the theater is something that is risky in terms of society, such as posttransition , is very good and desirable.Production form that will meet the challenges of the posttransition times were both in repertoire and in terms of production, is a small, mobile, movable chamber. Through a little theater production form, at a time when theater clumsy organisms can hardly survive, topics that are a serious threat to society, very fast, mobile and effectively convey adventures men theater. For his act of socially engaged theater, mobility and convincing interpretation of creation exposes a very effective way of what could have disastrous consequences. In this way, a small theater form has broader social role of missionaries conotation about that because of the closed society can not be publicly discussed by other means, to those theatrics, while the sense of production, realistic and achievable.
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In the last two decades the theatre in Poland is interested in constructing narrative identity, in creating stories of people and places, which are usually an alternative to the official history. On one hand, it is connected with the contemporary memorial boom, and on the other - it arises from the need to appreciate up locality. To the same extent it is a response to the globalization as it is to the expectations of members of local communities having their own story, connected with the place of their live. Many theatres introduce to their repertoires performances referring to the local context, space and local inhabitants. Some of them treat the locality as a kind of communicational strategy with the local audience. Good example of this is Teatr Zagłębia in Sosnowiec, which is very active in the field of creating local mythology and identity. The article discusses in particular two titles: Korzeniec - referring to the beginnings of the city and Czerwone Zagłębie - which recalls the twentieth-century local history. For the analysis of Teatr Zagłębia activities it is useful to reach for the memorial concept of John Assmann and traditions invented, by Eric Hibsbawm.
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