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This article is devoted to the director Antoni Bohdziewiczs creative output and teaching work at the Łódź Film School, to commemorate the 110th anniversary of his birth. The author presents Bohdziewiczs early days as a director at Polish Radio in Vilnius, and also his work as a film critic. A significant moment in Bohdziewiczs life was his leaving for Paris on a scholarship on Prof. Władysław Tatarkiewicz’ recommendation, where he produced several short films. On returning to Poland, Bohdziewicz enjoyed success mainly as a reporter for Polish Radio and also as the co-founder of the Imagination Theater (Teatr Wyobraźni). When war broke out he got involved in underground activities, becoming one of the organizers recording the events of the Warsaw Uprising on film. Bohdziewiczs post-war activities were significantly affected by his appearance at the Filmmakers’ Congress in Wisła (1949), at which he spoke out against introducing the ideas of socialist realism. Bohdziewicz never felt fulfilled as a director, despite producing several films, including documentaries, feature films based on contemporary themes and literary adaptations. His true passion remained his lecturing work at the Łódź Film School. The article quotes many of his pupils and protegees, including Andrzej Wajda, Janusz Majewski, Kazimierz Kutz, who saw him as their master, and their artistic and spiritual guide through those times. Without exception they emphasis how Bohdziewicz lived solely for the School. In his later years he was strongly associated with the Film Discussion Club movement; he occasionally worked in theater, wrote, and taught at the INSAS Film School in Brussels. With hindsight and from his pupils’ remembrances, it becomes clear just how invaluable his teaching work at the Łódź Film School was
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This article considers the elements of ethnography in crowd scenes in productions of classical works by Ukrainian director of the National academic Ukrainian dramatic theater named after Maria Zankovetska Fedire Strygun carried out in 2009-2015 years. Among art achievements of Fedir Strygun more than 130 roles in theater and cinema, he is the artistic director and director of the National theater named after Maria Zankovetska since 1987. There are about 25 performances based on writings of Ukrainian classics included in whole amount of his director works. The external features of Fedire Strygun performances are inclusion a large part of actors of theatre, that leads to necessity of the layout of crowd scenes which become an integral part of the action. Over the years, the directing method of constructing mass scenes of Helmsman of Zankovetska’s theatre acquired certain specific forms. For the last 10 years Fedire Strygun produced such a performances based on writings of Ukrainian classics – «Svatanya na Honcherivci» G. Kvitka-Osnovyanenko, «Nazar Stodolya» T. Shevchenko, «Rizdvyana Nich» by M. Gogol, «Nevolnyk» by T. Shevchenko. There are such a features of Fedir Strygun directing, focusing on crowd scenes: use of national costumes, staging of Ukrainian customs and rituals, actors singing of folk (and adapted for folk) Ukrainian songs, others. National theater named after Maria Zankovetska is the successor of the traditions of theater luminaries, today thanks to the performances of Fedire Strygun is possible to trace the connection of generations and imagine what kind of theatre was the traditional Ukrainian one, feel its melody and hidden meanings. The ethnographic part in crowd scenes takes a leading position in this process, because there is not only functional theater technique, but also a means of bringing beauty to the modern viewer customs and traditions of their ancestors.
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This contribution analyzes Aristotle‘s influence on the modernunderstanding of theater (based on the concept of the drama script) as arestriction and reduction of the potentiality of theater. Therefore, it presents acomparative analysis of the objectives of the antique theatrical practices aroundthe 6th and 5th centuries B.C. (before Aristotle) and Schlingensief‘s ―Action 18,Kill Politic‖ (2002). It provides also a transcultural examination that helpsexplain the meaning of the postdramatic transgression of taboos, its productiveaesthetics of risk, and its social and political potentiality. Thus, the performance―Action 18, Kill Politic‖ is analyzed as a process-oriented and experiencebased aesthetic of risk as well as a ‗social drama‘ in everyday life.
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George Banu has never allowed theoretical research and academic study toquench his emotion. His way of expressing himself was the one of a word andimage craftsman. Is George Banu a friend of the theatre directors, from Brookto Zholdak, from Grotowski and Kantor to Warlikowski and Yannis Kokkos orFelix Alexa, from Strehler to Bondy or Castellucci? Is he a theatrologist whoavoids the trap of recipes forced upon the art critic? In a subtle and indirectmanner, he reminds us that the theatre is not a personal affair but somethingmeant to stir the general interest that creates the bond between the human beingand the world and the stars. His critical journeys are a tribute to theuniversality of the theatre.
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Myth in literature is an enunciative matter that lends itself to twointerrelated studies. On the one hand, one should analyse the way a textrewrites and reinterprets mythical themes and motives. This is the object ofthematology. On the other hand, one is also supposed to bring to light theworkings of the imagination in its anthropological dimension and see how itis embodied in a significant writing process based on a palimpsestuousreading in which myth functions both as intertext (quotation, allusion,plagiarism) and hypertext (imitation, transformation). This is the object ofmythopoetics. The interpretation of “myth as intertext” thus requiresanalytical approaches that combine and reconcile the tools ofmythocriticism with Genette’s theories of transtextuality. This inter-/transdisciplinary approach is particularly appropriate in the study of B.-M.Koltès’ plays. Not only does the French playwright’s production echo andre-actuate biblical and ancient myths, but the haunting recurrence of awhole array of mythemes and mythologemes also generates “Figures” – inDeleuze’s definition of the term – that are truly mythical in the sense thatthey appear as universal singulars, as symptoms of the forces that pervadeour universe.
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In the present paper the author conducts a diachronic andsynchronic survey of the impact Christoph Hein’s dramas had on the WestGerman stage. Christoph Hein, an East-German writer born in 1944, exertedgreat influence both on the FRG and the GDR public. One of the few GDRdissidents who managed not only to survive but also to publish his work inhis home country, Hein was part of the remarkable underground culturepromoted by authors and readers who managed to get close to the idea offree public speech via reading sessions, stage performances and othersimilar cultural events, as well as by smuggling books. Unlike the previousgeneration of writers, who had gone through the barbaric Nazi regime, andunlike the following generation of writers of the 70s and 80s, who hadexperienced the collapse of GDR, Hein and his contemporaries were proneto an idealism which was nonetheless doomed to failure and whichsubsequently led to a sense of skepticism and bitter irony.The Western approach to Hein’s literature exhibited two major trends – oneaiming at the literary work through the writer’s affiliation or non-affiliation to the socialist party and the other one viewing the author’s texts aschronicles of the Eastern society of that time.
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Although almost ignored by both Literature and Theatre Studies, playwrights’ stage directions are essential in the reconstruction of their imagining of the stage (or the so called “pré-mise en scène”). A possible analysis of the textual stage directions would be the one that uses the instruments of the Semiotics of Theatre. Our study aims to prove the efficiency of such an approach. In the specific case of Friedrich Dürrenmatt’s stage directions regarding non-verbal acoustic signs the analysis can lead to very interesting results concerning the playwright‘s thinking in terms of music.
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Romanian traditional dances are well known for their beauty and variety, but also for the one corpus they design together with songs, traditions and old rituals. One of the most important traditional dances is Învârtita / the 'turning' dance, specific to the South and Centre Transylvania. Its basic form is at moderate tempo with turning as a couple, in alternate directions separated by a resting step, without progressing around the dance space, but there are variants at distinctly different tempi. Some of these variants are danced by the “Cindrelul-Junii Sibiului” Professional Folk Ensemble and are presented in this research paper.
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From the panoply of the historical figures of the European space, at the end of the Middle Ages, was detached a typology with Romanian spirit: the outlaws. In spite of some of their bloody actions, they were considered positive heroes, there appeared numerous legends around their courageous deeds. The popular theatre took over the social theme in the dramatic play of the Jienii. At the same time, with the appearance of Romanian religious music, the themes of the vaudeville (light comedy) affirmed that outlaws` figure. Resounding translations of outlaws’ ballads, fallowed both in choral and vocal symphonic genres, as well as in the lyrical theatre (opera, operetta and ballet). The specificity of the character along side with the musical language that presumes the capitalization of folklore are distinctive marks of Romanian musical dramaturgy.
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This paper employs a transnational lens to explore traditional Croatian dance practices in Sydney, Australia. It looks first at individuals and their emotional ties with Croatia as expressed through participation in dance groups. Then, three strands of group activity are explored. Organisations provide structure for alliances between groups; pedagogical principles were brought from Croatia but have undergone modification for the Australian situation, and material exchanges across borders include costume purchase and financial remittances. The transnational framework produces a detailed analysis of dance in the Croatian community in Sydney.
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The ability to communicate is a prerequisite of the process of building interpersonal relationships, of social integration. Communication is a complex process involving the exchange of messages between at least two people and implies a harmonious combination of verbal, paraverbal and non-verbal language. Communication skills are particularly important to the people working in the field of culture. The classes in the Speaking Art discipline provide students with the opportunity to understand this process and to apply it practically through exercises and theatre games.
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Balázs Urbán writes about the premiere of a co-production between the Tamási Áron Theater in Sepsiszentgyörgy and the Szeged Outdoor Plays. It is the second time that László Bocsárdi directs Brecht, which is surprising, according to the critic, who believes that the author’s sharp-wittedness, stylized form, and expressive theatricality fit well into Bocsárdi’s world. The Beggar’s Opera, even though taking the world of the play further, leaves a sense of deficiency: mainly in respect of a bold directorial interpretation and the varying quality in the cast’s performances.
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In her review of the performance directed by Enikő Eszenyi at Cluj-Napoca, Katalin Ágnes Bartha concludes that while the tight-paced directorial approach featuring powerful and spectacular theatrical solutions made up for a compelling performance, the Lulu based on the ancient Lulu of Wedekind did not reinterpret the female issue from a contemporary perspective. Bartha’s sensible analysis elaborates on the dramaturgical interpretation, on the actor’s performances, and especially on the performance of Imre Éva playing the part of Lulu.
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Kinga Boros writes about Orestes in Mosul, the performance directed by Milo Rau in 2019 and still performed in different locations in Europe, going into the details of the ars poetica of NTGent, that is the National Theatre in Gent and placing the performance in this context at the same time: into a conception about theatre that turns away radically from art-theatre and defines its own role within its social connections. This is Rau’s first performance based on a classical text, being of course a free interpretation of the drama. Created in the Iranian city of Mosul, after its liberation from ISIS, with local actors and musicians, the performance intertwines the classic tragedy with personal stories of the creators and with the circumstances of the creative process.
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Even though many of the poetic documentaries do not follow a classical narrative structure, theirconstruction has a natural tendency to form certain patterns in order to convey a message. In theformation of these patterns the use of symbols is an important point because the innovative aspect of thepoetic documentaries is to make the connection between the experimental film, the visual essay and theclassic documentary. Therefore, the entire poetic documentary uses the symbolism from the visual essayand from the experimental film in order to transmit emotions or information to the public in an innovativeway, rarely encountered in the documentary film.
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Actors are creators. They live on the stage and bring their own world with them. Sometimes, actors canlive under the impression that the inner world of a part is so far away from their personal experience thatthere is no other access path towards the core of the character than creating a substitute, a model thatwould be convincing enough, so that, through imitation, reproduction and simulation of reality, theymight go through with the scene. Some others might think that the simplest way to approach a part is toonly focus on the lines, enveloping themselves in the melody, in an incantation of sorts, thus making thetext, who had in the meanwhile become unclear, to surround them with a kind of fog that gives them thefeeling they experience something real, an actual state. Some other times it happens that actors findphysical actions to fill their own voids. It is a way to hide, and the actions are actually useless, and nonartistic. To find the way to a character one needs, first of all, to discover and understand the logicalmechanism it is built upon, that makes a character what it is.
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Catinca Drăgănescu is one of the key figures in today’s Romanian theatre. As a playwright and stagedirector she’s inspired by Romania’s social realities, and she always militates towards a theatre ofconsciousness, a theatre that’s always grounded in `present tense.„Rovegan” as a play but also as a theatreshow represents a clear example of Drăgănescu’s proactive and focused approach towards Romania’ssocial problems. In „Rovegan” she approaches the problem of economic migration. This is one of themost important issues in Romania’s society today. The main factors that influence Romania’s citizens tomake this decision (leaving the country) are poverty and lack of perspective. These main subjects are keyelements in Catinca’s play. Following the script of the well-known fairy tale „Capra cu trei iezi” by IonCreanga, the play follows the story of a mother who goes abroad, in Italy to work and her children whoremain at home. The main subjects of the play, that brig up violent emotions in the audience, arecapitalism as we know it today in Romania and the separation between mother and children.
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Book Review of ‘Jane Cooper, the Canadian Nightingale. Bertha Crawford and the dream of the prima donna’, Victoria 2017 by Małgorzata Komorowska,
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