We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The principle of mastering the art text is passion for the cast of big vocal speech and stage actors and theater makers. Always strive to set the system to successfully master the text. It involves active learning tasks given art scene, through practice stage. The students acting at FDU, Skopje implement such a system, through the practice of sound and action text assignments in other educational institutions. It is a system of checking the given text art categories: time, space and consciousness. It involves active learning established stage speech physical to the spiritual.
More...
A direct experience of Real, which reveals items and words in their mechanic, is to create simultaneously objects and a language folded around the liberty of its new objects; it is, at the same time, a denial of the existence of ordinary (what is considered ordinary is nothing than poetical concatenations out of the practical reality; any mechanic, on a closer look, looks hallucinatory.) and of absurd (as an historical dependence, a way of functioning according to institution and meaning), by means of poetic (solidarity in difference) and dramatic (solidarity in opposition). On the threshold between distinct or opposed objects/names is developed the speech in Eugen Ionescu’s plays.
More...
The article is focused on the disclosure the origins and specificity of Alexander Tyshler’s perception of the pictorial plane by way of scenic space and identification the features of the artistic interpretation of theatrical elements and scenographic methods in artist’s easel art. Particular attention is paid to the stage construction plastic motive as one of the most important structural and symbolic component of theatrical space.
More...
The article is an attempt to confirm the influence of theatre arts on the formation of worldview of the person by enriching his inner world and the awareness of self-worth. Methodology. The research methodology consists in the use of axiological method for comparison of the values, approved on the stage of the amateur theatre, with the values that constitute the foundations of human existence; the analogy method by comparing the theatre and life; the method of empirical research and the ideographic method in the review of the activities of the experimental theatre laboratory «Bursaky» («Seminarians») in Zhytomyr; cross-cultural method shows the using of the method of alienation of Brecht by the «Bursaky» («Seminarians») in the context of new cultural attitudes. Scientific novelty. A scientific novelty consists in the adoption of the values to the individual and his self-projection in amateur theatre in the context of contemporary cultural space. Conclusions. Electing the own methods of work young Ukrainian amateurs, as a dynamic and creative part of the artistic and cultural environment of Ukraine, will inherit the best achievements of world theatrical culture and carry out innovative research in the field of performing arts in amateur theatre in the atmosphere the combination of high spirituality, national consciousness and global cultural achievements.
More...
Choosing the "Stolen Happiness" by I. Franko (artist S. Koshtelyanchuk, 1979) as a debut performance at his position of the artistic director of the Kyiv Theater of Franko, S. Danchenko was running an extremely high risk, because a few years ago the staging of this drama in the Lviv Theater of Zankovetska proposed by him has become a phenomenon in the theatrical life of Ukraine. Mykola, played by B. Stupka, was perceived as a "tribal" feature of Zankovetska performance school and it was hard to imagine how it will partner with actors with a different "blood." It should be recalled that in the second half of the 70s, the "Stolen Happiness", almost simultaneously with Lviv residents, was staged by two more theaters, i.e. Volyn Theater of Shevchenko (director Oleksandr Zabolotnyi, artist L. Chernova, 1976) and Chernivtsi Theater of Kobylanska (director V. Opanasenko, artist B. Lassan, 1978). In all performances, the age difference between the characters was removed, and the social background of the events underlying the drama was offset. Young and beautiful Mykhaylo, Mykola and Anna found themselves in the vortex of the complex ethical issues. However, in the play of S. Danchenko only Mykhaylo and Anna fought for their right to happiness at any cost. Instead, Mykola-Stupka existed in a different spiritual space. For him, any manifestation of egocentrism was unacceptable; a zero "pain threshold" made him vulnerable to the slightest adversity in life of his loved ones. The pain of another person, beyond any logic of interpersonal relationship development, permeated all his essence, became his pain. Staging of the "Stolen Happiness" in the Theater of Franko, having summarized the topical issues of the day up to the universal categories of the being singled out the new content layers of Franko play. Later on, the stage interpretation of the Ukrainian classics will be heading towards generalization of the conflict and issues, out-of-the-household development of characters. Increasingly, the ritual acts as an effective factor in forming the shaped structure of performances. Indicative in this respect will be the staging of I. Borys, V. Kuchynskyi, I. Volytska, D. Bohomazov and others. The "Visit of the Old Lady" by F. Durrenmatt staged in 1980 in the Kyiv Theater of Franko (artist D. Lider) is one of the brightest pages of the Ukrainian theater of the first half of the 80s. The very appeal to this drama has become fundamentally important, since the careful "ideological eye" extremely censored the involvement of contemporary foreign drama in repertoire. The offensive diplomacy of S. Danchenko allowed bypassing the censors’ prohibition and expanding the problem-thematic and genre-stylistic range of art searching of Franko Theater actors. The director did not "fought" with F. Durrenmatt, having kept in the performance both the tragic and the comic. Like many of his predecessors, he actively brought Brecht’s vocabulary into the artistic tissue of performances. Meanwhile, the lyrical intonation powerfully shaped the area of dramatic events related to the central characters, which saturated the scenic expression with psychological overtones of a broad range. The play consistently showed the process of moral degradation of a man in a society where everything is bought and sold, where money is the only vital goal. However, the performance claimed the possibility of resurrection of the human spirit capable of reviving a person, pulling it out of the swamp of the middle-class morality, from the shackles of the narrow-minded thinking. That’s the way Ilya (S. Oleksenko) appeared in the play, a certainly tragic way, but enlightened with the knowledge of the re-discovered achievements of the individual, i.e. freedom, will not motivated by anyone, the right of choice, even though this right is paid by life. Claire (N. Koperzhynska and Y.Tkachenko) is the same victim as her lover, but she certainly remains a dark power generating the new victims. The actresses played a tragic impossibility of evil redemption, played the fatality as the cross torment retained by superhuman efforts in the literal sense of the word. Claire can take everything away and reward for everything. However, her path is still barren. At first glance, the directorial concept fit into the dominant theater development trend of the past decades, when the man was interesting not in itself, but rather as an object of influence of the world in its various manifestations, from life and social conditions to the most general laws of existence. However, the multilayered imagery of the play built by Danchenko and Lider in collaboration, provided an opportunity of a broader contextual understanding of the problems of illusory harmony of material prosperity, which demands the conformity, instead turning into the petty meager existence. "Stolen Happiness" by Franko, "Uncle Vanya" by Chekhov, and "The Visit of the Old Lady" by F. Durrenmatt referred to herein embedded the Ukrainian theater into the context of European stage practices. The scenic chronotopes as an effective factor in the formation of figurative systems of performances by S. Danchenko and scriptwriter D. Lider identified the main path which enriched the aesthetic potential of Ukrainian theater culture.
More...
The article depicts symbolism of ceremonial dances in the structure of wedding ceremony of Slobozhanshina, specifies its typology under the functional predestination.
More...
The article deals with analysis of artistic and poetic words in theater art, versatility of acting functions in theater features of the collective communication in theater process of directing in artistic creativity.
More...
The present article is intended as an expression of the author’s subjective opinions in a wider-ranging debate concerning the current state of Polish drama and theatre studies and their future prospects. While formulating his “local” diagnoses (in comparison with what is going on abroad) and advancing some critical comments regarding some research paradigms and tendencies, the author (a Romance scholar and theatrologist) takes the position of “semio-structuralism” and, as far as ideology goes, champions a conservative conception of man, the world, and scientific activity (taking into account all aspects of the human condition: the spir-itual, the psychological, and the socio-material). The article contains – as indicated by its title – seven principal postulates whose aim is to improve the condition of Polish theatre studies: 1) to eschew pseudo-philosophy and con-fusions generated in the context of the performance-studies turn in the humanities (equating science with ideology and fiction with reality, disregard for theory and systematisation); 2) to make do with ephemeral academic fashions and to focus on realising key local research tasks instead; 3) to revitalise Polish theoretical thought and to boost methodological reflexion in historical studies; 4) to switch from “inward transmission” to “outward transmission”, i.e. from translating foreign works into Polish (to be collectively mesmerised by them later on) to translating Polish works into other languages; 5) to create and popularise interdisciplinary re-search tools (the article includes a table that contains a grid of analytical concepts and criteria proposed for multi-aspectual study of spectacles); 6) to carry on axiological reflexion and to make efforts to redefine the concepts of art and theatricality in the face of the current aesthet-ic and ethical degeneration; 7) to institute a “new” kind of theatre criticism that would focus on promoting works of high artistic and ethical merit.
More...
This article is dedicated to the research of organization and economic functions of the benefit in theatre business. The author analyses the materials from history of Russian Empire theatre, draws attention and consideration about organization and arts aspects in theatre business.
More...A Portugál c. előadásról
Portugál came to life as the result of director Victor Ioan Frunză’s sixth collaboration with the Miercurea-Ciuc Hungarian theatre. Krisztina Kiss writes a review entitled Unhappiness, Your Name is Irgács analysing this performance about hopelessness and stating that creators were not consistent in representing the play’s specific space and use of language in a Transylvanian context.
More...Beszélgetés Albu István színházigazgatóval
Creating value, urging people to think, especially now, when the world tends to repress these activities– this is what the leader of Gheorgheni based Figura StudioTheatre thinks is the purpose of theatre. Melánia Pethő talked to István Albu about the profession, spectators, the difficulties of leading an institution, and the role of experimental theatre.
More...
The repertoire of humorous periodicals, even at its early inception, allows to be organized according to numerous criteria – thematic, genealogical, formal and aesthetic ones. One can distinguish marriage and family, professional and social, fantastic and parody dramas. The selected types penetrate each other. Formal parody was signaled by subtitles containing the qualification that determined the formalshape of the work. In this way the newspaper theater revived the conventions revoked by the literary reform of Romanticism. A theater of Paris cabarets was to soon follow in its footsteps with the projects of great 19th century stage reformers – and this is not the only resemblance to the later cabaret art that could be found in this 1870s newspaper theater.
More...
One of the most important element of the Jesuit culture was the school drama, which combines elements of many arts into one synesthethic whole, proved to be a particularly valuable vehicle of artistic, educational and formative persuasion. To achieve its objectives, Jesuit authors applied elements of psychological introspection in their spectacles, in the form of visualisations of individual emotional states as well as solutions to those states that appeared in the course of dramatic action. Comparing three different kinds of theatrical sources: periochai (action summaries distributed among the audience), libretti and the full music scores (coming almost exclusively from Vienna college), it is possible to discuss the music layer of individual spectacles, especially if by comparing various sources we reconstruct the methodology of encoding musical content, which varies from one group of sources to another, but betrays a rather logical general strategy. The paper discuss how and in which way the music was used as a support of the visual communication in the spectacles played in central-European Jesuit colleges, concerning the topic of the overseas missions of the society. For instance, the sections referred in the periochai as the choruses are actually extensive scenes consisting of a dozen or more episodes and musically completely independent. where musical sequences are incorporated into the main action of the drama, they are shorter and complementary to the recited sections of the libretto.
More...
In the article place of theater thematic concept in the structure of stage entertainment forms and modern requirements for the creation of stage action forms are determined. The role of theatric thematic concept in new perspectives of cultural and artistic life is estimated. The specific features of the modern theatric thematic concert, their genre indications, expressive means and main directions, traditional and new forms of the concert stage action are regarded.
More...
The article analyzes the typology of theatrical spectacle for rising event, including a calendar, unique, and that which occurs in the other event. The examples of the director's own practice by justifying the need for organizations to combine holiday traditions, experience, creativity, originality and uniqueness of design director.
More...
In the article on the performances presented at the International Theatre Festival in Wroclaw, analyzes the features of modern stsenohrafichnoyi fashion that clearly traces the tendency of the image detail that locates its maturity with the final chords of the dramatic action.
More...
The actor’s way to the stars is pretty narrow – says Oskaras Koršunovas during his Venice workshop that Eszter Tompa presents. We get acquainted with the Lithuanian director’s methods, his thought-provoking ideas and his human figure in a swift sketch.
More...Interjú Ördög Tamás színész-rendezővel
Klaudia Antal talks about the activity of the company Dollár Papa Gyermekei (Children of Dollar Daddy) with the Hungarian actor-director Tamás Ördög, with a focus on the creative process during which classical dramas are radically rewritten for new productions. Further topics of the interview include the “translation” of plays, the encounter between reality and fiction as well as the peculiar theatrical spaces of the performances.
More...Az Ariel Ifjúsági és Gyermekszínház Antosa című előadásáról
The Ariel Youth and Children’s Theatre in Tg- Mureş presented within Underground – its line of performances for adults – Antosa a performance inspired by Chekhov’s works and directed by Olga Barabás. Krisztián Kiliti writes about it.
More...