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Jednoj se operi može dopustiti da bude krajnje raskošna u svojim dekoracijama, budući da je njena jedina svrha da zadovolji čula i održava nehajnu pažnju u publici. Zdrav razum, medjutim, zahteva da u sceneriji i u mašineriji ne bude ničeg što bi moglo da izgleda detinjasto i absurdno.
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Sudbina nije bila milostiva prema Vladimiru Tresčec Branjskom. Doba i prilike, u kojima je živeo nisu mu dopusti! da da svoju punu meru, da razvije svoj književnički talenat temperamenat:; a učinili su da ga ljudi, i za ono što je dac manje cene nego što je zaslužio.
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The Rats, the first performance directed by Hungarian director Sándor Zsótér in Transylvania with the Tompa Miklós Company of the Tg-Mureș National Theatre, is – in Andrea György’s opinion – a real and exciting theatrical experiment. The reviewer interprets the performance – characterized by a peculiar sign-system of distances between text, image and acting – mainly along Zsótér’s directorial tools. Reviving also the tradition of the tableau vivant, the performance intertwines the contexts of the theatrical environment and Christianity with social and artistic critique.
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Monika Kwaśniewska-Mikuła’s text summarizes mainly theatrical Polish events related to the #metoo-campaign. It describes the performances which have dealt with the campaign and especially with its „antecedents”, and it presents processes in theatres and other institutions of performing arts, based on which the author arrives to the conclusion that the movement and different revealing gestures have not brought deeper transformations, both because of the cemented hierarchies, and also because of intimidation and facade-solutions.
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The #metoo-campaign that pointed out sexual and social power-oppression of women had little impact in Eastern-European theatre. This is the conclusion of Serbian critic, Igor Burić’s report, in which he talks to (mainly female) theatre artists: playwright Tanja Šljivar, director Anđelka Nikolić, dramaturge Jelena Mijović, actress Elor Emina and theatre-maker Attila Antal. The subjects frame female vulnerability within the problems of the social system, beyond professional circles, emphasizing the fact that a transformation of models might efficiently start at the level of (professional) education, by introducing study subjects dealing with professional ethics, the psychology of the creative processes and group-dynamics.
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The topic we are referring to has been debated on various occasions, but our approach aims on one hand the importance of physical exercises and their impact on a category of students, namely those in higher art education system, and on the other hand brings to attention some age-related changes, namely the succession of forms corresponding to the functional changes in time of our body. The period of evolution within this context corresponds to the growth stage up to 20 years. The growth and development of the musculoskeletal system in length, width and depth alternate according to a specific rhythm that allows periods of division. Thus, there are periods of growth in human life, mainly in terms of width and periods of growth in height, which alternate once at 3 or 4 years. Seeveral chronicles and statistics prove that young people’s body with good physical condition has withstood the hardships of life in a much higher ratio than those who are not in fit. We know very well that a harmonious body is a preventative medicine against diseases and a body accustomed to physical exercises gives teenagers an extra dose of protection. According to the American Heart Association, physical inactivity increases the risk of stroke and amplifies other risk factors for cardiovascular disease, such as: obesity, high blood pressure, LDL cholesterol ("bad") and diabetes. This topic is all the more important as it’s about student artists who face certain problems related to the development of the human body under the conditions imposed by a profession, many of them being forced to adopt certain body positions for a long time either in front of the easel or with the violin in their hand, or on scaffolding, on mural or restoration sites. In fact, we have raised these issues in other articles and also at some symposium communications. We want to contribute to the training of young artists through the recommendations and programs provided in anatomy and sports culture so that this information is understandable and, at the same time, becomes a decision-maker in psycho-physical and, implicitly, in professional development.
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The paper analyses the relationship of the epistolary novel Dangerous Liaisons by Pierre Choderlos de Laclos and its ballet adaptation, which premiered on 4 March 2019 in Croatian National Theatre in Zagreb, with the choreography and directing done by Giorgio Madia. With a comparative analysis of key substantial and stylistic determinants of the textual template and their scenic materialisations (choreographic, costume design, scenographic, musical and lightning) a congruence of novelistic and scenic moulding – within theatrical semiotics and adaptation theory – is questioned. A conclusion is made that the author transposed the linguistic sign set mostly deficiently into a theatrical one, primarily because he did not find adequate counterparts for the letters as the conduits of the plot and a mode of characterisation. A translation of active, affective, reflexive and other substantial levels of the novel, as well as the stylistic determination of the dance segment, remained mainly on the literal level, i.e. a symbolic one: letters, crinolines, wigs, the construction of the castle and other things associate to the novel, but not to the distinctive key substantial points of the novel and character traits, while the connection to the ballet are the ballet shoes, but not the optimally chosen ballet vocabulary.
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An interview with Vilmos Vajdai, actor, director, and dramaturge.
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Essay on the connections between cabaret dramaturgy and Viktor Bodó's theatre.
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A review on Drunk by Ivan Vyrypaev, directed by Péter Gothár at Katona József Theater in Budapest.
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A review on Sindbad based on Gyula Krúdy's novel, directed by Attila Vidnyánszky at National Theatre in Budapest.
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A review on 'Of ivory and flesh – statues also suffer' by Marlene Monteiro Freitas at Trafó House in Budapest.
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A review on Three Sisters by Chekhov, directed by Attila Vidnyánszky at the National Theatre in Budapest.
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