Izrāde “Meža meitas”: stāsts un virsskaņa
Sanita Reinsone. Meža meitas. Stāsti par dzīvi mežā 1 daļā. Valmieras Drāmas teātris. Teātra izrāde. Režisors Mārtiņš Eihe. Pirmizrāde 2018. gada 12. janvārī
More...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.
Sanita Reinsone. Meža meitas. Stāsti par dzīvi mežā 1 daļā. Valmieras Drāmas teātris. Teātra izrāde. Režisors Mārtiņš Eihe. Pirmizrāde 2018. gada 12. janvārī
More...
The paper describes the history of the Parisian performances of Wagner’s ‘Tristan and Isolde’ focusing on these of the three periods: the Belle Epoque, the interwar period and the nineteen fourties. The author reminds the casts and the press reviews of the main spectacles of this musical drama. ‘Tristan’s’ premiere at the Paris Opera took place on December 14th, 1904 conducted by Paul Taffanel. Earlier, this work had been executed in French, not only abroad – in Brussels and Monte Carlo, at the opera theatres in French provinces, but also in Parisian theatres, Nouveau-Théâtre (in 1899) and Théâtre du Château-d’Eau (in 1902) – due to private initiatives of Charles Lamoureux, Willy Schütz and Alfred Cortot. During the interwar period, ‘Tristan’ was staged in Paris – in nineteen twentieth – by Italian and Dutch artists (under Tullio Serafin and Albert Van Raalte) and by the second Parisian opera theatre – the Opéra-Comique (under Désiré-Émile Inghelbrecht first, and under Albert Wolff next). After the reappearance of ‘Tristan and Isolde’ in the Paris Opera’s repertoire in 1930 an unusual rivalry of the two Parisian opera theatres playing this drama in the same time took place. The remarkable performances of ‘Tristan and Isolde’ – mentioned in the paper – were given in Paris by German (or Austrian) artists conducted by Franz Schalk, Karl Elmendorff, Leo Blech, Franz von Hoesslin and of course by Wilhelm Furtwängler in nineteen thirties. Almost 90 years after so called „Anglo-American Season” at the Théâtre des Champs-Élysées, the Paris Opera is announcing seven performances of the real Anglo-American ‘Tristan’ to take place in January and February 2023, with the American and British artists in the principal roles.
More...
The main focus of this article is an attempt to answer the title research question: is it possible to mutate a banopticon into a careopticon? The article offers an interdisciplinary look at selected narratives, from three categories: film, television theatre and prose. All three works deal in their own way with migration, which takes on different faces. The article distinguishes the main characters into migrants and refugees, while pointing out their common features. The struggles of the newcomers with the difficult reality in a foreign land are described. The author deliberately translated and quoted fragments of a novella by Abdulrazak Gurnah, hitherto unknown and not translated into Polish, who received the Nobel Prize in Literature in 2021 for showing the effects of colonialism and for depicting the fate of refugees with human compassion. The analysis of works selected for the purpose of the article is to serve, in particular, critical reflection on contemporary problems that are discussed on the pages of literature in the humanities, social sciences, and economics. In the article the notion of “exclusion” is extensively illustrated, which is contrasted with some proposals of systemic solutions related to the notion of “care”. The author is of the opinion that contemporary humanities, especially literary studies, should enter interdisciplinary fields, where at the intersection a field for critical reflection on reality is created in order to define the problems of civilisation and attempt to solve them effectively.
More...
After decades of absence from Polish musical culture, the music of Alexandre Tansman is now returning to the country’s concert halls. Orchestras, chamber ensembles and soloists are eagerly turning to his rich and varied output, which is also increasingly being explored in academic research and studies of various kinds. Despite this growing interest, there are still some areas of Tansman’s legacy that have not been adequately researched. They certainly include his ballet music. This brief report aims to systematise existing knowledge concerning Tansman’s ballets, list the key sources for their study, and outline research perspectives. There are numerous arguments to support the thesis that ballet was an important field of work for this composer. Among other things, he collaborated with eminent choreographers (Rudolf Laban, Kurt Jooss, Jean Börlin), and his ballets were staged at famous venues (Metropolitan Opera, Théâtre des Champs-Élysées). Some of them, such as ‘Sextuor’ and ‘La Grande Ville’ [The big city], gained immense popularity and were repeatedly performed in Europe and the United States. Apart from composing original ballet music, Tansman worked with choreographers to adapt his symphonic works for dance spectacles. His enduring friendship with Igor Stravinsky may also have been significant in the context of his ballet output. Preliminary archive research conducted thanks to the support of the composer’s daughters has turned up sources that may serve as the basis for further studies. Music autographs kept at the Bibliotheque nationale de France (both sketches and engraver’s manuscripts), as well as score editions, recordings and such historical records as letters, reviews and iconography may, despite some gaps, make a full-scale study of Alexandre Tansman’s ballet output possible in the future.
More...
The article investigates the influence of social and cultural transformations of the late 1980–1990s on the work of one of the largest and historically oldest theater groups in Ukraine – the Maria Zankovetska National Theater. The purpose of the work is to analyze the features of the repertoire strategy of the theater and the work of its leading directors in the historical context. Attention is focused on the activities of the main director of the theater from 1987–2019, Fedir Stryhun, who determined the creative processes in the team, as well as the directors Alla Babenko and Vladyslav Sikorskyi, and other manifestations of public activity of theater artists. As a result of the research, the educational component of the team’s work is highlighted and described as dominant at this time. It was seen in filling gaps in the minds of viewers, their ideas about their own country, cultural and historical heritage. The integrity of the period of the Zankovetska Theater 1980–2010 is emphasized and the impact of the socially significant creative program of the 1990s on the following years of his work.
More...
This article aims to provide a systematic description of Seneca’s approach to the categories of time and place as potentially rooted in the Attic tradition. With regard to these categories, there is indeed a certain generic consistency within the set of preserved serious Greek and Roman plays. The perspective adopted here sheds also light on a number of innovations, which suggest that great caution should be taken when considering the Greek tragedy as a direct or indirect source of inspiration for Seneca.
More...
Interview with Svetlana Maraš by Marija Maglov
More...dráMA 13 – Kortárs Színházi Találkozó. Tomcsa Sándor Színház, Székelyudvarhely
This year, for the thirteenth time, theatre professionals gathered at the dráMA Contemporary Theatre Festival, regularly organized by the Tomcsa Sándor Theatre in Odorheiu Secuiesc in September on a yearly basis, to gain insight into the world of contemporary Hungarian and Romanian dramas and the performances that are born from them. Kata Köllő’s reportage convinces us that, in line with the motto of this year’s festival („We need new forms”), the week-long meeting was indeed rich in innovative and unconventional Romanian theatre productions. Köllő gives an in-depth analysis of K. Gedeon tündöklése és bukása (The Rise and Fall of Gedeon K.) by the Figura Studio Theatre based in Gheorgheni and A sarlatán (The Charlatan) of the Csíki Játékszín, the municipal theatre of Miercurea Ciuc. Both are directed by András Hatházi and have similar themes: they explore the laws of theatrical success, while highlighting the complexity of actor identity.
More...K. Gedeon tündöklése és bukása. Figura Stúdió Színház, Gyergyószentmiklós
K. Gedeon tündöklése és bukása (The Rise and Fall of Gedeon K.) by András Hatházi, based on the book The Formula by Albert-László Barabási, was created at the Figura Studio Theatre in Gheorgheni. In her review of the performance, which explores the nature and laws of success, Réka Biró examines the extent to which creators working with non-traditional methods have succeeded in creating authentic performances.
More...Hullámzó vőlegény. Tamási Áron Színház, Sepsiszentgyörgy
The Tamási Áron Theatre from Sfântu Gheorghe has staged a production of the author’s play Hullámzó vőlegény (Undecided Bridegroom) to mark the 125th anniversary of his birth. Enikő Nagy’s review shows how the director, István Albu, departing from the roots of the spoken theatre, brought to life Tamási’s strange Szekler world, floating between dream and reality.
More...Beszélgetés Dálnoky Réka színházi alkotóval
The interviewer asks theatre-maker Réka Dálnoky primarily about her functions at the Tomcsa Sándor Theatre in Odorheiu Secuiesc: the position of artistic director, which she recently resigned from, and her work as an organiser of the theatre’s dráMA Festival, held in autumn, which she will continue. The discussion also covers theatre culture in distant countries, award-winning drama and dramaturgical options, along with her PhD topic and teaching at the University of Arts in Târgu Mures.
More...Beszélgetés Kolcsár Józseffel, a kézdivásárhelyi Udvartér Teátrum volt igazgatójával
József Kolcsár was contacted by the reporter on the occasion of his resignation from the Udvartér Theatre in Târgu Secuiesc after twelve years. During the conversation, the former name and profile of the theatre are recalled, some of the production titles are mentioned, and the role of the professional “father” is discussed in the context of working with secondary school students. His motives for quitting include family reasons as well as professional ones: the desire to move on, for example, as an actor.
More...
The essay was originally written for a commemorative conference and volume in memory of József Kötő. The author tells about the times when she was a theatre student in Kolozsvár/Cluj-Napoca, and later an assistant teacher, and paints a portrait of József Kötő as a teacher. You can also read in detail about the initial steps in the creation of the Playing Area. The essay concludes by recalling a visit to the dying József Kötő.
More...
In her short essay, Réka Dunkler tells the story of how she was part of the launch of the Playing Area 10 years ago. She also points out that, to this day, her job involves organising and editing theatre news. She also mentions the difficulties and how, despite them, she found it worthwhile to remain on the editorial board.
More...A Vlad Mugur-triptichonról
Florica Ichim’s trilogy, titled La vorbă cu Vlad Mugur, was published in 2020-2021. Its first volume is a revised edition of an interview book published twenty years earlier. Mugur’s life is traced almost in its entirety in his own narrative. He died the year after the original publication of the book. The second volume deals with the last play of Mugur’s life, his production of Hamlet, which was presented at the National Theatre in Cluj in 2001. In the third volume, the director talks about how, by turning towards the great tragedies, he gradually frees himself from extreme realist theatre and comic clichés. He considered it important to give aspiring actors the opportunity to tackle the great classics, because that is what authentic acting expression is based on.
More...A Kötő József-emlékkötetről
In 2019, the participants commemorated the theatre historian, politician and teacher József Kötő on the 80th anniversary of his birth, at a conference. The presentations given at the event in Cluj have been edited by Katalin Ágnes Bartha into a commemorative volume – this is the book presented in the review by Pál Böjthe. The book Színház, civil társadalom és politikum (Theatre, Civil Society and Politics) was published in 2021 by the Transylvanian Museum Society. The reviewer underlines that all of the authors look upon József Kötő as a kind of mentor, as a possessor of extraordinary energy, who managed to keep his composure in every situation, to come up with constructive proposals and to act in a way that was good not only for a narrow circle, but for everyone, regardless of party affiliation.
More...
The article suggests identifying two scenes on a Gandhara slab from Karamar with plays written by Aśvaghoṣa. One, preserved in the Berlin Turfan collection, is among the oldest known Indian theatre plays (Śāriputraprakaraṇa) focusing on the conversion of Śāriputra and Maudgalyāyana, two of the most important Buddhist monks certainly belonging to the 2nd century. The second scene shows the conversion of Nanda, the half-brother of the Buddha as described in the Saundarananda attributed to the same author. Attempts shall be made to identify the art historical templates and at the same time to trace its subtle iconography.
More...
Coproducție între Teatrul Maghiar de Stat din Cluj, SNT Drama Ljubljana și Teatrul Dramatic din Constanța, spectacolul Prometeu´22 în regia lui Gábor Tompa este o întoarcere la rădăcinile teatrului european, fiind realizat după Prometeu înlănțuit al lui Eschil cu inserții din texte dramatizate de Agnes Kali din piesa lui Beckett, Catastrofă.
More...Moszkva–Drezda, 1912
The paper traces the steps in Edward Gordon Craig’s exploration of the original principles of theatre. Craig invoked the myth of the theatre’s origins to make sense of the art of the visible, a tangible presence, and wanted it to use its own means to show itself. He imagined the theatre as an organisation of space, an ensemble of buildings, silhouettes, and light, which is essentially a theatre of silence, where the text takes on a different role than before, the drama takes on a plastic and musical form, and the actor is transformed from interpreter to a body that denies the artificiality of the stage.
More...