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Napraforgó. Tamási Áron Színház, Sepsiszentgyörgy
Quite unusually, the director Radu Afrim, known for his magical realist style, has based his new production, Sunflower, staged at Sfântu Gheorghe on a pre-written text, Andrea Pass’s play of the same title. Réka Fazakas starts her analysis of the Tamási Áron Theatre’s production from a feeling of homeliness, as the production brings the notion of home into play on several levels.
More...Magyar Színházak Kisvárdai Fesztiválja
This report on the 2023 edition of the Kisvárda Festival of Hungarian Theatres lays special emphasis on three performances: A Midsummer Night’s Dream (dir. Attila Matusek) of the Košice Thália Theatre; The Hammer of the Village (dir. Attila Vidnyánszky) of the Transcarpathian Regional Hungarian Drama Theatre; The Son of the Earth (dir. Máté Hegymegi) played by the Dezső Kosztolányi Theatre from Subotica. According to the author, the main driving force behind all three performances was the acting, and he also founds his analyses on this idea. The opinion permeating this writing about the festival as a whole is that the author misses the thematic or otherwise consistent selection principles holding the festival performances together, moreover, he deems that the professional discussions did not give room for negative criticism.
More...16. Ördögkatlan Fesztivál
This review focuses on three theatre productions included in the programme of the 16th edition of the Ördögkatlan Festival, which will be performed in the coming season (2023/2024). The production entitled 1v1, written, directed and performed by Benett Vilmányi, bills itself as a musical stand-up, but it boldly mixes genres and registers, beyond funny football stories. The first adult performance of the Ciróka Puppet Theatre of Kecskemét, entitled Barguzin – Lehullt csillag fénye (Barguzin – Light of a Fallen Star, is one of the most ingenious productions of the Petőfi 200 commemorative year. The adaptation Puszták népe (People of the Puszta), created by students from various art universities, is an updated version of the literary sociography written by Gyula Illyés, with an original vision.
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Patrícia Dimény's review on the "Nemzetiségi Színházi Kollokvium" theatre festival.
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When the word dancing areas is mentioned, it should be known that this division is closely related to ethnographic entities and ethnic regions. Divisions of this type are related to ethnography and field research, that is, the data obtained from the field represent the basis for further analyses. Mainly, the divisions that were carried out were only for locating the information, that is, most of the time the researchers were geographically tied to a bigger city and located the traditional dances in a wider administrative area. According to the available data and information from the field of traditional dances, it would be best if the dance repertoire was followed according to ethnic regions, that is, in a broader sense, according to ethnographic units or мeridians east-west, north-south. The grouping of the ethnic areas according to unifying factors from the traditional dance, creates the dancing areas that today in science give a clear picture of the traditional dances in Macedonia.
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„After all, Montenegro is a huge archive and museum of antiquities in the ethnographic sense, so, considering its isolation, on the one hand, and conservatism, on the other, nothing else can be expected.“ (Kuba, 1996: 104) One of the main problems in the study and application of traditional dances in Montenegro is that indigenous dances and songs are not included in the programs of secondary schools,especially music schools and the Academy of Music. Only a few examples of author’s editions, mainly songs,represent a step forward in this sense,for the reason that the inadequate treatment of the musical accompaniment of the dances (songs) by most dance groups (Cultural and Artistic associations), the media, and even the competent ministries, creates problems for all those who would like to scientifically deal with traditional dance.Arbitrary and quasi-scientific treatments of Montenegrin musical and dance heritage almost systematically distance it from what it essentially meant in the past in the context of the costume in which it was practiced (end of the 19th and beginning of the 20thcentury.). Stage adaptations that are presented as "traditional" are almost not"tradition" in the true sense of the word,but mostly "kitschy" alterations. We have a situation where beliefs about Montenegrin dances are collapsing like a"house of cards", which is the result of decades of misconceptions and unprofessional interpretations. The aforementioned also represents a reaction to the discrimination of: a) autochthonous musical accompaniment to the dance and b) the metrorhythmic relationship between the motion and the music that accompanies it. In the recorded past, Montenegrin archaic dances were never accompanied by instrumental or vocal instrumental music.
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The implementation of traditional values in the design of educational strategies is one of the preconditions for achieving educational goals of modern preschool education. In this paper we have tried to determine the level of traditional games/ dances and rhythmic-movement dances, as well as the level of presence in the work of educators with preschool children traditional games/dances as part of cultural and folklore heritage play a major role preserving the national identity of a nation. Since traditional dance and music have always been an inseparable part of everyday social gathering, they, as part of cultural and folklore heritage have a great role preserving the national identity of a nation. The aim of this paper is to determine the level of presence of application of traditional games/dances and rhythmic-movement dances in the work of educators with preschool children. According to the method of data collection, the research has a non-experimented-empirical character, so the projected goal is kept at a descriptive level. The research was conducted in Novi Sad, Kikinda and Sremski Karlovci on a sample of 151 educators of preschool groups, using a questionnaire. Based on all the presented results, we can fully accept the general hypothesis that the educators sufficiently apply traditional work with preschool children. In accordance with the most significant results of the research, the paper offers recommendations, which can denote a significant resource for educational practitioners and theoreticians.
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The Folk Dance Group “Bánát” was established in the village Deszk in South-eastern Hungary in 1948 as away of preserving and empowering the identity of the Serbian minority. Due to the dynamic processes of socio-politica land cultural surroundings, "Bánát" experienced various shifts in performative strategies of the Serbian traditional dance heritage. The current agency of "Bánát" includes various ways of presenting and performing Serbian traditional dances, such as 1) the stage performance of traditional dances, 2) the leadership of the Serbian táncház (lit: dance houses), and 3)attendance and performance at the social dance events (the Balls,weddings). The paper aims to briefly present those multiform activities based on the empirical knowledge acquired by conducting the(net)ethnographic research since 2019. Lastly, the paper aims to disclose how those various contexts of the presence of the Serbian traditional dances have been used as mediums of Bánát's different strategies and objectives.
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In this thesis, the dances under masks in the maleshevija known as Bamburci will be shown and explained in their original state, but also in today's, modern form of maintenance. The difference between then and now is that today everything takes place in a different way, in a different framework of carnival, with some differences in the masks and the use of modern materials in their production. Seen from an ethno-choreological point of view, it is important that these dances under masks kept what was traditional in their performance of the dances, and thus the rite in a way continues to live today.
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The festival as a state-of-the-art stage, on which previous work is presented, provides certainty for today, legacy for tomorrow and memory for yesterday. There are several types/categories of festivals in Macedonia: music, poetry, theater, film festivals. Folklore festivals, as a subcategory of music festivals in Macedonia, represent the greatest treasure of tradition, which serve us as on a "plate" all the beautiful, good and not so significant elements of the life of a people. The development period of the most modern representative scene in Macedonia will be the subject of this paper, with special reference to the three renowned folklore festivals: Balkan Festival of Folk Songs and Dances - Ohrid, Republic Festival of Folk Songs and Dances Ilinden Days - Bitola and International Folklore Festival Istibanja greetings – Istibanja.
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The subject of research on this topic was the Lazarus rituals, ritual singing,and dancing in the ethnic region of Boymia. By using specific research techniques and methods, relevant data on the processed topic was obtained. The continuity of their periodic active performance is shown,as well as the religious aspects of these ritual processions. The main emphasis is on the ethnocoreological analysis of the Lazarus songs, including the elaboration of their ethnocoreological and ethnomusicological characteristics. Special attention is also given to the ritual traditional costumes and props. The rituals are still preserved in an authentic form to this day, and therefore they strive for their greater actualization and adaptation for stage performance.
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The purpose of the study is to compare the festival and competition activities of opera houses in the socio-cultural context (on the examples of national opera houses of Kyiv, Odesa, and Lviv in recent years). The research methodology is based on an interdisciplinary approach that includes knowledge of cultural studies, art history, and management of socio-cultural activities. The main method of the article is comperative analysis, as we have tried to compare and highlight the key forms of festival and competition activities of the studied theatres and their socio-cultural context. The scientific novelty of the study lies in the comparative analysis of the festival and competition activities of opera houses in the socio-cultural context (on the examples of the national opera houses of Kyiv, Odesa, and Lviv in recent years). Conclusions. Having examined the festival and competition activities of the theatres we studied in 2020-2023, we can identify the following main trend in this aspect of functioning: the course of moving away from the closeness (“inflexibility”) of the theatre to an open artistic discourse through international partnerships, joint projects, and cooperation with other artistic groups in Ukraine – theatres act as a discussion cultural and artistic platform in the socio-cultural and professional space.
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The purpose of the paper is to consider modern performances that demonstrate the synthesis of music and dance. Research methodology. To achieve the goal, a set of methods was used: general scientific – analysis, synthesis, generalization, which were used to clarify the state of elaboration of the problem of music and dance synthesis in performances; concrete-scientific – comparative and structural analysis used to distinguish the main dance companies and features of performances; historical-genetic and retrospective, which were used to clarify certain historical aspects of the research problem; a biographical method that made it possible to consider the figure of famous performance art creators. Scientific novelty. For the first time in the domestic research area, modern performances that demonstrate the synthesis of music and dance were considered. Conclusions. The publication proves that the synthesis of music and dance is a powerful form of artistic expression that allows creating a unique and exciting experience for the audience. A dynamic, interactive event that integrally combines music and dance is a performance. It is found that the innovative performances that combine music and dance belong to the American choreographer Twyla Tharp. Collaborating with a wide range of musicians, artists, Tharp creates works (“Preludes and Fugues”, “Times Change”) that synthesize music and dance to create movement that is directly inspired by the rhythms and melodies of music. The Alvin Ailey American Dance Theater with the performance “Grace” became a powerful innovative practice that combines the emotional depth of musical accompaniment and technical dance skill.
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The purpose of this study is to introduce and enrich the importance of historical knowledge for the analysis of choreographic art. Research methodology. In conducting this research, a comprehensive analysis of historical knowledge was carried out. The interaction between historical context, cultural influences, and artistic innovations was examined, emphasising the critical significance of historical understanding in studying the evolution of choreographic art. Scientific novelty. During this investigation, it was determined that the combination of historical knowledge with choreography establishes a standard criterion for the development of choreographic art, which serves two functions: enriching objective and scientifically valuable information and facilitating the practical realisation of choreographic creativity aimed at achieving goals related to the analysis of choreographic art's development. Conclusions. The significance of historical knowledge in analysing the development of choreographic art is difficult to overestimate. Studying the historical context, cultural influences, and artistic innovations provides a deeper understanding of the evolution of choreographic practices. Historical knowledge shapes modern choreography, providing a platform for artistic research and innovation. It also helps us comprehend our heritage and the origins of various aspects of contemporary life, including political structures, social norms, cultural traditions, and scientific achievements. They demonstrate how the past influences our present and shapes our values and identity. Embracing historical understanding is of utmost importance in assessing the richness, diversity, and continuous development of choreographic art. As we delve deeper into the process of related research, the use of historical knowledge will play a crucial role in shaping future directions of this captivating art form.
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The purpose of the article is to reveal the specificity of the plastic imagery of the Pasodoble competition dance. Research methodology. The historical method was applied, which contributed to the study of the origin and development of Pasodoble; the typological method thanks to which the peculiarities of its formation as a competitive ballroom dance were revealed; the method of artistic-stylistic and art-historical analysis, with the aim of identifying characteristic stylistic features, features of performance technique and specifics of Pasodoble's plastic imagery; method of theoretical analysis and generalisation. Scientific novelty. The plastic imagery of the Pasodoble competitive ballroom dance is studied; the technique of its implementation is characterised; the history of the origin of the dance is considered; The peculiarities of the theatricalisation of Pasodoble's choreography as one of the ten dances of the international competition programme have been revealed. Conclusions. The dramatic Latin American dance, which originated in Spain, has become one of the most popular ballroom dances in the world over the last hundred years. The specific combination of dance elements and figures in the composition by French dance teachers in the 1920s create a unique Pasodoble choreography. In the 1940s, it was codified as one of the dances in the Latin American International Style programme. Pasodoble is characterised by strong, bold movements, and the use of dramatic poses in the process of telling the story of the bullfight. Due to its theatricality and unique music, the Pasodoble is commonly performed at ballroom dance competitions and used in stage ballroom choreography. Pasadoble dance and music are steeped in ritual tradition, with a high sense of drama and power. The specific attire of the dancers, the feel and atmosphere of the dance refer to Flamenco – these dances have a strong connection and symbolic origin in Spanish history and culture. The aesthetic expressiveness of Pasodoble is created by plasticity, a musical-plastic image, which embodies the combination of the inner potential of the dancing couple and the mastery of their bodily expressiveness. Specific theatricalisation by means of choreographic expressiveness is manifested in the Pasodoble competition ballroom dance in many ways. The creation of choreography oriented and theatrical interpretation is connected with solving a number of artistic tasks. The complex of expressive means used by dancers helps to clearly outline the meaningful line of the dance. The imagery of the Pasodoble competition ballroom dance choreography is characterised by its own poetic reflection of the bullfight, taking into account the current codification of steps and figures of the Latin American programme of the international style. The plastic image represents socio-cultural aspects, current social symbols, and meanings in the dance.
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The purpose of the research is to identify the cult (angelic) genesis of the art of choral singing in the East Slavic cultural and historical space, including in the activities of K. Pigrov. The methodology of the work has a complex nature and is based on a combination of the principles of hermeneutic, art history, historical-typological, etymological, aesthetic, and musical-intonation research. The scientific novelty of the article is determined by its research perspective, which takes into account not only the uniqueness and originality of the choral technique of K. Pigrov, which is the background of the Odesa Choir School, but also its rootedness in the concept of angeloglass as the basis of choral singing in the East Slavic cultural and historical tradition. Conclusions. The concept of angelic singing, described in Dionysius the Areopagite's treatise "On the Heavenly Hierarchy", laid the foundations for the formation of religious and ethical guidelines for liturgical and singing art, the principles of the spiritual being of a person, as well as the further development of academic choral art. The conducting and choral activity of K. Pigrov, his innovative methodology, which became the basis of the Odesa Choir School, is not only an essential page of his creative biography, but also summarises the most important spiritual and meaningful aspects of the national choral culture, formed on the basis of centuries-old church singing practice and spiritual-ethical guidelines for angelic singing. The latter affected the principles of K. Pigrov's work on purity of intonation, musical structure, ensemble and principled avoidance of forced dynamics, which collectively contributed to the formation of a special "sound culture". Involvement in them, their research allows to deeply understand those processes in the culture of the past and the present, which reveal through artistic creativity the profound transformations of the human essence and its spiritual being.
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