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The example of cultural analysis activities of the «Golden Crown», which is at the Donetsk Opera and Ballet, considered entering the Ukrainian dramatic art in the European cultural space.
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The purpose of the work is to study the activities of the main international festivals of amateur theaters held in Ukraine in the 1990-s – 2000-s as a special structure, that draws public attention to the preservation and development of aesthetic and humanistic values at the turn of the century. The methodology of the research includes the axiological method for determining the value criteria of representatives of different cultures and segments of society in a single cultural space during the international festivals of amateur theaters; the culturological, diachronic, comparative methods and the method of concretization for identification of the peculiarities of the international festivals of amateur theaters in Ukraine in connection with certain conditions of the country's historical development, the social state of the society and readiness for artistic communication of representatives of different cultures. Scientific novelty lies in the study of the importance of organizing and holding festivals of amateur theatrical art, especially international ones, as they contribute to the emergence of creative links between amateur groups and intercultural communication. Conclusions. In the context of globalization, the holding of international festivals of amateur theaters contributes both to the enrichment of Ukrainian culture and the identification of further prospects for its development, as well as to the intensification of intercultural communication.
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Based on the documents contained in the State Archives in Donetsk region, and publications in periodicals in Article history played festivals in the Donbas in the 60 to 70 years of the twentieth century in its relations with the Soviet party ideology and principles of the new mythology.
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The films-amphibians were created by the tacit agreement between the cinema, television and video to conquer the market jointly. The logic behind this agreement was that if one film can gather without any great problems sufficient number of viewers by being distributed in all three screen versions, why shouldn’t it be specially made for this type of general consumption. This includes making all the compromises with the established aesthetic values of film, television film and video film. The emergence of internet as a fourth channel of distribution of films and the formation of a new interactive civil society sets up in the 21st century the problem of merging of film boundaries on another level. The replacement of traditional viewers with active consumers in the circumstances of digital communication necessitates the creation of “coproductions” with the film’s consumers and if this film perspective develops favorably, the long-awaited cracking of the monolith base of popular film culture could become a fact.
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The idea of public media is facing serious rethinking as a consequence of digital revolution, globalization of the media and information services and the new market realities. On one hand the market is in a position to offer a great variety of media services while on the other - advertising is losing territories, consumers destroy the existing models and more and more perceive themselves as clients. These two changes present a threatening challenge to modern society if 'social structure' is perceived as something more than the simple sum of individuals that live on a given territory. The general tendency of globalization and internationalization, regional integration of the nation-states and the individualization of the citizens demands of modern society to discover mechanisms to oppose this fragmentation and to create social cohesion. Electronic media and services could play this role if they adapt to the new context of the information society. Whether this adaptation would be limited to only some improvements of the former models and traditions of the public media or a change in the paradigm itself is required - this is the subject of the study. Examined from this point of view are the new notions about the role of public service in electronic media and their adaptation to modern information society.
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Д-Р САШКО НАСЕВ: „СЕРИОЗНОСТА НА ИГРАТА - ЕСТЕТИКАТА НА СОВРЕМЕНИОТ АМЕРИКАНСКИ ТЕАТАР“, ЕПОХА, 2002
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In 1950s Czechoslovakia, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was almost omnipresent. Although this intensity was waned in the following decades, the role of the folk music as a symbol remained strong until the end of the communist rule in 1989. While the ideology of communism used folk music as its tool, it also influenced the way this music was collected, researched and presented. The paper presents examples from two closely intertwined areas documenting these issues: folk music research and folk music revival.
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In-print advertising at the turn of the twentieth century was sporadic, but following 1910, advertising went viral both in the press and the public domain. Meanwhile, the earliest critical reviews were published in the press dealing with the advertisement phenomenon, as well as guides instructing how to use ads. Bulgarian artists joined the process of designing business ads. Some of them were already well versed in designing books. Due to the widely formed low opinion and the specifics of this graphic printing product, the process of claiming authorship refers to the changed attitudes towards the artistic manner, which got new value after 1920. Art ads were preferred for securing success a priori. The advertising image had to be attractive, gripping and eye-catching owing to its visual form and style, but it had also to be recognisable, related to the everyday life of the Bulgarians or at least to represent an attainable ideal. Both Bulgarian decorators, graphic designers and cartoonists such as Charalampi Tatchev, Alexander Bozhinov, Ivan Penkov, raiko Alexiev, Ivan Enchev-Vidiu and artists known predominantly for their easel paintings such as Ivan Mrkvička (he designed the poster for the first Expo in Plovdiv), Konstantin Shturkelov, Ivan Nenov, Ari Kaluchev, etc., made every effort to cope with this task.The issue of the early twentieth-century advertising in this country, including the visual images of business ads, is almost unstudied by Bulgarian researchers in the areas of history, journalism, mass communications, social studies. The published art studies offer general views of the specific niches of performance of Bulgarian artists in the field of applied graphics. The issue of Bulgarian the early twentieth-century business advertising and of the contribution of Bulgarian artists is expecting its new readings.
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In the context of choreographic development of Ukrainian culture in the modern state building process this work contains the dance peculiarities of Transcarpathia, the basic components and typological characteristics of folklore as the mean of disclosure of the ideological and artistic content of national area dancing, reasonable priorities of choreographers’ practice, which must adhere to the expert, reviewed the conceptual criteria for different areas of local folk dance.
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The purpose of the article is to reveal the peculiarities of the folklore tendency as a manifestation of the national style in the work of U. Doychinovic. The methodology of this article is based on the unity of such approaches as psychological, musical - historical, musicological, analytical, socio-cultural, genre-style and performing. The scientific novelty is determined by the fact that, on the one hand, the leading features of the genesis of Serbian guitar art are identified, and on the other hand, the features of the folk tendency are revealed analytically as a manifestation of the national style in the works of Doychinovic. Conclusions. To identify the leading bases and aesthetic principles of the creative individuality of Uros Doychinovic, one of the most important contextual conditions is to reveal the concept of the national. The musicological approach to the problem of the national, on the one hand, appeals to those folklore traditions that allow you to form an idea of your own style in reliance on folklore sources, on the other hand, the process of forming a national music tradition cannot be reduced to one starting point and be unidirectional. The peculiarity of the musical language of the works of U. Doychinovic is the reliance on the principles of the national Oriental melody and the unique metrhythmic structure characteristic of the music and intonational complex of the peoples of the Balkan countries. More often, it is the specificity of ornamentation that forms intonational melodic semantics and makes it possible to determine the historical origin of the studied song material.
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In the article there is considered the role of a folk dance component in original suite cycles composed for a piano duo. There is performed a complex analysis of music pieces written by musicians of XX – XXI centuries. Among them, there are suites of composers of France, Czech Republic, Greece and Ukraine, based on folklore of Greece, Brazil and Ukraine. There are given recommendations for performers, aimed at creation of artistic interpretation, which reflects peculiarities and coloring of the national dance. Filling in the suite cycle with intonations and rhythmic formulae of folk origin increases composers’ individual stylistic potential. Suite genre principles enable the authors to realize the perspective of panoramic showing of dance-musical traditions of the country or of the region. They often open to a wide circle of readers’ musical intonation-image atmosphere of the countries, whose folklore did not receive reflection in the composers’ professional creative art before. Folk line is developed in suites for piano duo under the influence of artistic views of the most important composers of XX century – B.Bartok, I.Stravinskiy, L.Janacek and others, who demonstrated in their creative art its prospects and actuality. “Brazil dances” Suite by Vlastimil Leisek includes three dances without titles. A characteristic rhythmic pulse, imitating sounds of fingered instruments, is emphasized by accents and syncopes. It provokes piano duo performers for organic use of piano movements, adequate to the impulsivity of Brazilian dances. In Brasileira from “Scaramouche” by Darius Milhaud there have been realized personal impressions of D. Milhaud from dance folklore of Brazil, where he went as a secretary of the Ambassador of France. Use of folklore of other countries along with folk themes of native Provence in the works of Milhaud witnesses about continuity of traditions of French composers J.Rameau , F.Couperin, G.Bizet, whose creativity was based on dance folklore. Suite “Eight dances from Greek islands” by Janis Konstantinidis was written in 1971. There has been realized in it one of creative principle of the composer – to preserve national melodics in its original form. The main tool used for its transformation and development is harmonic enrichment of the material. Having a deep knowledge of tonalities, characteristic of Greek music traditions, every time the composer conveys a special colour to the melody. Laconic, accurate and modest tools in combination with a good knowledge of technical and timbre possibilities of two pianos have enabled the composer to create a peculiar impressionist colouring of sounds of Greek melodies. In Suite №1 Zhanna Kolodub in its title “Folk suite” declares semantic element of the piece, which is based on examples of folk creative art. All five parts of the suite have programme titles, in which song titles are fixed. The composer offers instrumental image of song and dance type of suite, in which dancing element is the main rhythmic and organizing component, whereas singing element is present. In folk tradition dance is often performed with a choir, creating indissoluble unity. Therefore, choreographic elements of dancing movements directly reflect synthetic model of word text of the song. This suite continues developing topics touched upon in the area of solo piano music. Analyzed suites for piano duo with folk dances bring one to the conclusion that organic implementation of dancing folk material in the music practice has a big positive effect for realization of composer’s dance image. There emerge integration processes between two systems of thinking (professional and folklore). Folklore can be used by the author as an integral component of the music piece, but fragmental use of its concentrated intonation, rhythmical and tonality features is more widespread. Unification of several dances in the cycle, functioning in a common “geographic” space, becomes a factor, stimulating programme manifestations, in which regional dance characteristic features are mirrored. By means of conveying peculiarities of timbre characteristics of tools, accompanying folk dances, composers aim to enrich a set of expression tools by non-standard acoustic and color performers’ techniques. Use of dance vocabulary of various national cultures in suites for piano duo with folk dances continues a tradition of an old suite, in which German, French, Spanish, English, Italian and other dances are combined. We consider that the experience of creating cycles based on comparison of several dances of one region is fruitful and enables the composer to form diversified presentations about specifics of its folk and dancing sphere. Basis of characteristic elements of the music language helps to identify new possibilities of performance form of a piano duo in conveying specific dancing rhythms, imitation of folk instruments sounds as well as in retranslation of psychological and emotional component of folk dancing creative work. Expression of composer’s interest towards folklore of his country as well as towards folklore of other countries becomes an important factor of extending repertoire base of a piano duo genre.
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Internet has inevitably the media landscape and the way we communicate with each other. The trend has an immense impact on childhood, too. Today, children are “digital natives”. They are always on, always connected, living in a world of communication fragments. Attention spans are shrinking, so do media formats. The aim of this article is to identify and analyze trends in content production and consumption in the digital era. A small-sized yet focused empirical study on the Bulgarian television programmes for children is also presented.Internet has inevitably the media landscape and the way we communicate with each other. The trend has an immense impact on childhood, too. Today, children are “digital natives”. They are always on, always connected, living in a world of communication fragments. Attention spans are shrinking, so do media formats. The aim of this article is to identify and analyze trends in content production and consumption in the digital era. A small-sized yet focused empirical study on the Bulgarian television programmes for children is also presented. The publication is part of the research results of the project N145/2016, supported by Science Sector Fund of Sofia University “St. Kliment Ohridski” on topic “The Film Proposals of the Televisions in Bulgaria in the Period 2010-2015”, headed by Assist. Prof. Zhana Popova. Participants: Bistra Velichkova and Deiana Dragoeva, the Department of “Radio and TV”.
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In the article the author made an attempt to analyze the stages of Contemporary Dance (new trend in modern dance) that arose on the basis of modern dance, reveal the characteristic features of this style as a means of choreographic and aesthetic outlook of young people of our time, to evaluate the application in Contemporary-Dance choreographic practice of contemporary choreographers.
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Purpose of the article is to identify the main stages of the formation and development of dance technique on pointe shoes in classical dance. Мethodology. Based on the analysis of the scientific literature, the use of the historical chronological approach, the method of systematization, it was possible to conduct a scientifically objective study. Scientific novelty. In the article the periodization of the development of dance technique on pointe shoes as a component of the evolution of classical dance Conclusions. It is sufficiently conditional to distinguish periods in the process of evolution of the technique of dance on pointe shoes. The origins of the technique of dance on pointe shoes reach antiquity and the Middle Ages.
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Purpose of Article. The article is to define the basic creative skills of the students specialization Choreography for the formation of their professional skills and knowledge for future choreographic work. Methodology. The research methodology is to apply analytical, function, art and systematic methods to research the performance features of professional choreographers, their skills in teaching, readiness for self-development. Scientific novelty. The novelty of the paper is to improve the provisions, relating to: the use of special techniques and methods in the educational process; the determination of objective criteria of originality in the performance of imaginative choreographic activities; phased theoretical and practical methods for teaching in higher education. Conclusions. The conclusions noted the following positions: first of all, the challenge of higher special education is training and education specialist who can think creatively apply knowledge in artistic, creative and stage activities; secondly, the urgent task of higher choreographic education is to prepare not only artists, but also independent artists comprehensively gifted personalities, creative individuals; thirdly, the task of the lecturer of contemporary choreography is to integrate the practical knowledge and skills of the future ex-pert choreography of psycho-pedagogical training component choreographic disciplines.
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The article studies some of the theoretical views about the nature of photography and its specific traits. On this basis the author develops his interpretations concerning topics such as, chance, authenticity, objectivisation, time, connection between image and archetype, speech and image.
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The purpose of the given studies is to find out the origin of the lyrical opera genre in European music theatre. The lyrical opera is connected with academic tradition, and popular sphere that allows us to find the parallels with Chinese national art. The guarantee of it is the performance choice and public confession. Chinese singers love to sing the compositions of the lyrical French opera and audience understands them because there is their own line of the lyrical opera Chinese culture such as the Kunqu old-time opera which is well-known in popular cultural sphere at the beginning of the XXI century.In lyrical opera the lyricism is a factor of the melodious hymn way of expression, which has formed the basis of operatic vocalization. Including in French operatic tradition it appeared as the variety of the genre manifestation of the opera (the lyrical tragedy) where music formed scenic syntheses for actions and ideality of the vocal expression. The French operatic tradition formed the opposite school to Italian one and German operatic symphonic style. It was found in J. Duprez vocal-timbre opening, which had made closer the expressiveness of tenor and baritone-bass by means of "baritone character". However, the caution of the using given vocal-timbre innovation in French operatic creative activity later was explained by popular theatre tendencies to simplicity of the forms, including spiritual music.The Spiritual value of the French men’s vocal art opposes the "dramatization" timbre of Verdi and post Verdi periods. In Italian it is entitled the technology "tenors of Verdi" and their analogue in baritone quality. The practice of lyrical-hymn singing united spiritual and public traditions of the vocal culture which were realized in the first French music theatre in the middle of the XIX century.It is not accidentally that the creator the lyrical opera (1859, "Faust") C. Gounod had a spiritual san and wanted to reconstruction of church basis of the expression in opera. There were hymn genre and sublime moral ideas-images. They were personified in music of song-cavatina as corresponding to declarative statement of moral basis strength of being and manifestations nature. The analysis the most significant lyrical "points" of the opera "Faust" shows us that C. Gounod tries to make that music genre closer to applied-home melody, with sample high spiritual lyric poets of old fellows, contributing semantic moral depth and artistic value of the manifestation of life feeling in feature of the personages-image.Gounod-preacher, Gounod-teacher’s social program of supporting the people from social bottom, defined the originality of his artistic program. There he exceedingly united the requirements of high and low, heroic and comic genres, brought the generalising lyrics of the number song-аria features of the main heroes on position of the leading expressive typology of operatic compositions. The given tendency to "simplicity" in operatic drama within serious genre has the analogies with "populism" in Verdi "Traviata" where the waltz base of music and life realism of the characters vestment in modern cloth (the factor of the comic genre) contributed the relationship with "small" genre subspecies of the operatic performance.Don’t forget that the French operetta appeared at the same time with Gounod lyrical opera, but in its music-developed number turned out to the reduction. But it seemed only as a parody of the feathered-vоcаl heights of the expression.A. Dargomyzhskij and other Russian composers turned to simplicity of speech, and its projections in operatic singing, avoiding wealth of symphonic style and vоcаl of arias. The German music as R. Wagner one became firmly es-tablished in redundancy of symphonic style, but in categorical accentuation of declamations and removing ensemble-choral contrast with solo fragment. It simplified the facility of the invoiced decision of the operatic show.So we can make the conclusion about C. Gounod innovation. He worked in resonance with similar other national schools, keeping the national preferences. C. Gounod invented a new genre and named it – a lyrical opera. In French tradition it is connected with Greek-antique stimulus of the artistic process in given national school.Thus, the French lyrical opera formed a new history stage of the finding the opera as music drama where the leading principle is solidarity with folk, national and church origins of this type of art. The lyrical opera finds approximation to simplicity of the forms of the folk music tradition what does not form the prerogative French national music scene. In Chinese practice of the music theatre with dramatic Beijing opera, special role has lyrical Kunqu opera. It has become well-known in world popular cultural space at the end of the XX – at the beginning of the XXI centuries, it notes about rapprochement of different national school in the world.
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