ИМЕННАЯ ДРАМАТУРГИЯ ОПЕРЫ САН БО "БАБОЧКА"

Author(s): E Syanway / Language(s): Russian / Issue: 1/2017

Purpose of Article. The purpose of the article is to find out the role of onyms and appellātīvuses in the music drama of the transformations of San Bo "Butterfly". Methodology. The methodology is based on the method of the ononomathological analysis of music, developed by O. G. Roschenko. Scientific Novelty. The scientific novelty of the research is to trace nature of the name-creative processes in the formation of the music and poetic conception of San Bo’s opera "Butterfly". The charac-ter’s names are divided into two groups: own names (onyms) and general (sacral appellātīvuses). The free announcement of the own name is a proof of readiness to victim. The absence of the own name is determined by the deconstruction of the inside world. The author had found out the name inthonems Lyan Jenbo and Cu Intei. The name of the hero is got as a result of the process of the transformation appellātīvuses to onyms. It allows to compare it with classic Chinese poems, signed by Poet-Seeker. At the beginning of the hero’s monologue, her names united the unity of her name-function and own name: "Butterfly-Daughter, Intei Ya". Conclusions. In the opera San Bo, the law of the name-creative process acted in the artist compositions: names are analogies of the structure of the personality, re-production of the myth logics. It consists of abroad, closed plots, which cooperate with each others and stimulate the development of the Chinese Music Drama of Transformation. The processes of the logics show the common features of the name-creation in Chinese and European operas, which proves the strong links between Western and Eastern civilisations.

ИМПРЕСИВНА И УЗБУДЉИВА ПРЕДСТАВА

Author(s): Vesna Krčmar / Language(s): Serbian / Issue: 184-185/2018

Трећа поставка Горског вијенца1 у Народном позоришту у Београду догодила се 16. децембра 1980. године. Било је потребно непуних тридесет година да би до нове поставке Горског вијенца дошло. После Другог светског рата прва поставка Горског вијенца догодила се 1951. године у адаптацији и режији Радомира Плаовића. Уследио је, шест година касније, сценски ораторијум Горски вијенац Николе Херцигоње 18. октобра 1957. Учествовали су најбољи солисти оперског ансамбла: Мирослав Чангаловић, Бранко Пивнички, Драго Старц, Анита Мезетова... Диригент је био Оскар Данон. Сценографска и костимографска решења дали су Миомир Денић и Милица Бабић.

Индия започва от кино „Одеон“

Author(s): Andronika Martonova / Language(s): Bulgarian / Issue: 1/2009

During the last few years a growing tendency can be observed of large Asian film archive centers to seek all over the world for unknown artifacts and materials about Eastern cinematographs. The present article traces the presence of Indian cinema in Bulgaria the beginning of the past century till 1944. It attempts to reconstruct the contamination of these two identities in a concrete age thought the prism of film art. The study is based on materials published in the Bulgarian press – the large daily newspapers, magazines, specialized publications, such as Mir, Ilustrovano kino, Utro, Zarya, kino i Foto. The main accent is placed on advertising texts, informative articles, reviews, articles. It is interesting to note that the texts in the Bulgarian periodical press from the first half of the 20th century, concerning Indian cinema also, are quite historically truthful. The films of Himansu Raj and France Osten, Vishnupant Damle and Sheikh Fatelal, V. Shantaram, Nitin Boss, stars such as Devika Rani and Sabu – all this was part of the cultural life of the Bulgarian. Shown here were even titles that recreated the exotic life of India and which were shot on the subconti- nent. In the research and historical analysis it became clear that the films presented in the print media were of immense importance for the historical development of Indian cinema and quite often were subject of commentaries by the great film historians.

Инсталација за инфо-метежот

Author(s): Ljuben Paunoski / Language(s): Macedonian / Issue: 47/2006

Исмет Рамиќевиќ, инсталација „Инфо-ткаенина“, Национална галерија на Македонија

Институционални зависимости и цензурна траектория в българското игрално кино (1944-1989)

Author(s): Deyan Statulov / Language(s): Bulgarian / Issue: 3/2012

During the Socialist era in Bulgaria, the “cultural front” was built under the whip of the imposed ideological orthodoxy. Though not officially institutionalised, censorship was everywhere. Nevertheless, a strict hierarchical structure was built to keep a check on any departure from the ideological norms and subsequently, to use its instruments to impose sanctions. If ‘grass-root’ filmmakers, related to the real filmmaking, were at the bottom of this vertical power structure, atop of it were the factors (the Central Committee of the Bulgarian Communist Party with its Agitprop and Art and Culture departments), who sanctioned both the start of the film production and the ensuing distribution and exhibition of every film. This was not a process in one act, but rather a permanent one and each stage of the film production bore its distinctive power mark. It was there, where the trajectory of censorship spread. This structure replicates a pattern functioning in all fields of the so-called “cultural front”. The structure of the interinstitutional relations and dependencies was built so that to filter the content at pre- and post-production stages of film production.

Инсценирање на реалноста со намера да се открие историската парадигма

Author(s): Martin Palúch / Language(s): Macedonian / Issue: 74/2010

Алтернативното толкување на минатото во документарниот филм

Инсценировки романов Достоевского (первые опыты)

Author(s): Alina V. Burmistrova / Language(s): Russian / Issue: 3/2019

The problem of origin and development of the so-called Dostoevsky theater is the problem under consideration in this article. The study is based on a comprehensive research of the metropolitan and provincial periodicals about the staging of Dostoevsky’s novels and their acceptance in 1880s - 1890s. Many of the articles not studied by the researchers earlier are dedicated to the performability of the writer’s novels. The review and analysis of these sources being introduced into scientific discourse for the first time make the originality of the work. Of particular interest are the materials from the archives of the State Central Theater Museum named after A. A. Bakhrushin, a prompt book of the staged version of the novel “Crime and Punishment” by Delier and the play by Krylov and Sutugin based on the novel “The Idiot” for its staging in The Maly Theatre in Moscow and The Alexandrinsky Theatre in St. Petersburg.

Инсценируя Городское Разнообразие: Мигранты На Театральных Сценах Берлина И Москвы

Author(s): Mark Simon / Language(s): Russian / Issue: 1/2020

This article reveals the relationship between the representations of migrants’ social experiences in theatrical productions and the institutional positions of Berlin and Moscow theaters that address migration issues. The study was based on in-depth interviews with participants of the projects Winterreise, The Situation (Maxim Gorki Theatre), and Come as You Are (Dock 11) in Berlin, and Akyn-opera (Teatr.doc) and Svan (Meyerhold Center) in Moscow. The fact that the attention of German and Russian societies is focused on different types of migration—forced in the first case and labor in the second—certainly affects artistic representations. However, in both contexts I consider the performances in which migrant artists with professional backgrounds took part. The main thesis of the article is that if in Germany productions with migrants are largely predetermined by the fact that theaters perform the role of a political forum, in Russia we observe the opposite trend. The case of Akyn-opera revealed that the theater’s attempt to generate civic initiatives and involve migrants in them could not succeed for several reasons. Acknowledging this, I deliberately refrain from assessing the analyzed performances in terms of their “success.” The interviews that I conducted show that the high degree of politicization of German theaters is not a self-evident value for artists with migrant background (with all due respect to the promigrant position of the German theater community). As for Russia, despite the fact that Akyn-opera did not become a “bridge” between conscious townspeople and migrant communities, this project had unexpected consequences for its participants.

Интеграция между формиране на математически представи и музикално възпитание в детската градина

Author(s): Daniela Girdzheva-Valacheva,Maria Kaloferova / Language(s): Bulgarian / Issue: 2/2017

The article seeks for the essence of interdisciplinary relations in education. The integration between math and the rest of the studied disciplines is not only an application of math’s knowledge. We take notice on the relationship between mathematical activities and music, as well as we analyze the possibilities of a complete integration between those two educational activities during pedagogical interaction in kindergarten.

Интерактивните методи во работата со студентите по актерска игра

Author(s): Suzana Kirandžiska / Language(s): Macedonian / Issue: 1/2014

Active working method is appropriate and systematic style of work implemented in the process of learning and studying, when the students acquire new knowledge, habits and skills, and later applies them in the everyday life and in their work. When planning strategies for active learning, we should always take into consideration the mutual and coordinated cooperation between the professor and the students in the teaching process. Learning, does not imply just learning facts, but learning how to apply them in your everyday life. The stress is on the reconstructed knowledge acquired by the help of experience, discovery, apprehension, thinking and debating. Active learning, further, offers the students a possibility to be heard, to be respected in their needs and the needs of the others. The interactive learning methods enable the students to take active part in the process of work, to learn how to ask questions, to apply what they have learned, and to use different resources. The students are also encouraged to take part with their own activities and to learn new skills and concepts. Those teaching methods are completely implemented with the students of acting at the Faculty of Dramatic Art in Skopje, not only because of the small number of students, but also because of the very nature of creating theater, which is impossible without discussion, imagination, curiosity, exchange, respect and approval of different ideas and opinions, trust, exchange of emotions, energy, team work and equal investment on all parts. It is important to mention that regardless of the contents, the active methods are applied throughout the entire university education.

Интеракцијата на јазиците во азискиот театар

Author(s): Vladimir Martinovski / Language(s): Macedonian / Issue: 18/2001

Интервју со Иво Трајков, режисер

Author(s): Suzana T. Pavlovska / Language(s): Macedonian / Issue: 22/2001

Интервю: „ЕЛА И ВИЖ САМ!“ С Валерия Вълчева, режисьорката на първият български спектакъл по „Сърцето на мрака“, разговаря Маргрета Григорова

Author(s): Margreta Grigorova / Language(s): Bulgarian / Issue: 1/2019

Интердисциплинарният музикален театър в творчеството на Силвано Бусоти (1931): между Маларме, Дебюси и Синьорели: Questo fauno (1998-1999)

Author(s): Ivanka Stoianova / Language(s): Bulgarian / Issue: 1/2017

The Italian composer Sylvano Bussotti (born in 1931) is a versatile artist. As a composer, pianist, painter, writer, poet, actor, producer, stage-director and designer of theatre, opera and movie scenery and costumes he consciously obliterates the established boundaries between the arts. The pieces written in his own genre (Bussottioperaballet) define him as a predecessor of contemporary multimedia works. Questo fauno, Ritrovamento de ‘L’Educazione di Pan’ del Luca Signorelli (1998) is an excellent example of continuity in the evolution of culture. Ignoring the distance between time and space for the sake of the complete aesthetic experience, it is representative of ‘open form’ in the field of interdisciplinary music theatre, designed and made together with and for others.

Интеркултуралноста: тренд, егзотика, естетика, поетика и...така натаму!

Author(s): Jelena Lužina / Language(s): Macedonian / Issue: 47/2006

Интермедиальная концепция пространства в саундрамах Владимира Панкова

Author(s): Grażyna Bobilewicz / Language(s): Russian / Issue: 149/2015

The paper focuses on the role of the phenomenon of intermediality in constructing the space in the syncretic and mulitigenre type of theatre performance which is described by its author — the Russian director Vladimir Pankov — as a soundrama. This experimental, non-canonical type of theatre performance synthesizes sign codes of various systems (sound, verbal and visual). The space in the soundrama is individualized and diversified by a set of various stage ideas based on improvisation and compilation of theatre genres, types of performances, tricks, evocative and expressive means and techniques, and types of acting. According to Pankov, the dominant media feature of the soundrama is the sound in all its hypostases. The organization of the sound and music material shapes the space and narration, and creates meaning relations. The soundrama as an art of sound is intended for both auditory and visual reception.

Интермедијалноста во македонскиот театар

Author(s): Katerina Petrovska-Kuzmanova / Language(s): Macedonian / Issue: 02/2012

In the text Intermediality in Macedonian theatre, which uses the play Macedonian bloody wedding by Vojdan Chernodrinski, directed by Ljupco Gorgievski, as an example, an attempt is made at representing intermediality in theatrical performance. It is achieved through a ready-made technique in which a significant role is played by the music group Foltin and their performance. They use various props, which they turn into their instruments. This leads to their actualization through dedication to their essence. In this way, the old forms and elements of the traditional folk culture cross the bounds of time, reading the folklore signs in the style of the postmodern scene expressions.

Интерпретация на танца в музейното пространство

Author(s): Daniela Ivanova-Nyberg / Language(s): Bulgarian / Issue: 3/2020

Seattle Art Museum (SAM) stimulates an anthropological and ethnochoreological research project for various reasons. In addition to its permanent exhibits of NativeAmerican and African Art (with archival dance video materials), it invites dance events in which the performers are representatives of different cultures and create educational programs that incorporate movement. Observations here include dance performances – from classical Indian dance at Diwali Family Festival to modern dance in dialogue with paintings. Dance events from the past decade and a recent program(Art-and-Movement) are also reviewed. Documentary notes were taken during fieldwork at SAM between October 2019 – January 2020 and include interviews with museum employees. This investigation suggests that the addition of dance and movement at SAM came in response to evolving perceptions about the museum, the human body, and performance space. In this transition from static to dynamic(opening its doors to dance and movement) imaginative programing by curators is crucial for success. Research also includes examples from Bulgaria, collected viaInternet, that also address such transition.

Интрaкултурална театарска дисперзија

Author(s): Ana Stojanoska / Language(s): Macedonian / Issue: 45/2005

Насловот на оваа моја студија, можеби, поедноставно ќе беше да гласеше За Идеалниот театар на XXI век. Со именувањето на театарот како идеален, меѓутоа, ќе требаше да размислувам од позиција на надреденост што и не ми е целта, па затоа ќе останам во рамки на овој наслов, а идејата за идеалниот театар ќе ја споменам малку подоцна, како логично решение на равенката Интракултурален театар или модел на театар за новиот милениум.

Искра Цанкова, Кристина Тошева, Иван Драгошинов. Хрисан Цанков. Наследство

Author(s): Violeta Decheva / Language(s): Bulgarian / Issue: 2/2005