Особливості просторовочасової структури первісного танцю
In this article the features of formation in time and space of symbolic structures of the original dance, reveal their function and semantic richness.
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In this article the features of formation in time and space of symbolic structures of the original dance, reveal their function and semantic richness.
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The article discusses the role of ethnic dance in the process of selfawareness and selfexpression ethnicity. It is noted that with the help of plastic lexicon of ethnic dance has the possibility of selfidentified with their ethnicity, their culture, to express their ethnic psychology
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The article deals with the theme scripts and features dramatic mass festivals and theatrical performances, which are expressed in various forms of celebration: holidays, promotions, balls, carnivals, festivals, theater evenings and concerts, artistic and journalistic performances, shows, presentations, brand shows, outdoor festivals and more.
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The social and ideological artistic processes are being considered in the national culture, which may have an impact on the preservation of the national identity of theatrical art.
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The article covers the role and functional meaning of dance in Christian culture, on the bases of the research materials of different sources, including early Christian literature.
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In the article the attention is paid to the necessity of development of the creative abilities of children-amateurs by means of the choreographic art. The attention is focused on the evaluation criteria of the creative abilities of amateurs.
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Article is devoted to conceptual issues of systems of dance notation and the genesis of fixing dance motility. It provides a chronological description of the major forms of choreographic notation, widespread in the ХV-ХХ centuries. Clarifies the problem of existence in Ukraine the united information center for choreographic accumulation preservation and analyzing the dancing compositions by local and foreign authors.
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The article is devoted to the genre kinomyuzykl, its historical development in America and adaptation processes in the space of cinema. Analyzed the impact of musical theater, the cinema and reveal main factors influence on the formation of kinomyuzykl as a movie genre. Considers the social and ideological and artistic processes in the cultural space that have been fertile ground for the development of new theatrical genre on the screen in American cinema.
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In the article, dealing with the system of training of dancers under the methodology of the famous artist, choreographer and teacher V.D. Tikhomirov, there is an analysis of its specifics and some of the methodological approaches. The attitude of the teacher to the formation of the general culture of a dancer is defined. The role of the practical application of V.D. Tikhomirov’s activity is emphasized, which promoted independence of the male dance not only at Moscow school, but at the Russian classical dance as a whole.
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The article deals with the presentation skills of the actor and the general organization of the educational process in Ukrainian theater education 20’s - early 30 th century.
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In article is analysed and investigational of history of creation, specific of educational process and prospect of development of Institute of television, cinema and theater of the Kyiv international university.
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The School’s Drama as a Factor of Formining the Opera’s Art in Ukrainian. There are considered the problems of function of the school’s drama as a form of show’s art; to lighting a influence of school’s drama on forming of Ukrainian Opera’s art.
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In article the problem of the creative personality of the teacher-director in the socio-cultural aspect of its activities in amateur theatrical association, revealed specific and justification for ways to improve preparation of students in higher humanitarian education.
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The article researches the place of Gnat Khotkevych’s Gutsul Theatre within the context of the development of European theatrical art of late 19th – early 20th century by means of comparative analysis with certain foreign people's theatres. Its artistic and ethnic social cultural phenomenon is defined.
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This study highlights new tendencies in the contemporary theatre of Ravenhill’s distinctive plays, which apply postdramatic aspects of time, space, body and media related to Hans Thies Lehmann’s work, Postdramatic Theatre (2006). Introducing the aspects of postdramatic theatre, this paper examines how Mark Ravenhill’s plays can be adopted to postdramatic conditions in contemporary theatre and how these aspects create time inconsistency, unspecified space, active bodies and mediatized culture. Considering these aspects, this paper analyses Mark Ravenhill’s plays Faust is Dead (1997) and Pool (No Water) (2006) to show how these aspects change the form and understanding of the plays. A detailed analysis, especially using postdramatic aspects of body and media, about Faust is Dead and Pool (No Water) is carried out in this paper. This analysis opposes traditional aspects in dramatic theatre of the use of non dramatical texts, performance, active body and spectators. With these distinctive plays Mark Ravenhill deconstructs conventional rules, text, language and characters.
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The article investigates the first period of pedagogical activity of the famous Ukrainian director Victor Dovbyshenko in a context of the development of art education in Ukraine. The author reconstructs the process of Victor S. Dovbyshenko’s formation as a pedagogue and an artist, making a deep analysis of a wide variety of sources and involving previously unknown archival sources in the academic discourse. The researcher has defined the factors that had influenced formation of Dovbyshenko’s pedagogical views, as well as a structure and the peculiarities of functioning of the Ukrainian artistic institutions where an artist taught.
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Shaw was considered to be such an eccentric writer at the beginning of his career as a playwright that although only 30 out of 3000 plays were censored by the authorities at the turn of the century (1890-1910), three of these 30 plays belonged to Shaw: Mrs Warren’s Profession (1894), The Shewing-Up of Blanco Posnet (1909) and Press Cuttings (1909). Shaw who made it a principle to shock the audience of the late Victorian period, assumed an irreconcilable attitude. However, in his fourth play Arms and the Man (1894), Shaw came up with a totally different strategy which served his Fabian political ends more effectively. Having comitted to breaking all the established and fossilized stereotypes in the first three plays, he might appear to be adopting an incompatible approach in his fourth play. On the other hand, he established closer and more consistent ties with the Fabian socialist ideology that he championed. Having realized that he could more effectively shatter the stereotypes through cliches, he particulary chose to utilize the common ground and well established literary conventions of the theatre and literature. This study aims to analyze Shaw’s Arms and the Man with a view to Russian formalists Propp and Tomashevski’s theories and discuss how this change of strategy served Shaw’s political ends.
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The drama supplement of this issue contains The Case, a text written by young playwright, Tímea-Aletta Szíjártó. The play won the Debut Prize of dráMÁzat II., a playwriting competition organized in cooperation by Szigligeti Theatre from Oradea, the Hungarian Faculty of Arts of the University of Arts in Tg-Mures and Tomcsa Sándor Theatre from Odorheiu Secuiesc. The story of The Case is set in a decrepit Transylvanian village here human relations are inseparably tinted by emotional and material poverty. The interesting novelty of Szíjártó’s text is not in its theme, but rather in the dramatic beauty of the dialogues written in the decaying dialect of the region.
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Costume is a very important communication tool for understanding the characters on the theatre stage and the nature of the production. Costume, which is described as a silent interpreter on stage, does not only give information to the audience, but also enhances the visual effect on the performance, thus supports the actor. Costume’s other design applications, which form the theatre stage, and putting forward the relationship between the director and the actor are important for creating a consistent and effective scene. The aim of this study is to determine the costume design process for theatre stage and to reveal costume’s relationship with other creative processes and people. Case method is used in the research. The sample of the study is the costume design process in Fermanlı Deli Hazretleri play, which was staged on Konya State Theatres in 2016-2017 theatre session. Purposeful sample technique, which is one of the judgmental sampling techniques, is used to determine the sample. The data for the research is recorded by using the interview form developed by the researcher. The result of the study is that costume, scenery and lighting are regarded as a whole, and to achieve the most creative and effective results, creative team must work together under the guidance of the director. Based on the findings, suggestions were made for designers who wish to design costumes.
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Oboe’s roots are based on ancient Greek, Egypt and the Middle East. Numerous woodwind instrument regarded as the ancestors of Oboe bears the name of Zurna in Asia, Zamr in Egypt, Kuan in China, Hişiriki in Japan. According to the findings of “aulos” known to come to Greece from Asia Minor, it was played on Mount Olympos at the feast of Gods for the first time and it was thought that the goddess “Athena” invented. The aulos are shown as pairs in the hands of the player. One of these is used to join the tune and the other to join and accompany the instrumental ensemble. Besides this, the first oboes used in folk dances in Europe were also used town festivals and at large meetings, and was taken to the first military musical team established in Louis XVI in France.. In this study, it was determined that the oboe was used in orchestras through the advances provided and the additions made to the mechanism by the great virtuoses in history in terms of its execution and mechanism; and was joined with the other varieties (Korangle and Obua’d amore) used in the orchestra from time to time. As a result, many concertos have been written for the oboe since the Baroque age and it has been observed that this tradition has been developed and continued by Mozart and Richard Strauss and many famous composers in our century.
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