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Sekcija arhitekture Venecijanskog bijenala, pošto je bila otvorena istovremeno sa sekcijom pozorišta izložbom posvećenom »Veneciji i scenskom prostoru«, poklapa sada s početkom pretposlednje decenije ovog veka svoju prvu samostalnu inicijativu: I međunarodnu izložbu arhitekture kojoj će, u bijenalskom ritmu, uslediti druge izložbe iste vrste, naporedo s glavnim manifestacijama sekcije Vizuelnih umetnosti.
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Ikone su, verovalo se, »verodostojni portreti« porodice svetaca i u njima nema poteza ljudske ruke: »autentičnost uzora« potvrđuje njihovu lekovitu, magičnu moć.
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Teorije razmatrane u poslednjem poglavlju - tvrdile su da se mitovi pre svega odnose na svet prirode, ili na ljude uključene u društvenu zajednicu ili službu bogovima.
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Jovan Sterija Popović rodio se u Vršcu (u Banatu tamiškom) 1. januara 1806. Još u detinjstvu počeo je čitati Sveto pismo i pomoću svoje matere slavenski razumevati. Počem srpske osnovne škole svrši, počme latinsku gramatiku u mestu svoga rođenja učiti, no kad se ovo zavedenije, koje je privatno postojalo, ukine, Popović, ne mogući zbog slaboga zdravlja na stranu ići, ostane črez dve godine kod kuće.
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Polazna tačka u pozorišnoj kritici Ognjena Lakićevića, je, bez sumnje, antropološka: u vrednosnoj hijerarhiji anatomije pozorišnog delà i svega onoga okolo njega, on je nastojao da, pre svega, odredi ulogu i položaj glumca u odnosu na ono što bi glumac prema koncepciji autora trebalo da bude, ali i onog što bi glumac po sili svoje individualne, estetičke koncepcije i koncepcije pozorišnog mehanizma, normi i tradicije, morao da bude.
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The following writing intends to reflect the approach of Drawing to Performance, in order to rescue, from its contingencies, some form of freedom. This possibility is analysed here, both for artistic practice, and within the sphere of artistic education. The study does not aim to find didactics, methodologies, or solutions, but rather to decode the possibility of finding spaces to unlearn, or to voluntarily undress ourselves from the experience of our knowledge, where we take nothing for granted. With a look at different technologies, and different ways of connecting to the performance floor, the investigation proposes, as a starting point, some performances and installations made by several artists in the recent past, where the body was protagonist or agent of movement, and where drawing is inscribed as a graphical possibility. Considering that the Drawing contains within itself a gesture or gestures and that can establish a form of potency, often evasive, it’s in my interest to clarify this potency, inside and outside the limits that constrain it. The following study leaves open the possibilities of drawing in a performance environment, in a device made for movement mapping, to which I am intimate, starting from the reading of its technical possibilities.
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Despite their singularities and divergences, the major dramatic theories of the twentieth century keep the classical tripartition of genres untouched. Our recent research on rhapsodic criticism has evidenced the increasingly appropriation by playwrights of elements traditionally reserved for a fourth genre, as important as epic, lyric and dramatic genres, but left aside by critical reflection because of its traditional association with “non-artistic” practices: the essayistic genre. A new theory of genres that incorporates this fourth genre into the classical triad may not only illuminate some of the main features of modern and contemporary drama, but it also allows a more accurate understanding of some of the fundamental works of Western drama.
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The introductory part of the paper presents a historical account of the origins of Bibliodrama. Bibliodrama is a method of group approach to the biblical text where participants use creative techniques of drama and spontaneity to ensure individual awareness and empowerment, to build better interpersonal relationships and communion with God and with one another. There is no life situation for which a suitable life experience could not be found in the Bible. Participants of Bibliodrama apply their life experience to the biblical text and deepen it by deeply integrating their own lives and awakening their own reality, thus being strengthened. The paper theoretically analyses various approaches to Bibliodrama, particularly European and American. It also elaborates seven types of Bibliodrama and their representatives. In Croatia, Bibliodrama has been applied in pastoral work and assisting professions since 2013. Bibliodrama was introduced in Croatia from Germany, the type derived from psychodrama. Its structure is as follows: Introduction and »warm up«; Working on the »life side«; Working with biblical texts; Working on the »life side« through the roles from the biblical text; Integration. The paper analyses the elements of the above structure through a presentation of one participant’s activities in Bibliodrama and explanation of individual elements. It is very important that the leader of Bibliodrama understands the group psychodynamics which can be of great help in improving the performance of Bibliodrama and can cause resistance and regression of participants. Bibliodrama is used in pastoral work with all age groups, but it is most commonly used in groups with young people and children. Bibliodrama can also be applied in different groups within the parish community in order to achieve the highest quality of group cohesion and companionship. It can also be applied to build up pastoral workers and for self-improvement. The essential dimension of Bibliodrama is that it involves the whole person at all four levels: cognitive, emotional, spiritual and social.
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In the work "Art and Visual Perception. A Psychology of the Author's Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: "It is unlikely that any stroboscopic "short-circuit" will occur as long as objects appear on the screen at a sufficient distance from each other." An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): "In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single "moment" in the sequence of moments that make up a movement; all other "moments" before and beyond the fixed movement are left to the imagination and fantasy of the spectator."
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Monday on February 24th 2020, in the Auditorium of Mihai Eminescu Central University Library in Iași the show-recital entitled Dragobete Stories took place. Having the love theme, 4 teachers and 9 singer-actors from George Enescu National University of Arts present to the public arias and duets from the national and international repertoire, pages extracted from the genre of opera and operetta. The excursion on a route that included opera seria, comedy, historical opera, lyrical-dramatic legend, Viennese operetta, Romanian operetta, Russian operetta was coordinated by the presentation of Lecturer PhD Mrs. Consuela Radu-Țaga. The interdisciplinary team set out to remove the boundaries between music and theater, among the subjects of canto, piano accompaniament, acting, scenic movement, opera class, and singer-actors proposed a scenic language dominated by lyrical-dramatic coordinates. The staging benefited from the fruitful collaboration with Lecturer PhD Mrs. Dumitriana Condurache (stage director), and the piano accompaniament was made by assistant professor PhD Raluca Ehupov and assistant professor PhD Laura Turtă-Timofte.
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O Tahiru Mujičiću i njegovu kazališnom radu mogu govoriti samo krajnje osobno, donekle i pristrano, fragmentarno, mimo svakoga sustava, ali zato iskreno. U dijelu onoga što je za kazalište i u kazalištu napravio i što je o kazalištu izrekao izravno sam sudjelovao, dio sam imao prilike vidjeti kao kazališni gledatelj i kroničar, o dijelu sam mogao samo čitati iz novina, slušati od njega te pogledati poneki crtež, fotografiju, video zapis…
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0 Zdravko Zima A čiji sam to ja Uobičajena je pretpostavka, ili predrasuda, da pisac svoju karijeru počinje stihovima da bi se kasnije, u »ozbiljnijim« godinama, priklonio i drugim žanrovima. Kako se Tahir Mujičić nikada nije uozbiljio, barem ne na način koji propisuju pedagoški gnjavatori, tako je i njegov put bio drukčiji, o čemu dovoljno svjedoči njegova biografija i njegova bibliografija.
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Although emotional registers are often disregarded when it comes to the evaluation of conceptual projects, this article claims that, in the case of the Janez Janša project, which engages procedures of subversive affirmation, it is precisely its affective ambivalence which makes it relevant both artistically and politically. The name change of three artists to the name identical with the name borne by one of Slovenian political dinosaurs, Janez Janša, brought about complex reactions of their families, friends and the artistic context in which they operate. Those affective reactions are deeply relevant for the understanding of this project, which simultaneously attempts and refuses to present itself as artistic; in other words, it articulates itself through its own ambivalence.
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Beyond their psychological realism and questionable symbolism, some of A. P. Chekhov’s plays also manifest a self-referential and metadramatic/ metadramaturgical component of implicit theatrical po(i)etics. This is an aspect rather ignored by Chekhov’s critics and linked to the crisis which, according to Peter Szondi, occurs in European drama around 1880. Matéi Visniec draws attention to it and exploits it in his own creation, in plays such as “La machine Tchékhov” [The Chekhov Machine], “Nina ou De la fragilité des mouettes empaillées” [Nina or About the Fragility of Stuffed Seagulls], in close connection with the postmodern preference for intertextual and self-referential writing.
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Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scène. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significance to literary, cinematographic and theatrical artworks. Transferred from literature to cinematography and theatre, light and shadow have to adjust their means of expression so that to correspond to the specificity of each art. Taking after the techniques in the art of drawing, naming the tree-dimension perspective and chiaroscuro, light and shadow bring new aesthetic values to theatre and cinematography. Regarded as instruments of creating literary and visual metaphors, light and shadow highly influence the perception of the images outlined by them. The study aims to take into discussion the manner in which light and shadow may be employed as instruments of creating literary as well as visual metaphors. At the same time, it analyses the transposition of a metaphor generated by light and shadow from literature to cinematography and theatre as in Liviu Rebreanu’s “The Forest of the Hanged”.
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In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First, the paper considers the plays in a wider context of contemporary Slovene-language drama of the same period, and then in a somewhat narrower context of dramatic works in the Slovene language in (South) Slavic literature, wherein the discussion takes into account the position of these two plays in the developing system of genres of translated drama, since these two works occupy a distinctive place because they representing model heroic plays. Special emphasis is placed on the first play, which is not only Kukuljević’s most well-known work, but was, generally speaking, better received in the Slovene context. This can be explained in a number of ways: 1) due to to specific socio-political conditions (the translation into Slovene is from the period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in the Battle at Sisak the Slovenes and Croatians behave heroically, independently and cooperatively); and 3) due to the play’s specific features, in particular its dramatic personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play is Slavic). These features, in turn, enabled identification with the characters and promoted national emancipation. The genre of the heroic play filled the gap in the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary programme, which is also the first Slovene programme of this type.
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Zavod za znanstvenoistraživački i umjetnički rad u Bjelovaru, Narodna knjižnica Petar Preradović Bjelovar, Podravsko-prigorski ogranak Društva hrvatskih književnika, Ogranak Matice hrvatske Bjelovar, Družba hrvatskog zmaja – Zmajski stol Bjelovarsko-bilogorske županije i Osnovna škola Ivana viteza Trnskog iz Nove Rače, uz podršku Ministarstva kulture Republike Hrvatske, Općine Novigrad Podravski, Općine Nova Rača, Bjelovarsko-bilogorske županije i Koprivničko-križevačke županije, organizirali su 3. svibnja 2019. kolokvij u povodu obilježavanja 200. godišnjice rođenja Ivana viteza Trnskog.
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The article aims to draw attention back to the art of Jacek Woszczerowicz, once a well-known and beloved Polish actor. It focuses on his peculiar acting style by analyzing two adaptations of stage dramas and a documentary of a theatrical masterpiece Richard III (1960). In particular, the author highlights Woszczerowicz’s work on gesture and the role played by hands in building characters. This brief survey will lead us to re-discover the deep process of cognition and experience realized dramatically by the artist and to understand why Jan Kott considered him “the first contemporary Shakespeare”, while Jerzy Grotowski praised him as the greatest “actor of composition”.
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