Iskreno i dojmljivo o kazalištu, filmu i glazbi
The review of: Nikola Šimić Tonin: Umjetnička eksplozija duha, HKD Ogranak Zadar, Biblioteka Donat, Zadar, 2018.
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The review of: Nikola Šimić Tonin: Umjetnička eksplozija duha, HKD Ogranak Zadar, Biblioteka Donat, Zadar, 2018.
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The national ideal, the union of Romania’s all territories was Eminescu’s dream, too, like of every true Romanian. Therefore, a double vision of history (through critical and mythical thinking) vibrates in his work, with dramatic or satirical narratives reflecting history as a manifestation of will and the decadent present, but these narratives are always interweaved with the mythical ones, rendering by deep symbols the image of ancient Dacia’s perfection and harmony (the ideal of Romanian history), integrated also in the personalities of our legitimate rulers. In this study, we intend to reveal the illustration of the national conception in Eminescu’s whole work, including poetry, prose, drama and journalistic prose, finally understanding the real meaning of the phrase: „Eminescu – the Absolute Romanian”.
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The 1850 financial crisis of the French economy woke the curiosity for investors who took risks at the newly opened Bourse, the Paris stock exchange. It provided the Parisian stage with a new character, the “agioteur” or “boursicoteur”, and with it many successful comedies. The term might be new, but the typology is not: the role is clearly linked to the comedy of manners and the morality of the melodrama. As can be seen in the 1856 comedy La Bourse by Ponsard, financial investments are condemned as a loss of value and games of chance.
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Current Spanish Theater clearly shows its ethical commitment to the society in which it is born, and it does so by critically reflecting contemporary society in a way that helps to set new paradigms regarding the controversial issues, and that we are most concerned about. In this line of testimonial viewing and complaint, violence is one of the recurring arguments, and the various manifestations of gender-based violence have a remarkable place. The stages bear witness to gender violence since always, as examples of the treatment of the theme of honor in the baroque theater of the seventeenth century. The social impact that this topic of honor risen to the baroque stages still have in our society is of great importance, because for centuries has not only reflected the conception of absolute submission of women to the patriarchal figure and the prevalence of the man over her, but has also helped it to take root. Faced with this vision, other texts have served to begin to raise awareness of the problem. From the mid-twentieth century until today, an interesting list of titles serves as a sample of the attention given by our playwrights to gender abuse and everything that surrounds them: legislation, forensic medical forensic reports, care of socio-health care professionals And psychological, pedagogical actions with minors, etc.
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In the Golden Age the process of transmitting literature provides lots of examples of the use that writers made in subjects, motives or arguments as well as literal texts taken from other writers or their own work. This phenomenon of dramatic rewriting is exemplified in this paper through the concrete case of the grenadian playwriter Álvaro Cubillo de Aragón through two works that take as model two plays of Lope de Vega. One is, on the one hand, El bastardo de Castilla and El conde de Saldaña, and, on the other hand, Las mocedades de Bernardo del Carpio and El casamiento en la muerte, respectively. The analysis of its composition and its writing techniques are a clear example of Cubillo’s compositional habits.
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Through mimetic strategies, the Romanian theater under communism has built an imaginary of allusive space, desecrated by ritualistic demythisation, but with the permanent sacred nostalgia of freedom. In the ideological winter of the millenarian utopias, the total disambiguation of activist tone was yelled everywhere, the denotive expression being a basic rule in propagating the message. Harmful to the “Marxist education” or to the mental reconstruction of the “new man”, protagonist in an egalitarian simulation, the Gnostic bookish temptation was an offense brought to the socialist society and to the evil banality in propagandistic conventionalism. The “damnable Aesopic language!”, Stalin inveighed against the “ambiguity” of the imaginary and the double significant, the one that alienated people from Marxism. “Orientation mistakes” were firmly punished, what had not been done ... Hence the passion, the excitement and the joy of public reception of the dictatorship persiflage, through theater and burlesque cinema. A metatext significance, the religion survived within the soul, silently, with ferocious premonitions. And its access mystical gate was literature, and in scenic or filmic representation: the dramaturgy.
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The article refers to the figure of Socrates and its contemporary reception as a cultural phenomenon. The author recalls works in which Philosopher appears—in poetry, drama, prose, in radio dramas and in the American television series “Columbo.” Every time different aspect of the character is accented. Socrates as a multidimensional figure is invoked in various ways—its inconspicuous appearance, brilliant humor, and sharp language are accented, another time the search by him for the truth, and finally his conviction, his death and post-mortem rehabilitation, described by Diogenes Laertios, which, although not confirmed from another source, is information sufficiently strong that resist in the minds of recipients. The author tries to show how Socrates is presented in the context of creators its times. Undoubtedly, both the author and the times influence the perception of the philosopher. And so are the subsequent reflections of this character — tragic, coarse, penetrating.
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The rewriting of fairy tales is a thoroughly analyzed phenomenon by Jack Zipes, who uses the term remake for any narrated or written story. He believes there is no pure or original text, even when a story follows a life that seems unique or significant enough to be communicated in a narrative form. The interpretations of a fairy tale can not only come from the perspective over textual or intertextual content, but also from an analysis of the reception elements of personal, social or cultural plans. Fairy tales are considered to be the result of a historical, mimetic and discursive process, constituted though orality. The reading of rewritten fairy tale is done on two levels, a first reading of the traditional story, and then the play of the reversed mirrors of the new story. Over time, both Charles Perrault's Tales and universal traditional fairy tales have been brought to the forefront, have become the pretext and subject of play and rewriting, and have been adapted to contemporary realities.
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Belonging to the literature about traditional village, the novel "Some Peasants" by Dinu Sararu deals with atopic typical of postwar rural environment, namely, forced collectivism done with the brutal involvement of political security services. The writer manages to give the events a symbolic meaning, proving himself to be a subtle and refined observer of the village, understanding with the same subtlety the significance of the peasants' phrases. Although the approached topic is extremely serious, the writer inserts comical aspects, the main tendency being that of irony. In this novel, irony frequently points out the discrepancy between reality and the ideal, sometimes it generates contrasts and in some cases it proves to be the mark of the author's subjectivity. As far as the construction technique is concerned, irony stays within the limits of the two coordinates: the mechanism involved in the construction of the global meaning of the work or the stylistic mechanism. The characters of this novel as far as irony is concerned, fall under a relationship of solidarity, connected by common feelings and awareness, a mark of shared laughter, complicity being involved, or a relationship of rivalry, in this case irony is excluded, ridiculing certain members of a group, a criterion specific to challenging. Irony is associated in this novel with other forms of the comic, thus getting the scornful laughter or the small thankful smile, proving the fact that irony can be multi-directional or sarcastic.
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The study deals with interwar theater, with two experimental formulas that project the dramatic object into the methaphysical level: Lucian Blaga's Expressionist theater and Mircea Eliade's mythical theater. We considered Mircea Eliade's theater to be a step further away from Living Theater's experiment (Artaud, Grotowski, Brook, Craig, Barba), similar to Bharata's theatricality in NatyaSastra, where the initiation seems to happen directly on the stage. The Expressionist theatricality in the formula proposed by Lucian Blaga was interrogated by means of the two cultural models - Gothic and Indic - mentioned by the author in his Principles of Aesthetics.
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The purpose of this paper is to analyse and discuss cultural marketing in theatre sphere. Insights and reflections derived from corporate marketing and from cultural marketing theory literature adopted in the paper. The paper compares segments of culture with Balmer and Colbert’s model. We describe a model for managing corporate brand, cultural prototype and cultural brand. Accepting the theory of simulacrum, the society is based on the production and exchange of images, which are based on the symbolism of the brand. From the aspect of cultural management, work of art is a prototype, and the purpose of the prototype is to reproduce in order to exist in multiple copies. The theatre is very specific because it represents the place of production, place of distribution and brand. The specificity of the cultural product itself is in a paradox. An artist should offer his work, which is a moment of inspiration, while at the same time the consumer needs to adapt to his product. The gap between artistic dreams and marketing reality is analysed by the model of theatrical act. Finally, an author explains some consequence of evolving marketing in culture.
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My paper investigates the continuing and globally relevant challenges posed to the audience by two American plays from the first and the second half of the twentieth century, in which the authorial intention for a more profound and historically accurate portrayal of the Asian characters and culture is self-subverted by the quintessential melodramatic nature of the dramatic text. Even if the two plays are quite wide-apart chronologically speaking, their common Oriental topic makes for an interesting parallel, in which the political purposes of their authors hold a central place.
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Theatre institutions rely not only on their public, but also on their significance as a cultural institution in an urban setting. Therefore, theatre historians should not only focus on the history of performances, but also on the extended cultural environment and its direct connections. Institutions like cultural centers, alternative performance spaces or educational contexts redefine the local value of the theatre. The paper focuses on the German theatre in Sibiu/Hermannstadt (Romania) from the point of view of three interactions with its environment in the years 1912-1921.
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On August 5, 2015, two dramatizations were played in the public space of a small Croatian city. The scene for the first of them was the theater stage in Rijeka, where five women of different nationalities "presented" their private stories. Second, its climax had at the door of the theater, and members of veteran and war volunteer associations, and supporters of the Armada football club played the main roles. The twentieth anniversary of Operation „Storm” seems to be a meaningful example of the way in which the processes and acts of its commemoration took place in public space: at the theater and streets of the city. The situation of commemoration launched the processes and practices in which social performance became at the same time a creative act that expressed opposition as well as action supporting normative protocols and structures of power. Social dramatizations in Rijeka, both "in" and "in front of" the theater, show that theater is a very important type of public space, which not only exists as a specific place of communication, but it also has a status of conceptual subject with a particular history and separate semantic dimensions. In order to understand the entitled "disobedience”, it is necessary to deal with several essential issues, such as: performance of resistance and obedience, categories of "national theater" and “experts” of everyday life; public space and the right to it; memory and “counter-memory” and relationship between performance and archive.
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The Macedonian minority in Serbia has always attracted great attention from Macedonian researchers, especially during the 70’s and 80’s of the 20th century. The interest, except in historical, philological and cultural terms, was also present regarding the dance tradition. This text will deal with the transfer, nurturing and maintenance of the dance tradition among the Macedonians in Glogonj and Jabuka, according to examples from the ethnochoreologist Mihailo Dimovski’s research. He had taken an interest in Macedonian minority in 1973, whereupon he performed an extensive ethnochoreological research and collected extensive material. His records, which are in the Archive of the Institute of Folklore "Marco Cepenkov" – Skopje, have not been completely published yet. Thus, the text will be an attempt to present his findings regarding the dance tradition of the Macedonian diaspora in the said period
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Parallelly with the organization of the armed rebellion, with its high and low Tides, cultural activities grew ever stronger and became an indispensible need of people, military units and everywhere else on the liberated territory. With the first rebel’s rifle, so to speak, emerged the first spontaneous initiatives on the plain of cultural activities which later assumed stronger and more organized forms. Here we have in mind first of all written word, which in the form of placards, shapirographed radio news, informative bulletins, brochoures, those first predecessors of the very widespread and well organized partisan press, it emenrged and grew up together with the first partisan regements, battalions and brigades. The partisan press disseminated turth about our liberation struggle and about aha situation on the battlefields of the world and played an important role in the political mobili zation of the masses. Today we do not know how many those materials there wefe, when and where they were published, by what units and on what tarrains, since those written texts were soon destroyed and in a limited number published, owing to primitive techniques in that time a«d the rapid dynamics of the armed rebellion and the revolution. What we certainly do know is that there were many of those materials and that very few of them survived the whirlwinds of the revolution. Among those first written texts certainly »Gerilac« (the Guerilla fighter) occupies a distinguished place, being the first partisan newspaper in Bosnia and Herzegovina. It appeared immediately with our first armed actions in Bosanska Krajina, in those early August days 1941 and throughout Us publication it was not only an excellent informative but also propagandistic paper.
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The essay is without summary
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F. Scott Fitzgerald jednom je napisao kako u američkim životima ne postoji drugi čin – što možda samo dokazuje da nema drugog čina u američkim aforizmima. Rečenicu su toliko često ponavljali da je izgubila svoju implicitnu poantu, koja nije bila u tome da se u ovoj zemlji stvari okončaju ubrzo nakon početka, nego da nema prostora za suptilan središnji razvoj teme prije no što uslijedi katastrofa. U klasičnoj pozorišnoj strukturi, što je Fitzgerald znao, u drugom činu se odvija spori dio radnje.
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U ovom tekstu namjera mi je kombinirati dvije vrste argumenata, koji bi se trebalo međusobno rasvijetliti. Prva je općeniti pogled na emocije, koji koristi razne pristupe, dijelom i feminističko-materijalističku argumentaciju (prvenstveno, ali ne i isključivo onu Anison Jaggar), kao i Brehtove uvide.
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Uterivati Nušića u formulu sve je to šala-komika značilo je i značilo bi banalizovanje njegovog dela, što je možda i odbrambena reakcija od njegove istinitosti. Kako vreme odmiče, Nušić postaje tragičar, njegov smeh postaje plač nad tragedijom jednog naroda. U vreme Druge Jugoslavije Nušićev humor je čak delovao anahrono, kao ilustracija kako se nekad živelo u „truloj Jugoslaviji“ i nije se baš mogla uhvatiti sličnost njegovih likova sa ličnostima kakve su kovane pod Brozom i komunistima. Više se smejalo vokabularu nego situacijama. [...]
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