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Simili carni. Construcția identitară prin iluzii vizuale și tactile

Simili carni. Construcția identitară prin iluzii vizuale și tactile

Author(s): Augustin CUPȘA / Language(s): Romanian Issue: 5/2023

Cindy Sherman, Friedl Kubelka and Valie Export are just a few of the established artists who reframed the discussion about the female body as an object of desire, opening it to a wider intelectual space, that of understanding the process of identity construction through the photographic series Centerfolds, Pin Ups, respectively the performance/ photography Tapp und Tastkino. The identity construction is later theorized by Margareth Sommers according to the model of a chronological flow, of a multi-layered psycho-social event, which produces the existential forms of biological life (zôe). In this construction, the body is the object of the desires and the instincts, the point around which a complex and flexible fabric is built, roughly standing the social or cultural norms and laws. Aware of this extreme instability of cultural forms, thoe three artists start from the exposure of the female body only to deflect the interrogations into metonymic areas of the object of desire - the need to touch, the missleading of the gaze, visual illusions or the gesture of taking possession of the other, the limits between oneself and otherness - performing a true psychological analysis of the viewer, but also a questioning of their own artistic act.

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José Romera Castillo (ed.), "Teatro, ecología y gastronomía en las dos primeras décadas del siglo XXI"

José Romera Castillo (ed.), "Teatro, ecología y gastronomía en las dos primeras décadas del siglo XXI"

Author(s): Kamil Seruga / Language(s): Spanish Issue: 39/2024

Review of: José Romera Castillo (ed.), "Teatro, ecología y gastronomía en las dos primeras décadas del siglo XXI", Madrid, Ediciones Verbum, 2023, 516 pp.

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MYTHOLOGY FIGURES IN THE ALBANIAN FOLK EPICS AND THE PROPOSAL FOR AN ALTERNATIVE ROUTE OF THEIR ARRIVAL IN EPOS
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MYTHOLOGY FIGURES IN THE ALBANIAN FOLK EPICS AND THE PROPOSAL FOR AN ALTERNATIVE ROUTE OF THEIR ARRIVAL IN EPOS

Author(s): Arian Leka / Language(s): English Issue: 01/2021

While considering mythology as a system of symbols, the paper deals not only with the development stages of mythological systems and its elements as mythographic inventory, but it sheds light on some particular characters of classical mythology found into the body of Albanian epic traditional songs. Through several arguments, the paper explores mythological paradigms, focusing particularly on common heroes in conterminous cultures and looks at the motives, background, and traditions of epic traditional songs, which travelled round the region. Many of the songs’ motifs may have originated elsewhere, but they are also found in the Albanian cultural area. Alongside the characters and cultural heroes of Homeric myths in the Albanian epic songs and fairy tales too, there are also some other arguments about the myths originating from the theater or myths inspired by theater motifs. This separation of “theatrical myths” from “Homeric myths” buttress the idea that in addition to singer bards and itinerant-nomadic rhapsodist, the theater played also a placental role in feeding up and spreading out ancient myths in Albanian epic songs and in oral fairy tales. Among many other cases, there is the one regarding the presence of a variant of the Medea’s myth in epic songs, typically sung in the Northern Albania. Besides the well-known ways of peoples’ emigrating and “rhapsoidos”, the article proposes at the same time other ways of myths’ migration away from the known place of creation and their possible arrival in the Albanian Epos, while also highlighting the role of theater and theatrical repertoire.

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Compte rendu du colloque international Early Modern Exemplary Drama Pra-gue, 12–14 octobre 2017

Compte rendu du colloque international Early Modern Exemplary Drama Pra-gue, 12–14 octobre 2017

Author(s): Jean-Frédéric Chevalier / Language(s): French Issue: 02/2017

À l’occasion du 300e anniversaire du décès du poète dramatique tchèque Carolus Kolczawa S.  J. (1656–1717), l’Académie des Sciences de la République tchèque (Institut d’Histoire, Institut de Littérature tchèque, Centre des Études Classiques à l’Institut de Philosophie), en collaboration avec la Faculté des Arts de l’Université Charles, a organisé un colloque international à la Vila Lanna les 12 et 13 octobre 2017 intitulé Early Modern Exemplary Drama. Les trois organisateurs du colloque, Kateřina Bobková-Valentová, Magdaléna Jacková et Josef Förster, ont souhaité s’interroger sur « l’exemplarité » des drames écrits et/ou joués en latin dans un cadre scolaire du XVIe au XVIIIe siècle en Europe. Ce colloque se situait ainsi dans le prolongement de la parution, à Prague en 2015 et 2016, de deux volumes d’éditions critiques, avec traduction et présentation, de pièces jésuites.1

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Zrcalo i znak. O bosanskohercegovačkoj teatrologiji druge polovice 20. stoljeća. Tina Laco, Bosanskohercegovačka teatrologija nakon Drugog svjetskog rata

Zrcalo i znak. O bosanskohercegovačkoj teatrologiji druge polovice 20. stoljeća. Tina Laco, Bosanskohercegovačka teatrologija nakon Drugog svjetskog rata

Author(s): Perina Meić / Language(s): Croatian Issue: 1/2024

Review of: Tina Laco, Bosanskohercegovačka teatrologija nakon Drugog svjetskog rata, Muzej književnosti i pozorišne umjetnosti BiH, Sarajevo, 2022.

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Dramaturgu Etëhem Haxhiademi në fokusin e trajtimeve letrare e gjuhësore

Dramaturgu Etëhem Haxhiademi në fokusin e trajtimeve letrare e gjuhësore

Author(s): Evalda Paci / Language(s): Albanian Issue: 01-02/2021

Report on conference “Dramaturgu Etëhem Haxhiademi në fokusin e trajtimeve letrare e gjuhësore” held at "Aleks Buda" hall on June 25th of 2021.

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Italská opera mezi Prahou a Drážďanami v druhé polovině 18. století

Italská opera mezi Prahou a Drážďanami v druhé polovině 18. století

Author(s): Marc Niubo / Language(s): Czech Issue: 01/2012

Despite the state borders, and the different socio -economical and cultural contexts, productions of Italian opera in Prague and Dresden become considerably interconnected due the activity of the impresario Giuseppe Bustelli. During his directorship (1764–1777 in Prague, 1765–1777 in Dresden) and even in the next decade, more than 50% of the repertoire was shared. Furthermore, some of the artists performed in both cities, and the same or similar adaptations of operas were used. The main difference in repertoire consisted in opera seria productions in Prague until 1777, whereas in Dresden only opera buffa was staged since 1765. Analyses of selected works reveal some of both similar and different performing strategies and their aesthetical, practical as well as political connections.

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Zrcadlo masopustu – barokní lidová hra

Zrcadlo masopustu – barokní lidová hra

Author(s): František Všetička / Language(s): Czech Issue: 2/2024

Zrcadlo masopustu je lidová hra z roku 1690. Pochází z Tábora a má ráz barokní morality. Je opatřena synoptickým titulem a vystavěna na architektonickém rytmu. Součástí rytmu je středové dějství, prostoupené architektonickou korespondencí. Děj hry doprovází místy hudební projev. Na jejím závěru se výrazně podílí finální explicit. Drama autor architektonicky zarámoval a do vstupního dějství vložil závažnou onirickou scénu.

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Politics Cast Shades on Private Lives in David Rabe and David Hare’s Works

Politics Cast Shades on Private Lives in David Rabe and David Hare’s Works

Author(s): Sarah Attia / Language(s): English Issue: 4/2024

This study examines some works of playwrights David Rabe and David Hare, focusing on how politics permeate and cast shades on private lives in their plays. Rabe and Hare are known for their ability to provoke and explore burning themes within their societies. Through their unique theatrical styles, they effectively reflect their visions of significant social and political aspects. It depends on the analytical and comparative approaches to analyze thoroughly the ways in which Rabe and Hare incorporate political elements into their works, ultimately shedding light on the intricate relationship between politics and private lives and how theater can serve as a potent medium for engaging in social and political discourse within the context of their works, and the insights that can be gained from comparing their plays regarding how politics influence personal experiences, values, and choices. The study raises several substantive questions concerning Rabe and Hare’s plays: How do they incorporate political elements into their plays? What are the effects of politics on characters' private lives in Rabe's "Sticks and Bones" and "The Basic Training of Pavlo Hummel"? How do they depict the psychological impact of war and political ideologies on individuals and their families? In what ways do Hare's plays, such as "Plenty" explore the disillusionment, compromises, and personal sacrifices stemming from specific political contexts? How do they navigate the complex interplay between personal convictions and the pressures of ideology in their plays?

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За премиерата на „Ба-та-клан“ от Жак Офенбах в десетата, юбилейна година на Академичен оперен театър (АОТ) при АМТИИ „Проф. Асен Диамандиев“ - гр. Пловдив

За премиерата на „Ба-та-клан“ от Жак Офенбах в десетата, юбилейна година на Академичен оперен театър (АОТ) при АМТИИ „Проф. Асен Диамандиев“ - гр. Пловдив

Author(s): Ivaylo Mihaylov / Language(s): Bulgarian Issue: 1/2021

This scientific work is inspired by a current event – the premiere for Bulgaria of „Ba-ta-clan“ – an operetta by Jacques Offenbach, performed by the Academic Opera Theater (AOT) at AMTII „Prof. Asen Diamandiev“ – Plovdiv (12.10.2020). The author, initiator and director of the production, analyzes the prehistory, preparation and realization. Factology related to the history of AOT, the work of Offenbach, the work of the production team is covered. It is important the place of the analysis of the media response to the event, which is indicative of the prestige of AOT at AMTII „Prof. Asen Diamandiev“ – Plovdiv.

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Възникване и развитие на пекинската опера

Възникване и развитие на пекинската опера

Author(s): Wang Ye / Language(s): Bulgarian Issue: 1/2021

Peking Opera originates from Chinese opera and was created and developed through the continuous synthesis and clash of different types of Chinese opera. The article presents historical facts, events and analysis related to the origin and development of Peking Opera, since the end of the 18th century to the present day. The article discusses the contributions of different periods, genres and even cities (in the case of Shanghai) to the distinction of the Peking Opera, its aesthetics, integrity and personalization, focus on performance and openness and compatibility with individual performers.

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Приносът на проф. Кирил Дженев в националната хореография. Пример с един танц от късното творчество на автора.

Приносът на проф. Кирил Дженев в националната хореография. Пример с един танц от късното творчество на автора.

Author(s): Boris Genchev / Language(s): Bulgarian Issue: 1/2021

The present article examines an example of the dance work of Prof. Kiril Dzhenev from his third creative period. As a product of his late work, this dance, as well as others from this period, reveal the innovations, approaches and differences in the presentation of certain dance content. In the exhibition I shall try to answer the question why Kiril Dzhenev‘s dance work has become a model in the national choreography and what makes his works sustainable in the repertoire of the Plovdiv folk ensemble“Trakia“ (created by him). With the help of a detailed analysis of „Festive Thracian Dance“ the matters of artistic mastery and the successful application of innovation in the stage realization of Dzhenev‘s dance projects will be considered.

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The marriage of modes: Singable opera translation

The marriage of modes: Singable opera translation

Author(s): Karen Wilson-deRoze / Language(s): English Issue: 15/2024

Despite the increase in scholarly articles and publications that focus on singable translations of vocal music texts, few tackle the relationships and interplay between the two main semiotic systems of words and music, nor how they may or may not be preserved in translation. The translator’s understanding of how meaning arises across semiotic resources, especially between music and words, is equally as important a criterion for decision making when translating a vocal music text as sense, naturalness, singability, rhythm and rhyme and deserves as much attention as any staging demands or the diverse requirements of cultural transfer. By means of demonstration, using examples from a translation of Mozart’s “Le nozze di Figaro” by Jeremy Sams, this study explores an approach to singable opera translation that focuses on the stylistic decisions of the composer when marrying verbal and non-verbal semiotic modes and how the translator preserves or alters their relationship, which in turn may affect their interpretation, especially by singers.

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ІДЕЇ РИТМОПЛАСТИКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА В ТАНЦЮВАЛЬНИХ СТУДІЯХ РАДЯНСЬКОЇ УКРАЇНИ КІНЦЯ 1910-х – ПОЧАТКУ 1920-х РОКІВ

ІДЕЇ РИТМОПЛАСТИКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА В ТАНЦЮВАЛЬНИХ СТУДІЯХ РАДЯНСЬКОЇ УКРАЇНИ КІНЦЯ 1910-х – ПОЧАТКУ 1920-х РОКІВ

Author(s): Viacheslav Kolomiiets / Language(s): Ukrainian Issue: 1/2024

The purpose of the article is to analyse the processes of spreading the ideas of E. Jacques-Dalcroze's rhythm plastic education in the practice of dance studios in Soviet Ukraine as a manifestation of modern aesthetics. The research methodology is based on the principle of historicism, methods of analysis, comparison, deduction, art studies analysis. The scientific novelty of the article consists in updating the methodology of perceiving the rhythm plastic education system of E. Jacques-Dalcroze not as narrowly specialised, but as a general culture, which allows us to talk about rhythm in the work of choreographers as a concept of Ukrainian modernism; in the introduction into scientific circulation of materials clarifying and supplementing the panorama of the spread of the E. Jacques-Dalcroze system in Soviet Ukraine. Conclusions. In the process of crystallisation, the rhythm plastic theory of E. Jacques-Dalcroze did not remain narrowly specialised, focused only on the education of the rhythmic sense of music through movement, but spread in various artistic spheres, allowing the use of the principle of bodily rhythms to understand changes in the tempo of life in a process of global civilisational changes (industrialisation, urbanisation, among others). Despite the paradoxical nature of the concept of rhythm plastic education by E. Jacques-Dalcroze (combining obedience to the internal laws of the rhythmic structure of a musical piece with a free physical and plastic expression that is not regulated by any choreographic system), it became popular both among professional dancers and choreographers and captivated hundreds of amateurs. Rhythm became a unique artistic concept of Ukrainian modernism, manifested in the work of several dance studios of B. Nizhynska, A. Pashkovska, E. Wulf, Shaposhnykova-Vekhovych, and others), which used the system of E. Jacques-Dalcroze as a way of updating the traditional choreographic vocabulary, expanding possibilities of dance art in the new socio-political and artistic-aesthetic situation. Despite the positive perception and creative elaboration of the system of E. Jacques-Dalcroze in several artistic centres, in particular, choreographic studios, in the mid-1920s in the Ukrainian SSR, in the situation of the gradual collapse of the studio movement and the intensified reorientation of cultural policy from the diversity of creative manifestations to monovectorism, we observe a sharp criticism of Dalcroze's principles.

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ЧОЛОВІЧИЙ СПІВ ЯК НАДБАННЯ РЕЛІГІЙНО-РИТУАЛЬНИХ І ТЕАТРАЛЬНО-ОПЕРНИХ ДІЙСТВ

ЧОЛОВІЧИЙ СПІВ ЯК НАДБАННЯ РЕЛІГІЙНО-РИТУАЛЬНИХ І ТЕАТРАЛЬНО-ОПЕРНИХ ДІЙСТВ

Author(s): Gao Tian Fan / Language(s): Ukrainian Issue: 2/2024

The purpose of the research is to substantiate the specificity of male singing skills as the first and leading in the history of musical and cultural events and to formulate the fundamental methodological and singing differences in religious-ritual and theatrical-opera detections. The methodological basis is the intonation approach as an idea of the genetic commonality of musical thinking and speech in the traditions of the concepts of B. Asafiev and B. Yavorskyi in Ukraine, which is presented in the works of D. Androsova, O. Kozarenko, O. Markova, O. Ohanezova, O. Roshchenko, O. Sokolova, V. Shulhina. Scientific novelty is manifested in the independence of classification developments regarding the characteristics of male singers in the ritual-religious and theatre-opera spheres, for the first time in the musicology of Ukraine and China, it is pointed out the fundamental difference between the religious and ritual detection of singing, mostly male, in register-interval indicators, which are incompatible with speech detections as signs of materially-real sound experience. Conclusions. From the ritual-religious primacy comes the practice of focusing on the voice detection within the framework of ritual-religious actions of sounds associated with supernatural abilities of contact with the extra-human world, the basis of which is the male voice, able to master the registers accessible to women's vocal expression, which is later fixed in the falsetto singing of men, although the distinctive side of sacredness both in the West and in the East is the skill of male fables. The transcendental meaning of such ritual sound expression is reinforced by interval-register measures, among which either "drumming" on one or two sounds or interval-register "jumps" that remove the respiratory-speech "wave" line of pitch sequences prevail. Theatrically, the operatic approach, relying on the artificiality of vocals (as a legacy of European church practice) or its analogies in the Chinese singing tradition, metaphorically and consistently combines that singing artificiality with speech-pathetic inflections, i.e. compensatingly combining the experience of addressing the superphysical world with speech-physical sound signs.

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ФЕНОМЕН ЕКРАННОГО ТАНЦЮ В КОНТЕКСТІ ДІАЛОГІЗМУ ХОРЕОГРАФІЧНОГО ТА АУДІОВІЗУАЛЬНОГО МИСТЕЦТВА

ФЕНОМЕН ЕКРАННОГО ТАНЦЮ В КОНТЕКСТІ ДІАЛОГІЗМУ ХОРЕОГРАФІЧНОГО ТА АУДІОВІЗУАЛЬНОГО МИСТЕЦТВА

Author(s): Danylo Diemiekhin / Language(s): Ukrainian Issue: 3/2024

The purpose of the article is to reveal the peculiarities of the phenomenon of screen dance in the context of dialogism of choreographic and audiovisual art. Research methodology. The method of analysis and synthesis was applied (to study the scientific literature on the research topic and identify the main concepts of screen dance), the terminological method (to clarify the concept of "screen dance"); the typological method and the method of historical and cultural analysis (to identify the peculiarities of the interaction of choreographic and audiovisual art in historical retrospect), the method of generalisation. Scientific novelty. The phenomenon of screen dance is studied in the context of dialogism of choreographic and audiovisual art in historical retrospect; the concept of "screen dance" has been clarified; the properties of screen dance are understood, the points of common influence and mutual exchange between film and dance are considered, which define it as an autonomous practice; little-known and unknown sources, as well as the results of research by modern foreign scientists, were introduced into scientific circulation. Conclusions. The study found that there are no strict criteria for defining screen dance in the scientific literature. During the historical development, this art form was usually denoted by a number of terms limited by indications of materiality (video dance, film dance, dance film), but it is screen dance that formulates the common denominator between them. Within the problematics of dialogism of choreographic and audiovisual art, screen dance can be considered as a form of research that studies the relationships between composition, choreographic language, and the meanings of body, movement, space, and time in the context of contemporary debates about cultural practices. Screen dance can take many forms and features and cross genres, with no limits on how it can be produced, filmed, edited and distributed. The coexistence of choreographic and audiovisual in the concept of screen dance is characterised by a constant dynamic interaction, the specifics of which are determined by innovative technological inventions and trends in the socio-cultural space.

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РЕПЕРТУАРНА ПОЛІТИКА ТА ДІЯЛЬНІСТЬ НАЦІОНАЛЬНИХ ТЕАТРІВ ОПЕРИ І БАЛЕТУ В УМОВАХ ВІЙСЬКОВОЇ АГРЕСІЇ

РЕПЕРТУАРНА ПОЛІТИКА ТА ДІЯЛЬНІСТЬ НАЦІОНАЛЬНИХ ТЕАТРІВ ОПЕРИ І БАЛЕТУ В УМОВАХ ВІЙСЬКОВОЇ АГРЕСІЇ

Author(s): Nobuhiro Terada / Language(s): Ukrainian Issue: 3/2024

The purpose of the work is to identify changes in the repertoire policy of these institutions based on the analysis of the activities of the national opera and ballet theaters of Ukraine, which are determined by the influence of Russian military aggression and worldview and value transformations that are being formed in Ukrainian society and are aimed at protecting cultural and national identity. The research methodology is based on such scientific methods as analytical, comparative, and art studies, which made it possible to obtain reasonable research results and formulate appropriate conclusions. The scientific novelty of the work consists in the generalization and systematization of the activities of the national opera and ballet theaters (Kyiv, Lviv, Odesa) in the conditions of military aggression and the study of the corresponding changes in the repertoire policy, caused by the rejection of the repertoire related to Russian culture, instead of the promotion by the national opera theaters and ballet of Ukrainian culture and its values among the international community. Conclusions. As a result of the conducted research, it was established that in the conditions of martial law, art, and in particular opera and ballet, in addition to continuing to perform their immediate functions, become expressions and symbols of indomitability and national stability. Modern productions, reflecting the drama of the time, make it possible to convey the complex emotions of the people, their pain of loss and hope for victory in an artistic form. In addition, national opera and ballet theaters acquire other features in their activities, transform into cultural hubs engaged in charity, volunteering, joining various public initiatives, especially among foreign colleagues and partners. Performances of opera and ballet troupes become an important component of the informational and cultural struggle against aggression, demonstrating the strength and beauty of Ukrainian culture to the world. The abandonment of the Russian repertoire by Ukrainian opera and ballet theaters during the war is a significant and symbolic step, driven by both cultural and political motives, which is part of a wider process of decolonization of Ukrainian culture and a break with the imperial heritage. This step symbolizes the desire for cultural independence, support of national identity and rejection of any form of cultural dependence on the aggressor country. Thus, the national opera and ballet theaters in Ukraine, despite all the difficulties, continue their activities, fulfilling not only a cultural, but also a social and patriotic mission in the conditions of war.

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Cotidianul „Steaua roșie”, observator al activității Teatrului Studio în perioada comunistă

Cotidianul „Steaua roșie”, observator al activității Teatrului Studio în perioada comunistă

Author(s): Angela Precup / Language(s): Romanian Issue: 1 (44)/2023

The informative publication “Steaua roșie” (“The Red Star”) appeared between 1952 and 1989 in Târgu-Mureș, generating, through its articles, a detailed inventory of the activity within the “Szentgyörgyi István” Theatre Institute, an aspect which transforms the publication into a vital documentary source. The history of the “Studio” Theatre, recorded by the newspaper during its almost four decades of daily appearance, presents a high relevance because, generally speaking, during the communist period, the cultural articles were the only ones managing to limit the ideological invasion in the journalistic pieces, unlike the informative, political or sports articles. Thus, “Red Star” monitored and described in detail all the events, the personalities, the artistic productions and the institutional changes that marked the existence of the “Studio” Theatre, using a different perspective from the strictly professional one offered by the theatrical publications of the period. This day-to-day perspective outlines the ”Studio” Theatre’s profile as an institution that influenced the development of Romanian theatre and theatrical pedagogy, but also as a space of communication and expression for the entire local community.

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„O revoluție care merge pe vârfuri”. De la Întâlnirea Școlilor de Teatru la reorientarea mediului academic după 1990

„O revoluție care merge pe vârfuri”. De la Întâlnirea Școlilor de Teatru la reorientarea mediului academic după 1990

Author(s): Miruna Runcan / Language(s): Romanian Issue: 1 (44)/2023

After the 80s, an entire decade of crisis and chaos brought by Ceausescu’s politics of reducing the number of students and even the several domains of study in Theatre and Film Schools, the 90s witnessed not only the rebirth of the two traditional Universities in Bucharest and Targu Mureș, but also the emergence of many other new schools, public or private, in Cluj, Iasi, Timisoara, Sibiu, Craiova, Constanta, Galati etc. In this dynamic landscape, in 1993 opens at Targu Mures the European Meeting of Theatre Schools and Academies, as well as The International Festival of Young Professional Theatre in Sibiu. The paper follows the direct and indirect connections between the newborn international festivals dedicated to students and the evolution of academic theatre education in Romania.

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Csúf hősnők reprezentációi drámai szövegekben. A. P. Csehov „Ványa bácsi” és Bródy Sándor „A medikus” című drámáinak hősnői

Csúf hősnők reprezentációi drámai szövegekben. A. P. Csehov „Ványa bácsi” és Bródy Sándor „A medikus” című drámáinak hősnői

Author(s): Ágnes Váradi / Language(s): Hungarian Issue: Sp. Issue/2021

Inferences about female characters’ body can be made from several different aspects in the drama framework including information exchange among characters and self-representational confessions; moreover, authors’ paratexts also offer a basis for the external endowments of a female figure. The study focuses on two plays in which two young girls become major characters who break through stereotypical patterns with their appearance and differ from social norms to some extent. The heroines of A.P. Chekhov’s Uncle Vanya and Sándor Bródy’s The Medic (Sonia and Riza) will have different fates. Whilst Riza finds her happiness and fulfils herself as a wife and this is not given to Sonia. She has to give up experiencing her femininity. What they have in common is the shortcomings of their physical appearance. Riza’s physical disability will become a commercial asset, as a matter of fact she becomes a commodity. The play's central metaphor is Sonia’s face in the mirror: the feeling of abandonment, humiliation appears as a representation of no way out.

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