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Shakespeare’s King Lear is the third book of the new bilingual library "English Poetic Classics" by the East-West Publishing House. The bilingual format of this library provides readers with the opportunity to get deeper into the subtleties of the text regarding some of the most valuable works of English literature by comparing original text and its translation, and also to get into the specifics of poetic translation of classical works. Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving.
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The monograph “Hand Gestures in Traditional Indian Theatre” deals with a traditional Indian acting style, particularly with hand gestures. Its focus lies in a specific form of actor-viewer communication, a communication conducted by means of mudras, or symbolic hand positions. Mudras make up an autonomous language system that can express every single thought or emotion. The research is based on ancient and contemporary theatre literature in Sanskrit, English and French, chiefly on poetics and acting manuals, and on contemporary practice of traditional theatre and dance in India. The most important sources of the research were the kootiyattam and kathakali theatres.
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A biographical analysis of roles played by three great Polish actresses in the times of Polish People’s Republic. Each role is set against broad social, political and cultural background and within appropriate context of artistic work, historical events and social changes. The main research material consists of the reviews of the plays, which are analysed not only with regard to reconstructing the plays and the chosen roles, but also from the perspective of associations, metaphors and contexts used by critics.
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The book The Topoi of Performance Art: A Local Perspective (Durieux, HS AICA, 2017) by Suzana Marjanić is a follow-up on the research of performance art from a local perspective, which I sought to integrate in the book The Chronotope of Croatian Performance Art: From Traveleri until Today (Bijeli val Association, Institute of Ethnology and Folklore Research, Školska knjiga, 2014), structured as the first review of the history of performance art in Croatia focusing on the performative energies of individual centres (e.g. Zagreb, Varaždin, Osijek, Dubrovnik, Split, Rijeka, Labin, Pula). By changing the chronotopic perspective to that of motif and subject, in the book The Topoi of Performance Art: A Local Perspective I seek to explore performance art within the framework of its dominant topoi ranging from personal (personal mythologies) to political (criticism of political ethno/myths). While relying on the very political dimension, as the motto of the book I have chosen the statement of Igor Grubić on the occasion of his anonymous individual action Black Peristyle (held in the night between January 10 and 11, 1998), which was the first action and provocation supported by Croatia’s civic initiative of the 1990s and an action of exceptional civic courage. (author) “The edition you are holding in your hands is a different book in terms of content and organisation – many of the texts it contains were written and published following the finalisation of the Chronotope, and focus on specific subjects present in performance art or regard the performance works in relation to other genres and contexts outside or on the margins of that which we conventionally label with the term visual art. The author sovereignly tackles the analysis of the intertwining of performance art and experimental and pop music, performing arts, feminist and environmental activism, struggle for animal and human rights, as well as phenomena such as terrorism, refugee crisis, and other key political and social issues of our time.” (Marko Golub, editor)
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The texts in this book analyze Croatian national theater policy from the 19th century to the present day pointing out the continuity of the ongoing crisis caused by the chronic lack of a strategy for its development and the lagging behind of Croatian theater production in relation to our neighbors and other theater models from the past. Also, some of the texts deal with the development of numerous political systems throughout history and their strong influence on the work of the Croatian National Theater in Zagreb, on festival culture and the positions of key figures from the theater's past and present. It also includes other theater personalities and brings several controversies related to currently important officials and administration holders who have decisively influenced or are influencing the orientation of Croatian cultural and theater policy. This is a book that continues the author's masterful book The State and Its Theater, and it equally articulates her scientific research abilities as well as live public participation and numerous quality contributions in polemics about the fate of Croatian theater today. The book is the result of serious research and a document of the author's professional and public engagement. Snježana Banović is a theatre director, writer and full professor at the Department of Production of the Academy for Dramatic Art in Zagreb. She holds a PhD in Performance Studies from the University of Zagreb. She published four books (State and its Theatre, Theatre of Crisis Official Exit and Theatre for People). Her main interest is in the area of cultural history, cultural management, national theatres, national festivals in the context of cultural policy in Croatia and the EU and most of her work is focused on these topics. She publishes reviews, studies and articles in journals, newspapers and on-line publications and is a member of various Croatian and international cultural associations. She was appointed two times as head of the Cultural Committee for Theatre at the Ministry of Culture of the Republic of Croatia and was Artistic manager for Drama of the Croatian National theatre in Zagreb. As a professor she has been a mentor to numerous students and was leading as well various research projects at the University of Zagreb.
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The book entitled Divadlo, můj osud. Setkávání s Bořivojem Srbou [Theatre, My Destiny. Encounters with Bořivoj Srba.] consists of ten interviews with the important Czech theatrologist, historian, dramaturge, and pedagogue Bořivoj Srba (1931–2014). These interviews were broadcast under the title Divadlo, můj osud [Theater, My Destiny.] by the radio station Český rozhlas Brno in 2000. In the 1950s, Bořivoj Srba worked as a dramaturge for the Mrštík Brothers Theatre, in the 1960s, he was chief dramaturge for the National Theatre Brno, and he was greatly responsible for the theatre's performances of political drama inspired by B. Brecht. He also co-founded the Goose on a String Theatre. The published interviews aim not only to resurrect the memories of one of Brno's most prolific theatre-makers on his own creative era in Brno theatres, but also to introduce his thoughts on theatre, which he elaborated in his historical and theoretical publications (focusing mainly on the theatre of the Czech interwar avant-gardes and theatrical activities during the Second World War) and his lectures on academic institutions (the Faculty of Arts of Masaryk University and the Faculty of Theatre of the Janáček Academy of Music and Performing Arts). The published interviews are supplemented with the memories of selected friends and students of Srba (Miloš Štědroň, Andrea Jochmanová, Veronika Valentová),which help us to fully understand the significance of this theatrologist. At the beginning of the 1990s, he significantly contributed to the restoration of an independent department of theatre studies at the Faculty of Arts of Masaryk University. This was the Department of Theatre and Film Studies, which he headed between 1993 and 2000.
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Series: Media i Kultura (1), ISSN 2719-9789 The texts composed in the monograph, however different in assumptions, in the adopted methodology, in the choice of (sometimes point) material that has become the basis for the diagnoses, enter into mutual interactions, creating a space for the participation of cultural researches and and cultural practices. The articles collected in the first part of the volume present a variety of conceptualization of cultural texts, recognize moduses and effects of joining its heritage, point out aspects of its co-creation and use, exhibit and critically analyze the variety of ways of participating in culture. The second part of the volume was dominated by reflections on the situation (and transformation) of the subject, culture, its recipients, and finally: the entire humanities in contemporary media reality. The basic context of the phenomena discussed here by the authors is the digital revolution, the effects of which are still not fully perceptible to us. This situation not only forces researchers to develop new tools and methodologies, but also provokes to ask questions about the opportunities and threats posed by new technologies in building (post) human identity, modifying social communication principles and establishing relationships between high and low culture.
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Çokdisiplinli Çalışmalarda Posthümanizm, tüm bilimsel ve teknolojik gelişme ve dönüşümleri ele almayı hedeflemekte, posthümanist teorilerin çokludisiplinli çalışmalarda nasıl kavramsallaştırıldığını insanı evrenin merkezine koyan Batı toplumlarının yüzyıllardır ideolojisini ve zihniyetini besleyen insan/doğa, insan/insan olmayan ikili düşüncesini kökten sorgulayarak incelemektedir. Bu bağlamda bu kitap, posthümanizm ile çeşitli farklı disiplinler arasındaki ilişkiyi posthümanist kuramsal yaklaşımlar çerçevesinde derinlemesine incelerken, posthüman yaşam tarzlarının yansımalarını çok disiplinli çalışmalarda tartışmaktadır. Bu tür seçilmiş çalışmalarda posthümanizmin feminizm, ekoeleştiri, biyopolitika ve transhümanizm gibi kuramlarla ve sinema, performans dansları, biyo-sanat, felsefe, mühendislik, uluslararası ilişkiler, siyaset gibi disiplinlerle olan yakın ilişkisi, bu kuramlara katkıları ve bu kuramların posthümanist kuramlardan nasıl beslendiği doğrultusunda incelenmektedir. Posthümanist bakış açısının, insanın artık istisnai bir varlık olarak değil, gezegeni paylaştığı diğer türlerle doğup ortaya çıkan ve gelişen bir “birlik” olarak gördüğü yaşadığımız dünyayı nasıl açıkladığı ve algıladığı bu disiplinlerle sorgulanmaktadır. Kitap, tekno-bilimsel kültürlerin çoğaldığı, küresel ekonomik zorlukların, çevresel yıkımın ve doğal afetlerin arttığı, dijitalleşmenin yaygınlaştığı dünyaya, insanlık ve insan dışı varlıklar için nasıl bir yaşam ve düzen sunduğu sorularına yanıt arar. İnsan ve insan olmayan varlıklar arasındaki geleneksel sınırlar, teknolojik, biyolojik ve çevresel düzeylerde aşınır ve bulanıklaşır. Bu yeni oluşumda alternatif fikir ve düşüncelerin sunulmasında çokdisiplinli çalışmaların katkısını inceleyen bu serinin ikinci kitabı, okuyucuya insanın değişen dünyasını ve diğer canlı ve cansız varlıklar arasındaki ilişkiyi anlaması için farklı çalışmalar aracılığıyla yeni kapılar açmaktadır.
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The publication presents particular and effective methods that can be applied in a wide range of target groups in socio-pedagogical context. The first chapter presents the context between social pedagogy and drama education. A brief overview focuses on basics, short history, target groups and training of social educators. In the following chapters are described selected methods and approaches of drama education. The methods are: structured drama, drama in education and storytelling. Every single method is presented in theoretical context and in practice. The text reflects the experience of authors with the application of drama education to the education of pedagogical staff and into practice. The conclusion of the publication presents the practical lessons made by Ukrainian students under the guidance of their teachers.
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Publication ”To Tell a Story. Polish Contemporary Dramaturgy after 2006” is an attempt to analyse the historical narratives in the newest Polish theatre and drama. Starting from the classical canon of memory studies, shaped by researchers such as Pierre Nora, Marianne Hirsch, Jan and Aleida Assmann or Maurice Halbwachs, young theatre researchers look at methods, reasons, aims and effects of including historical and memory narratives into performances and dramas. Due to the variety of research approaches and topics undertaken by both the authors of articles and theatre artists, the issue of telling the history in Polish theatre and drama was treated in a cross-sectional area. The book deals with the themes of peasant stories, stories related to the place (memory spaces), memory transfers between generations, or feminist revision of history, among others. Using examples of selected dramatic texts and plays (not only representing dramatic theatre, but also musical, puppet or physical theatre), the dramaturgical conventions and narrative strategies employed by theatre makers that influence the construction of stories about the past are analysed.
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The edition presents the famous bilingual diary of Prince Ferdinand of Schwarzenberg (1652-1703) which covers the years between 1686 and 1697. The first half of the diary is written in French, the second half in German. Ferdinand of Schwarzenberg was born in present-day Belgium to a French speaking family. The introductory essay discusses his life, his Grand Tour and his career at the court. The diary focuses on his activities at the Court of Vienna which is also expressed by his term 'mon journal des affairs de cour'. Schwarzenberg discussed also international affairs of his times such as the wars with the Ottoman empire in the Balkans or wars against France. The introduction and all comments are written in German.
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The play launches an important debate about the roles and functions of teachers, about teaching practices and the need to update them to the digital era and its implications, about the integration of children with special education needs, about the increasingly problematic relationships between parents and teachers, about the ever-present bureaucracy, about the system. Education is seen as an ongoing struggle for authority. The play was developed following an elaborate research and documentation process. For several months, playwright Mihaela Michailov and theatre director Radu Apostol, interviewed dozens of teachers, education specialists, school inspectors, representatives from the Ministry of Education and theorists, to understand in depth the complexity of the problems they face and the solutions that can be activated.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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The monograph Transpositions of Opera Styles in Works of Culture comprises interdisciplinary reflections on literature, film, music and image in connection with the art of opera and its cultural contexts. The authors of the chapters have used as their point of reference works in which there are various transpositions of operatic styles, both in the art of earlier eras and in the phenomena of contemporary culture (including poetry, novels, music videos, dance theatre, computer games). The conceptual anchor for the issues raised was established by the traditional aesthetic categories of "style" and "work" (styles of opera, work in culture), read in two ways: (1) because of the genre-form specificity and the individual dramatic, musical, theatrical, literary and other components that determine the phenomenon of opera, in addition to (2) a form of all kinds of signum of operatic art and its themes recorded in cultural works, allowing, among other things, the search for a paradigm of "opera-ness", open to various ideological, cultural and aesthetic readings. The approaches, analyses and interpretations of the works presented here take into account the preservation of the memory of the context from which the material to be transposed originated, and the results of creative processes are characterized by formal-artistic reference to the initial original (motif, theme, idea, style, thread, form, the entire work), establishing an indispensable element of the trans-positio process. It is thanks to this that the results of such processes are represented and actualized in art and culture, and with them also in humanistic reflections, the experience of the vitality of tradition, the art of memory and the melding of horizons, all confirming the multi-level symbolic and allegorical rooting of the art of past eras as well as of modern times.
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Municepal theatre in Krnov was among the municipal theatres in Opava and Těšín the youngest and smallest theatre with German speaking ensemble. This monography gives a chronological interpretation of the Krnov municipal theatre history. The author describes the production of the theatre, its audience potential, organization, and artistic reach in the wide context of the history of German language theatres in Moravia and Silesia. The interpretation is presented with extensive note apparatus, pictorial supplement, register of namese, list of ascertained repertoires and English and German resumé.
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The book Dutch theatre plays in the Middle Ages gives an insight into the richness of Dutch written theater culture from the Middle Ages and the beginning of the Renaissance. The book is divided into twelve chapters, centered around the most famous representatives of medieval theater production from the Dutch-speaking environment. First of all, the so-called Abele Spelen, the first worldly theatre pieces written in Dutch. The second focus is on the play Elckerlijc, the best-known rhetoric Dutch play from the late fifteenth century and the third on the late-medieval miracle play Mariken van Nieumeghen. These chapters are combined with studies on the history of Dutch medieval literature (the theme of the death dance, Neolatin Dutch theater, indecent speech in farces etc.).
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1. Knjižarnica Gece Kona - nasleđe i „naslednici“ 2. Логори и тема Холокауста у уџбеницима историје 3. Pozorištem protiv zaborava 4. U službi ,,novog poretka“ Osnovno školstvo i udžbenici istorije u Srbiji (1941-1944) 5. Нацистички логори у југословенском играном филму 6. Intelektualac u Aušvicu 7. „Nolit“ 1928-2008.
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The story of the mythical Princess Libuše has been one of the cornerstones of the “old Czech tales” for more than a thousand years. Over the centuries, it has also inspired many artistic treatments. Libuše had already entered the opera stage at the end of the 17th century – after several performances in Italian during the Baroque era, she reappeared in the first quarter of the 19th century in German Romantic opera. During the 19th century, Czech artists gave the character of Libuše – at least in the Czech environment – a petrified form. The anthology of Libuše librettos gathers for the first time in its comprehensiveness all published and so far unpublished opera librettos and other texts from the 17th to the 20th century, mostly set to music. It includes works written in Italian (F. Parisetti, G. C. Corradi, A. Denzio) and German (E. von Lannoy, J. C. Bernard, J. L. Choulant, J. Bayer, J. Wenzig, L. Hartmann) with parallel Czech translations, as well as texts in Czech (J. K. Chmelenský, F. Patočka, J. J. Kolár, E. Špindler, E. Destinnová, J. Berg). The edition is accompanied by an introductory study in Czech and English.
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