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Open access

Anca Doina Ciobotaru

Abstract

The programme of Luceafărul Theatre in Iaşi announces a new premiere – A Japanese Story, created by Irina Niculescu and John Lewandovski. Watercolour images and live music invite us to a world of metaphors. The story comes to life under the viewer’s eyes; the hero offers his breath, his heartbeat, and determines them to follow him in his initiation journey, to take joy and meditate on it.

I watch what happens on the stage with the eyes of my mind and soul; it’s only this way that I can come close to the meaning of the Emperor’s words: “May victory belong to those who fight without ego!”. It isn’t a mere line, but a sort of confession; Irina and John have searched for a source, they have fought without ego, and they are following their path. I take advantage of this meeting and raise a couple of questions; Irina Niculescu’s answers are the mirror of a way built step by step.

Open access

Eva Križková

Abstract

The text analyzes the distribution of three Slovak films created in 2017 (Piata loď (Little Harbour), Špina (Filthy), Nina to Slovak cinemas. This year new Slovak films reached 1,414,132 cinemagoers, which is a 21.13% share of total cinema admissions. This is the highest annual number recorded since the establishment of the Slovak Republic (1993). The study looks for an answer to the question, Why do some Slovak films achieve higher admissions then others? It also seeks to point out the variability of the criteria to measure the success of a film with the audience.

Open access

Peter Mazalán

Abstract

Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.

Open access

Ján Sládeček

Abstract

William Shakespeare’s work has a very specific place in Miloš Pietor’s professional biography: it starts at the beginning of the artist’s creative period and then again at the end of his professional life. The study is devoted to this part of the director’s work. It analyzes the plays Merry Wives of Windsor (P. Jilemnický Theatre, 1963), Hamlet (Nová scéna Theatre 1974), comedy Love’s Labour’s Lost) (Nová scéna Theatre 1976) and presents the directorial and dramaturgical concept of Pietor’s first production after November 1989, The Merchant of Venice (1991). His planned premiere at the Slovak National Theatre (Slovenské národné divadlo) did not take place; the work was cancelled due to the director’s tragic death.

Open access

Michal Michalovič

Abstract

Dominik Tatarka’s novella The Miraculous Virgin was first published in 1944. Twenty years later a second edition (revised by the author) was published and at approximately the same time Tatarka wrote a literary script for an intended film based on his novella. Director Štefan Uher (who had previously directed three feature films – Class Nine A, The Sun in a Net and The Organ) undertook the film adaptation. He wrote the shooting script based on Tatarka’s literary script and in 1966 he directed the movie The Miraculous Virgin. In the present study the author analyses the evolution of the text from one version to another. Tatarka’s modifications to the text and Uher’s subsequent changes are being analysed. The readers – and future audience of the film – had at their disposal four literary versions of The Miraculous Virgin: two editions of the novella, a film treatment by Tatarka (published in two issues of the Slovenské pohľady magazine in 1964) and a so-called literary script (published in 1966). Therefore we can talk about a complex consisting of various components and we can analyse in detail the relationship between them.

Open access

Italian Thrilling Spectacle Between Aesthetics, Enthusiasm and Nostalgia

Popular Genres of Italian Cinema from the 1960‘s – 1980‘s as reported in Czecho(Slovakian) Film and Non-Film Periodical Press (1990 – 2000)

Jan Švábenický

Abstract

This study focuses on the reflection of popular genres from Italian cinema during the 1960’s to 1980’s in Czecho(Slovakian) film and non film press during the years 1990 to 2000. The subject for analysis will only be comprehensive and compact texts that deal with concrete popular genres or with the productions of filmmakers that represent various models of a thrilling spectacle. We will mention only one example from Czech and Slovak translations, because this study deals purely with original published Czech and Slovak texts. This study aims to emphasize the themes chosen by Czech and Slovak film publicists, critics, and journalists in relation to popular Italian genres and in what way they developed interpretative thinking and historical, socio-cultural and industrial context of various models of a thrilling spectacle. Part of our study examines the point of view of film journalism in Czecho(Slovak) periodical press, in the sense of a historical document about period thinking on popular genres of Italian cinema, it will also take into account the enthusiastic and nostalgic approach taken by some of the authors that became a parallel line to the aesthetic interpretation of the films. The study will also touch on social, cultural and medial transformations after the year 1989 which led in Czecho(Slovak) film journalism to a greater critical interest in Italian popular genres. The text will be divided into two parts. The first part will deal only with the Italian western that belonged to the most often reflected and analyzed categories of spectacular spectacle. The second part will point to other lines of thrilling spectacle in Italian popular cinema and to some filmmakers whose work was repeatedly reflected in film journalism.

Open access

Michaela Mojžišová

Abstract

The study deals with the increase in the introduction of modern opera production at the Slovak National Theatre in the 1960s. The author interprets it not only as an attempt of dramaturgy to enliven the traditional repertoire, but in particular as an ambition to apply more modern theatrical poetics in the production opera practice. Since there was no practice of updating classic opera production in Slovakia in the sense of “Regietheater” at that time, this production of the 20th century was considered to be the most realistic way of reviving opera. At the same time, the study highlights the social motivation of this intention: an effort to address a new, progressively oriented audience that would create appeal for a conventionally oriented audience that primarily focuses on the musical-vocal component of opera productions.

Open access

Elena Knopová

Abstract

The text briefly illustrates the history of the Europe Theatre Prize (ETP) and its current form. The author offers insights into the work of theatrical performers who received prizes in the categories of Special Prize and Europe Prize Theatrical Realities. While also briefly apprises the productions seen during the 16th ETP. In 2017, the Special Prize category was won by: Wole Soyinka, Fadhel Jaïbi, Dimitris Papaioannou, the Europe Prize Theatrical Realities was won by: Susanne Kennedy, Yael Ronen, Theatre NO99, Alessandro Sciarroni, Jernej Lorenci. The main prizes were won by actors Jeremy Irons and Isabelle Huppert. Productions also presented in this week included the works of directors Petr Stein, Robert Wilson and Giorgio Barberio Corsetti former recipients of the Europe Theatre Prize.

Open access

Lia Codrina Conţiu

Abstract

Influenced by the Humanist movement, Shakespeare is preoccupied with time, illustrating it in his lyrics and dramaturgy. If in comedies time has a regenerative character, in the Shakespearean tragedies “the clock” ticks continuously, it is the soundtrack that fulfills the destiny of the character. And Macbeth is perhaps the best example in this respect. Macbeth is hypnotized and haunted by time. Hypnotized by the imagination of a possible future and haunted by a past full of blood and crimes. The hero lives between imagination and memory, and the main catalyst of the play is the tragic interaction between Macbeth and time, with all the psychological and physical tensions that derive from there. The main impact of time on Shakespeare’s tragic heroes is achieved by the actual actions of time that exposes and amplifies tragic defects of heroes (in Macbeth’s case - ambition). As in the Renaissance, myths, images and signs were used in poetics and literature to indicate a teaching, a moral, Shakespeare includes in his work symbols taken from the iconography and mythography available at that time, such as time’s tricephalous image around which Macbeth is “shaped”.

Open access

Jana Dudková

Abstract

Using the example of three films – Kandidát (The Candidate, 2013, dir. Jonáš Karásek), Pirko (Little Feather, 2016, dir. Lucia and Petr Klein Svoboda), and Únos (Kidnapping, 2017, dir. Mariana Čengel-Solčanská), the present study deals with distrust in the systemic elements of society in Slovak feature films in the period following the establishment of the Audiovisual Fund (2009). By means of a thematic and stylistic analysis, it points to the similarities between the selected films. It shows their rootedness in the established trends of Slovak cinema as well as their diversion from them, which is mirrored in their dialogical work with the phenomenon of reality, by creating an illusion of anticipation or influencing future events.