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Gelu Badea

Abstract

The last fifty years of theatre have put us closer to one of the most spectacular facts of this art: every generation of theatre makers managed – we do not know if programmatically – to build its own repertoire based on its own reality. In other words, every new wave of stage directors claimed that the dramatic authors define a new formula for the stage text and the reverse. This new reality also acted on a revisiting of the classical text or of the modern text deemed classical.

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Josef Vinař

Abstract

This text is a posthumous work by Assoc. Prof. Josef Vinař (1934–2015), a lecturer at the Theatre Academy of Performing Arts in Prague. Before his death Josef Vinař asked his colleague Jan Vedral to take care of his unfinished theoretical work and make it available. Acting upon this wish and the wish of Vinař’s heirs, Jan Vedral put together a team from some of Vinař’s students (current doctoral students), who compiled Vinař’s theoretical ideas about theatre. The present study is a summary of some of Josef Vinař’s findings and especially his phenomenological ideas about the art of acting. The author prepared it for the Slovak Theatre journal.

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Eva Šošková

Abstract

Throughout its entire history, Slovak animated film has had the form of figurative narrative art or craft. For this reason, the author of this study examines its post-1989 development through the prism of the body. Since the most visible change that has affected contemporary film aesthetics is the feminization of animated film in terms of authorship, the study primarily focuses on the ability of an animated body to represent gender and gender roles. It attempts to capture the most significant changes in the depiction of the body in authorial animated film before and after 1989, in more detail record the post-revolution changes in the body, and relate this to the changes in the institutional background of animated film. Animated bodies have developed from “ordinary people” from a dominant male point of view in socio-critical socialist production through female characters in interaction with clearly distinguished male characters in the films of female authors from the Academy of Performing Arts, the crisis of stereotypical masculinity in the production of male authors to independent women looking for their own identity inside themselves, without relating themselves to their male counterparts.

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Alin-Daniel Piroşcă

Abstract

Seduction doesn’t really refer to love. In fact, it isn’t at all directly related to love, but as the word’s etymology suggests, it is an intellectual act that means “to lead on a different path”, “to corrupt”. Starting from this point and considering it in regard to the theatre performance and audience, our main purpose in this paper is to identify the elements involved in the process of seduction that takes place in the performance space, but also the role of each one of these elements. We will make a series of approaches on a theoretical level, involving some exercises in semiotics, in an attempt to reformulate the relation between the performance and the audience. This paper asserts that the performance is acting the part of the seducer and the audience is the one being seduced, but also that there is a secret involved in this relation, enlarging the aesthetical notions related to the theatre performance, through the relevant functions of desire and intimacy.

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Luminița Milea

Abstract

Along with literature, music, through the suggestiveness of the means of expression, manages to render in different compositional forms and genres the specific atmosphere and traits of the mythical universe. The Romanian musical creation has been dynamically asserted in an original manner over time, through the diversification of artistic means and a permanent adaptation of musical language to the aesthetic requirements of each compositional period. Skillfully wielding the processes of modern musical language, composers George Enescu, Aurel Stroe and Cornel Țăranu have given the contemporary public artistic masterpieces which impress by the personal manner of transposing into modernity the transcendent message of the myths of Oedipus and Orestes. The richness of the compositional means employed by the three composers creates bridges between antiquity and modernity, between the imaginary and the real universe.

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Tamara Constantinescu

Abstract

A performance is a common adventure, the result of the “confrontation” of several creators who meet, each of them bringing the perspective of their own domain, in order to decipher a play that is meant to be represented on stage. The musical satisfies the contemporary audience’s need for novelty and dynamism, as its main characteristic is the bringing together of arts: theatre – through acting, literature – through the libretto, music – through scores and vocal interpretation, dance, and painting – through scenography. The 13th edition of Gala Vedetelor – VedeTEatru, 2016, the Festival organized by George Ciprian Theatre in Buzău, had MUSIC as its main celebrity. The audiences could attend some of the best performances of dance theatre, concert-theatre, or musicals, such as: ArtOrchestra, directed by Horia Suru, Zic Zac, performed by its young creators Andrea Gavriliu and Ştefan Lupu, or West Side Story, created by the choreographer-director Răzvan Mazilu.

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Călin Ciobotari

Abstract

Focusing on the famous Lepage’s Hamlet, seen in the National Theatre Festival, Bucharest, 2017, I try to discuss a few things about what appears to be a new “mythology” in making theatre: the myth of technology.

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Jan Švábenický

Abstract

This study examines journalistic, publicist, and critical discourse in relation to the popular genres in the Italian cinema of the 1960s and 1970s in Czechoslovak film and non-film periodical press. Of interest are mainly comprehensive texts that analyse Italian popular genres as a genre system and a specific corpus of films that belong to the same genre. Czech and Slovak translations of foreign studies and texts (with the exception of some examples), interviews with Italian filmmakers, short glosses, or informative texts are beyond the scope of this research. This study reflects critical, journalistic, and publicist interpretations and views by Czechoslovak press of popular genres in national Italian cinema in the selected historical period. Research is divided into two parts that develop specific aspects of these analytic questions. The first part analyses texts about this subject matter in various film a and non-film periodicals, including newspapers and journals with emphasis on long studies and interpretations of a few categories of popular genres viewed in the extensive context of their national, socio-cultural, iconographic, and industrial aspects. The second part deals only with the popular genre of western all’italiana (western in Italian style), which represented an international cinematic and socio-cultural phenomenon in the 1960s and 1970s and was of the greatest interest to Czechoslovak critics, journalists, and publicists in relation to popular genres of Italian cinema in general.

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Dáša Čiripová

Abstract

This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.

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Dagmar Inštitorisová

Abstract

This study deals with television and radio artistic, documentary, and investigative programmes whose thematic focus is the historical figure of Milan Rastislav Štefánik. The analysis examines television and radio recordings from the archives of RTVS, the Slovak Film Institute in Bratislava, and two documentary films produced by the company Kanimex. It focuses on the form of their artistic treatment as well as representation of the personality of Štefánik. In its conclusion, the study summarizes findings about the manner of interpretation of his personality in a model of an audiovisual and audial historical figure.