Drama writings and theatre performances have always been, in my opinion, the mirror in which our society reflects itself. If in the decades before the 90s our society witnessed a total or quasi-total lack of freedom and a lack of voices to be heard in theatres, in the 90s we have all been witnesses to an absolute freedom that has been constantly managed chaotically. Immediately after The Revolution, the long lost freedom has soon become confusing and has turned into a heavy tormenting issue. The new drama writing and theatre performance have needed more than 10 years to change into something new. The independent theatres and the new drama have arisen as a reaction to the crisis that our theatres underwent in the 90s. The new artist of the new millennium is often self-taught, he has to improve his organizational abilities, to think big when it comes to new projects, to see the bigger picture and not to remain stranded into his own piece of art.
With a selection of both themes and delicate topics of the present, the Myths Reinterpreted in Contemporary Francophone Dramatury Anthology brings together established voices and young spirits around texts focused on young audiences. Jean-Pierre Dopagne, Axel Cornil, Marine Bachelot Nguyen, Veronica Mabardi, Gustave Akakpo, Jean- François Guibault and Andreanne Joubert are the authors present between the covers of this mosaic, but harmonious volume. The great figures of the Greek tragedy are seen again by the dwarves on the shoulders of the giants, much like the present with which they come to overlap.
In this article I would like to point out the importance of the functionality of the soundtrack in film and theatre. First of all, I can mention that the chosen thematic has an almost unexistent bibliography due to the decreased number of theoretical works in this domain, and the few existent studies handle the same thematic from different angles, causing a lack of balance in the processing of musical and technical context. In most cases the cultural audience doesn’t watch a movie or a theatrical play for its music, but is yet 50% influenced by it, noticing it only when the background music changes into an objectively or subjectively disturbing one. On the other hand, if a movie has an impecable soundtrack, the audience won’t be bothered by it. These informations lead to the conclusion that the soundtrack has a big influence on our subconscience, dominantly on the auditive and less on the visual one.
This article examines the choices made by Norwegian distribution companies during three key phases of cinema lockdown and reopening in 2020. Though the article mainly aims to chronicle this particular moment in time I find that Norwegian and Scandinavian VOD-services acted differently than international services and that, while distributor companies used several different strategies in the face of sudden change, no one was close to recouping the losses from the lack of ordinary cinematic exhibition.
The article discusses some developments in the audio- visual media industry in Germany that became apparent during the pandemic. Tendencies in the production, distribution and consumption of film, television and streaming are examined. While streaming platforms and linear television are becoming more important, cinemas are facing some problems.