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A game that never was: Verney’s duodecimal chess

References [Albers, 1821] Albers, H. C. (1821). Unterricht im Schachspiele . Herold Und Wahlstab, Lüneburg. [Beasley, 2010] Beasley, J. (2010). Towards ECV 3. Variant Chess , 64:174–189. [Cazaux and Knowlton, 2017] Cazaux, J. L. and Knowlton, R. (2017). A World of Chess: Its Development and Variations Through Centuries and Civilizations. McFarland & Company, Jefferson. [der Linde, 1881] der Linde, A. V. (1881). Quellenstudien zur Geschichte des Schachspiels . J. Springer, Berlin. [Markov and Härtel, ] Markov, G. and Härtel, S

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Le formateur et son public dans le cadre de l’élaboration d’une simulation de type wargame sur plateau

References [Alvarez and Djaouti, 2010] Alvarez, J. and Djaouti, D. (2010). Introduction au Serious Game . Questions Théoriques, Quercy. [Aubry, 2010] Aubry, C. (2010). SCRUM : Le guide pratique de la méthode agile la plus populaire . Dunod, Paris, 2ème edition. [Berg, 1977] Berg, R. (1977). Game design and development: A case study, in staff of strategy & tactics. In Wargame Design: The History, Production and Use of Conflict Simulation Games , New York. Simulation Publications. [Brathweite and Schreibe, 2009] Brathweite, B. and

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Theatre Scenography of Architecture Objects

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.

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Miloš Pietor and Shakespeare’s Historical Chronicles in the Slovak National Theatre

Abstract

The plays of William Shakespeare, except for Hamlet (Nová scéna, 1974) and Richard III (SND, 1987), do not define the artistic profile of Miloš Pietor, yet they significantly supplement it. Although as a dramaturge he felt at his best in a different repertoire, his several encounters with Shakespeare cannot go unnoticed. They must be examined for complete information about the director’s artistic development, but also about the productions of Shakespeare in Slovakia. Pietor had encountered Shakespeare six times; their seventh encounter was interrupted by the director’s unex pected death. The present paper deals with Pietor’s production of Shakespeare’s historical chronicles for the Slovak National Theatre in the period of 1980-1987.

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The Reincarnation of Animated Film

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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Changes of Power and Coups D´État in Július Barč-Ivan’s Plays Diktátor [Dictator], Neznámy [The Unknown] and Veža [The Tower]

Abstract

The paper discusses three lesser known and less frequently staged plays written by Július Barč-Ivan (1909 – 1953), namely Diktátor (Dictator), Neznámy (The Unknown), and Veža (The Tower). Dictator was supposed to be premiered at the Slovak National Theatre in 1937, but it was removed from the repertoire due to censorship. The Unknown was staged and published as a book in Turčiansky Sv. Martin in 1944. The Tower was premiered at the National Theatre, Košice in 1947, and published a year later. All three plays deal with politics and power, as well as with changes of authority and leadership in different historical settings. In order to discuss Barč-Ivan’s perception of the changes of power in history, the paper analyzes motives of social upheavals, coups d’état, and changes of leadership, as well as the portrayal of authorities, leaders, and the masses as dramatis personae in these three plays. It also discusses repartees and dialogues in the respective plays, wishing to show changes in Barč-Ivan’s elaboration of the theme between 1937 and 1947. The paper argues that Barč-Ivan gradually abandons the idea of eternal peace that was a key concept in his play Dictator; and in his play The Tower, he states that “the principle of love” can be only preserved by its counterpart – violence. Whereas in The Unknown the power was shaken but preserved, in both Dictator and The Tower a paradoxical replacement of original contrasting principles happened; and the opponents of the power ended up using the methods they originally rejected. The paper also claims that all three Barč-Ivan’s plays were an alternative to ideologies and politics of the era. They expressed historical pessimism based on a religious concept of history. Barč-Ivan believes that noble ideas inevitably remain contradictory to historical development: if they were applied successfully in societies, they would actually mean the end of history.

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Mancala in Surinamese Maroon Communities: The Expedition of Melville J. Herskovits

Britain and Ireland 62, pp. 23–37. Herskovits, M. J. (n.d.). Village of Futuno Habbe Ackaba (The Foot has no Resting Place). Saramaccaner Tribe Upper Surinam River . Division of Anthropology, American Museum of Natural History. Hoefte, R. (2001). “The Development of a Multiethnic Plantation Economy: An Introduction to the History of Suriname from circa 1650 to 1900”. In: Twentieth-Century Suriname: continuities and discontinuities in a new world society . Ed. by R. Hoefte and P. Meel. Leiden: KITLV Press, pp. 1–17. Khan, M. C. (1928). Special

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