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Myth and Music - Enhancers of Balance. Between Tradition and Modernity

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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Theatre, in Ionescu’s Vision: “The Eternal Need for Miracle and Horror”

Abstract

A subject the phenomenological modernity of which imposes itself, regardless of the time of the debate and the critic-literary orientation of the messmate, which burned in profile magazines pages and specialist meetings, and the conclusions of which are still expected, is represented by the dilemma: Eugen Ionescu or Eugene Ionesco? The Romanian by birth (and formation, some say) or Frenchman by adoption?

As it was already used to, according to the formula that opposites are attracted to cancel each other, Ionescu refused widely known theories about the purpose of theatre, annihilated them and replaced them with his own ideal concept of what theatre means to the public and, especially, what is the purpose of its mission. Theatre has, like any other art, a mission of knoweledge. You don’t silly around to discover, but deepening, separating, purifying realities. (...) Theatre is a presence, Ionescu says.

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What Happened to Andres Lapeteus? An Upper-Class Homo Sovieticus Caught in the Gears of Soviet Modernity

_clanky.html&typ=HTML (4 June 2014). Hoffmann, David L. 2000. ‘European Modernity and Soviet Socialism’. - David L. Hoffmann, Yanni Kotsonis (eds.), Russian Modernity: Politics, Knowledge, Practices. London: Macmillan Press; New York: St. Martin’s Press, 245-260. Hruštšov, Nikita 1957. ‘Kirjandus ja kunst olgu tihedalt seotud rahva eluga’. - Rahva Hääl, 30 August. Каменский, Александр 1989. Романтический монтаж. Москва: Советский художник. Koppel, Margit-Mariann 1998. ‘KGB hammasrataste vahel - Heino Mandri’. - Teater

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Commedia dell’arte in the Contemporary World – Challenge, Performance, Practice

Abstract

Influenced by the components of everyday life, contemporary theatre is undoubtedly subject to multiple transformations. Theatre needs a new lease on life, new subject matters. Without minimizing the importance of modern theatre, but out of sheer fondness of Commedia dell’arte, we have tried to outline certain characteristics, traits that impart colour to this provocative genre, regardless of space and time. Of course, only time will verify its future dual value as spectacle, as spectacle - performance and practice. Considering all these aspects from a musician’s perspective, it was only natural to emphasize the important position music occupies in Commedia dell’arte and its role as binding agent that in this way creates a balance between modernity and tradition.

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The Erotics of Scenario. On the Construction of the Subject in Postmodern Theatre

Abstract

Set in the postmodern culture cadres that Lyotard talked about twenty years ago, we are witnessing an accelerated mistrust of a conspicuous value. In fact, all this mistrust has occurred amid a radical overthrow of the way we were accustomed to perceiving the values of modernity. Having its starting point in philosophy, falling into disuse that postmodernity propose grows like a wave that appeared after a stone was thrown into the water. Theatre has not escaped from postmodern articulation, and its subjects have inevitably passed through the postmodern reconfiguration filter. In this article, we will talk about the subject of eroticism, trying to outline our thesis on the idea that the comprehensive synthesis of the receiver in relation to the postmodern performance is based on the construction of the subject folded on the identification of some indicators. Considered as a cultural construct, eroticism is eliminated through its discourse and requires scenarios to be fully understood and recognized. The question inevitably arises: to what extent can we talk about these scenarios in the postmodern performance?

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Theatre Performance in Postmodernism

://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond Peter Kivisto, 2014, Postmodernity as an Internal Critique of Modernity , in Postmodernism in a Global Perspective , edited by Samir Dasgupta and Peter Kivisto, New Deli: SAGE Publication Carl Gustav Jung, 1981, The Development of Personality , translated in English by R. F. C. Hull, New York: Princeton University Ptess / Bollingen Paperback Hans-Thies Lehmann, 2007, Postdramatic Theatre , translated in English by Karen Jürs-Munby, London: Routledge Jean-François Lyotard, 1984, The Postmodern

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Beyond Eastern Noir: Reimagining Russia and Eastern Europe in Nordic Cinemas

REFERENCES Fay, Jennifer; Nieland, Justus 2010. Film Noir: Hard-Boiled Modernity and the Cultures of Globalization . London, New York: Routledge. Näripea, Eva; Hoyer, Dirk 2018. ‘Tales of a Lost Decade: Estonian Film Noir in the 1990s’. – Studies in Eastern European Cinema 9, 2, 163–178. Spicer, Andrew; Hanson, Helen (eds.) 2013. A Companion to Film Noir . Chichester: Wiley Blackwell.

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‘All the Necessary Information is Provided by Russia’s Channels’. Russian-language Radio and TV in Latvia: Audiences and Content

Mainstreaming?” Ethnic Minority Audiences for Public and Private Television Broadcasting’. – Nico Carpentier, Kim Christian Schrøder, Lawrie Hallett (eds.), Audience Transformations: Shifting Audience Positions in Late Modernity . London, New York: Routledge, 82–100. Council of Europe 2007. Recommendation of the Committee of Ministers to Member States on the Remit of Public Service Media in the Information Society . https://wcd.coe.int/ViewDoc.jsp?p=&Ref=CM/Rec(2007)3 (29 June 2016). Curran, James 1997. ‘Rethinking the Media as a Public Sphere’. – Peter

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Global Multi-Protagonist Trends in a Local Setting: The Case of Frozen Land and Autumn Ball

University Press. Doane, Mary Ann 2002. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge, MA; London: Harvard University Press. Eesti filmi arengusuunad 2012-2020. http://filmi.ee/wordpress/wp-content/uploads/2015/05/EF_arengusuunad_2012-2020.pdf (21 August 2017). Foster, Tyler 2010. ‘Frozen Land aka Paha maa’. - DVD Talk, 4 August. http://www.dvdtalk.com/reviews/43627/frozen-land/ (14 August 2017). Fundin, Johan 2006. ‘Frozen Land’. - 10K Bullets, 27 November. http://10kbullets

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Painful Neutrality: Screening the Extradition of the Balts from Sweden

baltutlämningen’. – Dagens Nyheter , 2 October. Kallifatides, Theodor 1970. ‘Sima önskar inget samtal’. – Expressen , 7 October. Kaplan, Ann E. 2001. ‘Melodrama, Cinema and Trauma’. – Screen 42, 2, 201–205. Kaplan, Ann E.; Wang, Ban 2004. ‘Introduction: From Traumatic Paralysis to the Force Field of Modernity’. – Ann E. Kaplan, Ban Wang (eds.), Trauma and Cinema: Cross-Cultural Explorations . Hong Kong: Hong Kong University Press, 1–22. Küng, Andres 1970. ‘Regeringen och balterna’. – Expressen , 6 October. Lagercrantz, Olof 1968

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