Zeitschriftenartikel zum Thema „Tobin Foundation for Theater Art“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Tobin Foundation for Theater Art.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Tobin Foundation for Theater Art" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Zhang, Xiaomeng, Wenting Liu, Yilun Zhou und Ziao Liu. „Basic Selection and Analysis of Harbin Ice and Snow World Theater Project“. E3S Web of Conferences 248 (2021): 03044. http://dx.doi.org/10.1051/e3sconf/202124803044.
Der volle Inhalt der QuelleAnnotation:
Harbin Ice and Snow World Project totals 98,000 square meters, consisting of Iceberg Pavilion, Dream Ice and Snow Pavilion, Ice and Snow Show, and Ice and Snow Art Museum.This project mainly introduces the foundation selection and structural design of the Harbin Ice and Snow World Show, verifies the feasibility of the project implementation, and analyzes the rationality of the structural foundation layout through structural design and structural calculation analysis.
2
Allawi Salal, Aqil, und Russil Kadim oda. „Actor's skills in pantomime theater performances“. Al-Academy, Nr. 105 (15.09.2022): 121–32. http://dx.doi.org/10.35560/jcofarts105/121-132.
Der volle Inhalt der QuelleAnnotation:
The art of pantomime mime is one of the arts that has taken a wide space in theater performances, and because it is one of the spectacle shows that relies on an acting performance that is unique from the traditional acting performance, because of the peculiarity of pantomime art in that it is a silent performance that assumes the clarity of meaning, and for the purpose of clarifying the actor’s work in such kind of performances, the art of pantomime must be We have to know the skills that the actor can possess in order to produce a silent show that has the elements of a successful presentation, so there was a need to study the skills of the actor in this type of acting performance. The researchers divided this study into an introduction in which they dealt with the research problem formulated in the following question: What is The performance skills that the actor has to master? Then the research objective and the definition of the study term. As for the theoretical foundation, it included two topics: the first topic (the development of the art of the pantomime) and the second topic (the technical skills of the representative of the pantomime). In 2006. Then the two researchers reached a set of results, including: The skill of completing each theatrical act before starting another theatrical act must be present with the actor so that the spectator does not confuse the description of the forms, the event and the story. Then a summary and sources of research in English.
3
Trushevska, А. „Ikigai-theater as a type of purpose: a modern view of the concept of stage art“. Culture of Ukraine, Nr. 84 (20.06.2024): 35–43. http://dx.doi.org/10.31516/2410-5325.084.03.
Der volle Inhalt der QuelleAnnotation:
The purpose of the article is to analyze recent publications and research and to consider some contemporary concepts of theater art. We propose a new concept of theater art — “ikigai-theater” based on the human life purpose. The purpose of the article was to fulfill a number of tasks: to define the concept of “ikigai” and consider its main components; to identify the factors that are the foundation for the formation of ikigai-theater; to integrate the concept of “ikigai” into the concept of theater. In our opinion, a concept of ikigai-theater can be a solution to the problem of separation between the director, actor and audience. We consider theater as a mirror model of coexistence and found out that establishing communication between the actor and the audience depends on the formation of a new type of actor. Who translates sincere love, so forming an emotional closeness with the audience. The methodology of this article based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the multidisciplinary and methodological discourse. The results. The research presented a new structure of the performance as a movement from the lower to the upper chakras. So the actors on stage go through a transformation from the lowest conditions of fear, anger, envy, and despair to state of bliss. Moving up the chakras “vertically”, the actor finds his or her ikigai, automatically transmitting it to the audience. Therefore, the concept of “ikigai-theater” is proposed as a theater of destination, where information is perceived “vertically”. The scientific novelty. The main element of classical theater, the basis of its dramaturgy is a conflict. Ikigai-theater is a concept of non-conflict theater. As the scientific novelty we propose an opportunity for people to unite on a spiritual level. In this level the energies of love, friendship and bliss reign and there is no interpersonal conflict that manifests itself from the outside. The practical significance. The materials of this article can be used in the theoretical and practical study of the concept of ikigai-theater as a new kind of theater art. As well as concept of ikigai-theater can become a theoretical basis for the formation of a new theater with the aim of clarifying, improving, and providing scientific and creative substantiation.
4
Gerdova, T. S. „Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, Nr. 57 (10.03.2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
Der volle Inhalt der QuelleAnnotation:
Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
5
Gao, Hui. „Analysis of Art Economics of the Spring Willow Society based on SWOT Theory“. Highlights in Business, Economics and Management 1 (28.11.2022): 8–13. http://dx.doi.org/10.54097/hbem.v1i.2310.
Der volle Inhalt der QuelleAnnotation:
The Spring Willow Society opened a dialogue between China and theater. Although it lasted only three years before the government ordered it to stop, it laid the foundation for the future development of Chinese performing arts. It played a part in the creation of new plays. However, most scholars take The Spring Willow Society's drama and performing arts as the research object, while a few studies it from the perspective of art economics. This paper attempts to analyze the core competitiveness of the art market of The Spring Willow Society from the perspective of art economics and further broaden the interdisciplinary exploration thinking of art theory.
6
Ilic, Vlatko. „Theater arts as the subject of comparative aesthetics“. Theoria, Beograd 67, Nr. 1 (2024): 151–60. http://dx.doi.org/10.2298/theo2401151i.
Der volle Inhalt der QuelleAnnotation:
In this paper we will show how the new theoretical thought about theater, since the beginning of the last century and the establishment of theatrology as the academic discipline and field of research, is being based on the comparative aesthetic perspective - on the distinction between different arts on the one hand and the identification of the transcultural foundation of theater arts on the other. Following the analyses of examples of contemporary theatre and the insights that emerge from them, we will demonstrate how the questions that rise out of theatrical practice and theory resonate with the issues addressed in the field aesthetics, not only the ones about artistic creation, art or its reception.
7
Kultys, Konrad. „Body and camera in motion — a dialogue between film and contemporary dance theater based on the experience gained in the making of the experimental art documentary Tensity“. Dziennikarstwo i Media 15 (29.06.2021): 51–64. http://dx.doi.org/10.19195/2082-8322.15.5.
Der volle Inhalt der QuelleAnnotation:
The paper presents the relationship between the worlds of film and dance theater, and the ways in which the medium of the performing body can be translated onto the screen by the director and cinematographer. By analyzing his own experiences and related artistic decisions made during the realization of the experimental documentary Tensity, the author looks at the clash of two different media and the relations that may result from the effort to translate dance theater performance into traditional film medium. Along with the change of medium, the nature of the work also changes and a completely new artistic value is created, enriched with elements unknown to theater, such as film editing, camera work and, finally, screen time. A film work based on the theatrical medium becomes a separate artistic creation, allowing the director and the cinematographer to build upon the foundation of the performative art of the actor/dancer.
8
PАLIJ, Оxana. „THE STAGE EMBODIMENT OF THE IMAGES OF NATIONAL DRAMA IN THE ACTING PRACTICE OF OLEKSANDR KOROLCHUK ON THE STAGE OF MYKOLA SADOVSKY’S KYIV THEATER (1907–1919)“. Bulletin of the Lviv University. Series of Arts Studies 109, Nr. 21 (2023): 53–71. http://dx.doi.org/10.30970/vas.21.2023.12129.
Der volle Inhalt der QuelleAnnotation:
The article examines the peculiarities of Oleksandr Korolchuk’s acting Style based on the works of national drama on the Stage of the Kyiv Theater named after Mykola Sadovsky. Therefore, based on the extensive material of the Kyiv press, memories of contemporaries, materials of the Museum of Theater, Music and Film Arts of Ukraine (Vasyl Vasylko Foundation), the actor’s range of roles was considered, the means of Stage expressiveness of Oleksandr Korolchuk were characterized based on the material of national drama. Also, for the firSt time, we introduce the term into scientific circulation and argue the concept of the “transitional generation” of Ukrainian artiSts in the history of national Stage art. The dramatic material, the specifics of its embodiment, on which the “transitional generation” of Ukrainian actors was formed, the significance of this phenomenon in the hiStory of Ukrainian theater, using the example of Oleksandr Korolchuk’s creative work, are analyzed.
9
Kurmalasari, Tety, Abdul Rahim Hamdan und Satria Agust. „The Role of Mantra in Theater Makyong“. Asian Culture and History 9, Nr. 2 (10.08.2017): 71. http://dx.doi.org/10.5539/ach.v9n2p71.
Der volle Inhalt der QuelleAnnotation:
The research is based on the study of literature. The problem of this research was uses of the spell in theater makyong. The study of uses of the spell in theater makyong is assumed so interesting, because until now theater makyong has still been using spell used by the Panjak chairman to chase away the evil and averse evil before the show begins which is well-known as the ceremony of the"discard wet" or "open land". The spell in theater makyong consists of swearing, the evil, and averse evil spells related to ceremonies open land or discard wet, installing fabric spell, advanced series spell, make-up spell, perindang voice spell and pembungkam (speechless) spell. The sources of the data in this research were obtained from litelature and the Tanjungpinang Art Conservatory Foundation which has kept preserving Theater Makyong till now. The technique of collecting data was done by using the observation technique, interview, and recording elicited from the Panjak chairman, especially about the spell. The data were analyzed by using the collecting data technique. Relating to the research findings, there were seven spells associated with the stage opening ceremony and wet soil or waste opening ceremony and five spells associated with inner preparations existing in theater makyong. The use or the role of spell was as a protection.
10
Gryzunova, Olga V. „Theatrical and Non-Theatrical Thinking in Actual Choreographic Practice“. Observatory of Culture 18, Nr. 4 (11.10.2021): 416–23. http://dx.doi.org/10.25281/2072-3156-2021-18-4-416-423.
Der volle Inhalt der QuelleAnnotation:
The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.
11
Osipova, L. V. „CONTEMPORARY THEATER ARTS IN THE EDUCATIONAL ACTIVITY OF THE TEACHER“. Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, Nr. 77 (2021): 34–39. http://dx.doi.org/10.37313/2413-9645-2021-23-77-34-39.
Der volle Inhalt der QuelleAnnotation:
Contemporary theatrical art is considered in the article in two aspects: as a way to solve the problems of educating students (education by means of theatrical art) and as a means of preparing future teachers to solve educational problems (theatrical pedagogy). At the same time, educational activity is understood from the standpoint of a culturological approach as a purposeful activity of a teacher acting as an intermediary between a child and culture, to include students in modern culture context. The ideas about the peculiarities of contemporary theatrical art that influence the educational tasks solution are concretized: brightness and originality, which create motivation for moral problems discussion; minimalism, allowing you to focus on moral conflict; a large selection of genres, taking into account the students individual capabilities; interactive nature, allowing students to formulate, substantiate and defend their own moral position; combination of artistic and creative activity and computer technology, adequate to modern schoolchildren worldview. Theatrical art, removing the contradictions between the emotional-figurative and the emotional-logical, contributes to the personal holistic development, individuality and subjectivity of the child, allows him to experience the various situations of modern world. The scientific knowledge about the possibilities of theatrical pedagogy in the process of preparing future teachers for educational activities has been clarified: the use of theatrical pedagogy elements contributes to the students' communicative abilities development, the rejection of the stereotypical solution of professional tasks, the ability for improvisation, emotional self-regulation, flexible and productive conflict resolution. The preparation of future teachers for educational activities by means of theatrical pedagogy is considered as one of the conditions for the effectiveness of their professional activities in solving education problems. The study was carried out with the financial support of the Russian Foundation for Basic Research within the framework of scientific project No. 20-013-00809.
12
Demeshchenko, Violeta. „Oriental Motives in the Aesthetics of the New Theater of Gordon Craig“. Culturology Ideas, Nr. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.
Der volle Inhalt der QuelleAnnotation:
The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.
13
Kalinina, Larisa Yurievna. „Contests of concept «art-composition» in context of XXI century art education“. Samara Journal of Science 5, Nr. 2 (01.06.2016): 162–65. http://dx.doi.org/10.17816/snv20162306.
Der volle Inhalt der QuelleAnnotation:
The article discusses the concept of art composition, that functioning in practice music teachers, teachers of fine arts and literature, teachers of choreography and theater. However, the theoretical foundation of art-composition and content of the concept has not yet been the subject of a special study. At the same time, comprehension of innovative approach in educating to the art, maintenance of artistic education characterized by an orientation on studying - man with a modern world view, it is necessary. A necessity of enriching of thesaurus of school pedagogics was clear, actual terms, art composition behaves to the number of that. This study contributes to the problem of a more general nature - the possibility of using polyart creative activities as a means of identification and learning of gifted children. The originality of the art-composition - in the innovative thinking of the modern author, whose seeking to portray the world is not the way it sees, but the way it understands. Results of the creative work can be presented in different art forms, not excluding sketches, improvisations, postmodern games with the text. The pedagogical value of the art-composition: the teacher can visually track the progress of the child in the field of aesthetic perception, associative thinking and the work with the material.
14
Qafarova, Gunay N. „Azerbaijan National Museum of Art: On the history of foundation“. Issues of Museology 13, Nr. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
Der volle Inhalt der QuelleAnnotation:
The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
15
Krypchuk, Mykola. „ASPECTS OF PSYCHOTECHNICS IN THEATER AND IN VARIETY ART (COMPARATIVE ANALYSIS)“. Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, Nr. 2 (23.05.2023): 104–11. http://dx.doi.org/10.25128/2411-3271.19.2.14.
Der volle Inhalt der QuelleAnnotation:
The article investigates the specifics of the basic elements of psychotechnics in theater and variety art. The nature and variety of the artist’s psychotechnics is clarified and specified. The specific peculiarities and differences of the way of existence of a dramatic actor and a stage artist are determined. Specificity of performance in the variety turn, which uses a laconic arsenal of means of acting expression is characterized. The “foundation” of K. Stanislavsky’s entire system are the basic principles where the process of dramatic transformation of an actor into an image is crucial. The theater reformer was able to discover the secret of creating an everyday life in unrealistic conditions. In this sense, it is necessary not only to select the crucial elements of the performing arts, but also to synthesize them, to merge into a new “human soul” seeking for dramatic transformation. The purpose of the article is to determine the nature of actor psychotechnics in the theater and on the stage, its aspects. The experience of the Ukrainian variety shows proves that the tendency of combining acting skills and technical virtuosity of performing a variety turn of a particular genre, which are becoming relevant at the current stage of development of variety art as a whole, is actualizing. Many components of the variety artist’s profession are based on the general fundamental principles inherent in dramatic theater, musical theater and the circus. Stage attention is one of the most important elements of a person’s mental activity, which includes being focused and to focus consciousness on a particular object. Possession of our attention is connected with the activity of our senses (sight, hearing, touch, smell, taste), ability to think and act. However, if in dramatic theater the artist’s attention on stage can be both passive and active, then on the stage the artist’s attention is always suspended, since the short time frames of the performance and co-operative interaction with the public do not allow the artist to involuntarily perceive it. Therefore, the attention of the artist on the stage is always active. In a dramatic performance, a complex form of external-internal attention is used; not during the entire theatrical production, but in some individual moments of perfoming the role. And on stage the artist almost always uses this type of attention throughout the variety turn. Therefore, in order to successfully demonstrate the artist’s variety turn, it is necessary to have a complex form of external-internal attention, to be able to manage multidimensional attention at different concert venues, to have the ability to instantly and repeatedly switch the attention from the object on the stage to the audience and back. Thus, the “double world” of a variety art also influences this element of the actor’s internal technique creating a different structure of attention other than the art of theater. The author emphasizes that psychotechnics are the most important in the art of the actor. The artist in his or her psychophysical unity is for him/herself both the creator and the “tool”. According to the author of the study, in order to create favorable conditions for creativity, it is necessary to bring into proper condition the “tool” of the actor – his own organism. For this purpose it is necessary to improve the internal (mental) technique of the artist. The analysis of the problem made it possible to identify and classify the two main differences between variety art and theatrical art: first, it is a special system of communication between the artist and the auditorium; secondly, this difference is laconicism.
16
Popper, Frank. „Art, Science, Technology: Six Exhibitions 1966–1998“. Leonardo 52, Nr. 2 (April 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
Der volle Inhalt der QuelleAnnotation:
From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
17
Krom, Anna E. „David Lang’s Postminimalist Musical Theater“. Vestnik of Saint Petersburg University. Arts 12, Nr. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.
Der volle Inhalt der QuelleAnnotation:
The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
18
Naumov, Aleksandr V. „From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko“. Observatory of Culture 19, Nr. 2 (13.04.2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
Der volle Inhalt der QuelleAnnotation:
The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
19
Хоменко, Олена. „Роль уряду П. Скоропадського в питанні розвитку й підтримки театру та кінематографа в Українській Державі 1918 р.“ Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, Nr. 47 (18.03.2024): 51–58. http://dx.doi.org/10.31652/2411-2143-2024-47-51-58.
Der volle Inhalt der QuelleAnnotation:
The article analyzes the role of Pavlo Skoropadskyi's government in 1918 in the strategic and artistic issue of the development of art, as part of the state-building process in the Ukrainian State of that time, based on archival sources and the scientific work of modern scientists. The research methodology is based on the fundamental principles of historical research: historicism, systematicity, scientificity, objectivity in the selection of facts and documents. The scientific novelty of the article lies in the fact that, for the first time, with the help of archival sources, specific steps in the activities of the Cabinet of Ministers in 1918 regarding the support and development of art, namely theater and cinematography, as one of the components of culture, were revealed, thanks to both financial support and the awareness of representatives of the government of Pavlo Skoropadsky of the national-patriotic orientation regarding the importance of the development of national art as part of the state-building process. Conclusions. In the conditions of the exhausting First World War and the economic devastation in the state, the government of Pavlo Skoropadskyi attached great importance to the development of art, in particular theater and cinematography. The government considered the sphere of theater not only as an important form of cultural expression, but also as one of the directions of state-building in the development of the national interests of the Ukrainian State, in order to ensure the spread of the Ukrainian language and culture among the population of that time. Cinematography in 1918 was at an early stage of development. However, even then the government understood its potential and recognized the importance of cinema not only as an innovative invention, but as a means of mass information and state propaganda to influence the population. At the state level, mechanisms were developed to support the cinematographic industry and the Ukrainian theater of that time, which were constantly financed by Pavlo Skoropadskyi's Council of Ministers, as evidenced by archival documents. The Cabinet of Ministers of that time was well aware that in order to build a full-fledged state, support in the field of national culture is necessary, and that this is one of the elements of the socio-cultural values of a person, which contributes to the formation of the unity of the nation and lays the foundation of an educated and tolerant society in the future.
20
Zaks, Lev A. „Macroparadigms of the Artistic Consciousness as a Basis of “Great Border” in Present-day Art“. Koinon 1, Nr. 1-2 (2020): 216–29. http://dx.doi.org/10.15826/koinon.2020.01.1.2.011.
Der volle Inhalt der QuelleAnnotation:
The article discusses the problem of “great border” between the newest art of the latter part of the 20th century and the early 21st century and traditional art as it has been existed throughout millennia. A zone of major differences between these two types of art reflected in radically new features of language, richness and perception of the latest art, in emergence of new forms of artwork (art-objects, installations, performances, digital art, contemporary dance, post-drama theater) is expressed. At the same time the illustrative evolution of the very traditional art of today which brings it and the latest art together is emphasized. The article proposes a hypothesis of a central foundation-reason for transformative changes in art. The foundation of any artistic activity and artistic creation rests on a certain type of artistic attitude-towards-the world. Through alterations it has maintained the features of its basic paradigm unchanged. The author defines its essence as nature-centeredness. The radical evolution of modern civilization overshadows nature, places culture at the heart of people existence and results in the birth of a culture-centered paradigm of artistic consciousness. The article outlines its general characteristics defining the radical novelty of the present-day art. The key feature of such art is dominance in culture texts and some of its phenomena as a specific distinct and intrinsically valuable reality and a quest for the representation and internalization of its own diverse features of culture per se starting with its manmade (“artificial”), semiotic, activity-based, creative, communication, particular informative, tradition-driven nature and many others. Culture-centered art walks away from representing routine life events, telling “true stories”, reconstructing psychology and psychological relationships of people in every detail. Instead, it is turning towards accentuation and typology of ways and people life’ products, their cataloguing, towards analysis of culture memory, language and text structures, towards problemotization of the relationship between the cultural and the natural. Insufficient awareness of culture-centeredness expressed by theoreticians and practitioners of the latest art alongside with experiences of such awareness is mentioned.
21
Mishurovskaya, Maria. „“The case of photographs” in the archive of the All-Union Society of Cultural Communication with Abroad. On the history of the staging of M. A. Bulgakov’s play “The Days of the Turbins” (1938) in London“. Slavic Almanac, Nr. 1-2 (2022): 248–64. http://dx.doi.org/10.31168/2073-5731.2022.1-2.3.03.
Der volle Inhalt der QuelleAnnotation:
The article examines the documents deposited in the folder “The All-Union Society of Cultural Communication with abroad. English Department. Correspondence with the VOKS commissioner in England about the staging of Bulgakov’s play The Days of the Turbins at the Phoenix Theater”, which is part of the 5283 foundation “The All-Union Society for Cultural Communication with Abroad (VOKS)” of the State Archive of the Russian Federation. The content of these archival sources is related to the so-called “case of photographs” of the performance “The Days of the Turbins” of the Moscow Art Academic Theater (Moscow Art Theater), requested in August 1938 by the director M. Saint-Denis for the production of a play about the Turbins at the Phoenix Theatre in London. M. Saint-Denis’s request was transmitted to the Anglo-American department of VOKS through J. Todd, Secretary of the Society for Cultural Relations between the Peoples of Great Britain and the USSR. A letter from J. Todd, reviewed by the head of the Anglo-American VOKS department M. V. Milikovsky, who received information that E. Lyons was allegedly involved in the production in London. E. Lyons, the author of the anti-Soviet book “The Moscow Carousel”, serves as the beginning of the “case of photographs”, which later became — especially after the premiere on October 6, 1938 of the play M. Saint-Denis “The White Guard” is a case of “perversion” of the text of a Soviet play. In this case, M. A. and E. S. Bulgakov took part, as well as their foreign acquaintances (K. Maril, G. Kelverley), VOKS employees: acting Chairman of the VOKS Board, cinema administrator and screenwriter V. F. Smirnov, head of the Anglo-American department M. V. Milikovsky, and then M. I. Grinev, who replaced him in his post, employees of the USSR Plenipotentiary Mission in London (M. V. Korzh, etc.), J. Todd, the Arts Committee at the USSR National Assembly and the Moscow Art Theater Administration. Photos requested by M. Saint-Denis, were never sent to London. In February 1939, Bulgakov was summoned to the Main Directorate of Theaters of the Committee for the Arts for explanations. However, the story with the photographs brought the author of the play not only unpleasant troubles, it helped him to get information about the stage text of the London “White Guard” and to deal with the problem of royalties. In the 1960s and 1970s, M. Saint-Denis’s performance was mentioned in Soviet publications as an example of the creative impact of K. S. Stanislavsky’s teaching on world stage art.
22
Shevchenko, Elena N. „YOUNG DIRECTING ON THE KAZAN STAGE“. Челябинский гуманитарий 66, Nr. 1 (03.05.2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
23
गैरे, गोपालप्रसाद. „नाटककार विजय मल्लको रङ्गमञ्च शिल्प {Dramatist Bijay Malla's art of theater}“. NUTA Journal 10, Nr. 1-2 (31.12.2023): 137–51. http://dx.doi.org/10.3126/nutaj.v10i1-2.63055.
Der volle Inhalt der QuelleAnnotation:
प्रस्तुत लेख विजय मल्लका नाटकको रङ्गमञ्चशिल्पको अभ्ययनमा केन्द्रित छ । रङ्गमञ्चशिल्पको वैशिष्ट्य निरूपण नाटकको रङ्गमञ्चीय प्रस्तुतिका रूप र अवस्थाको प्रत्यक्ष अवलोकनबाट हुन्छ तापनि रङ्गमञ्चीय प्रस्तुतिका समस्त रूप र अवस्थाको मूलाधार नाट्यमर्म हो । नाट्यमर्मलाई नै श्रव्यदृश्य परिणति प्रदान गर्ने उद्देश्यले नै आधारशिलाका रूपमा नाट्यपात्रका कार्यव्यापार सम्पत्र भएको स्थान, समय र परिस्थितिको प्रतिनिध्यात्मक वा प्रतीकात्मक ढङ्गमा रङ्गमञ्च तयार गरिन्छ । नाट्यकृतिलाई रङ्गमञ्चीय प्रस्तुतिमा लैजाँदा रङ्गकर्मीहरूले नाट्यालेखको अध्ययनबाट नाट्यपात्रका बाह्यान्तरिक रूप र अवस्थाको मानससाक्षात्कार गर्छन् र तत्सदृश रूपधारण गरी अन्यान्य भौतिक उपकरण र कलारूपहरूको समन्वयमा नाट्यमर्मलाई अभिनय कलामा रूपायन गरी श्रव्यदृश्य परिणति प्रदान गर्छन् । यस अवस्थामा रङ्गमञ्च नाटककारको सृजनकर्म, नाट्यमर्म र रङ्गकर्मीका रङ्गकर्मलाई सार्थकता प्रदान गर्ने एक मात्र आधारशिला रङ्गमञ्च बन्छ । त्यसैले रङ्गमञ्च भत्रु मानवरहित भौतिक संसार नभई रङ्गरमाइलो गर्न बनाइएको भौतिक संसारका विविध रूप, अवस्था र कलाकर्मीका रङ्गकर्मको समष्टि हो । यो रङ्गकर्मस्थल विशेषले समष्टिमा दर्शकलाई आनन्दानुभूति त गराउँछ नै; पूर्वदीप्तिका रूपमा नाट्यपात्रको व्यापक पृष्ठभूमि सङ्केत गरी नाट्यावलोकन गर्ने अभिरुचि पनि जगाइदिन्छ । नाट्यकृतिको रचना रङ्गमञ्चीय प्रस्तुतिका लागि रचिने र रङ्गमञ्चीय प्रस्तुतिमा नै यसले आफ्नो सार्थकता सिद्ध गर्ने हुनाले नाटकको मूल्याङ्कन रङ्गमञ्चीय शिल्पसौन्दर्यसँग जोडेर गरिनुपर्छ । तर अध्ययन परम्परामा विजय मल्लको रङ्गमञ्चशिल्प वैशिष्ट्य निरूपणलाई केन्द्रीय विषय बनाएर विशिष्टीकृत अध्ययन भएको पाइँदैन । यो अध्ययनले यही रिक्तता मेटाउनमा लक्षित छ । त्यसैले यो अध्ययन महत्त्वपूर्ण रहेको छ । प्रस्तुत अध्ययन गुणात्मक प्रकृति रहेको छ । पूर्वीय तथा यथार्थवाद र यथार्थवादोत्तर पाश्चात्य नाट्यमान्यता र पद्धतिबाट प्रेरित र प्रभावित विजय मल्लको नाट्यशिल्पी नूतन प्रयोगधर्मी रीतिबाट गतिशील भएको र उनको रङ्गमञ्चशिल्पको मूल्याङ्कन कुनै खास नाट्यमान्यता र शिल्पपद्धतिबाट हुन नसक्ने भएकाले पूर्वीय तथा यथार्थवाद तथा याथार्थवादोत्तर प्रयोगधर्मी नाट्यमान्यताको समन्वयबाट तथ्यहरूको विश्लेषणका लागि सैद्धान्तिक अवधारणा तयार परिएको छ । सोही ढाँचाअनुसार तथ्यको वर्णन तथा विश्लेषण गरिएको छ । रचनात्मक स्तरमा पहाड चिच्याइरहेछ र भोलि के हुन्छ ? नाट्यकृतिमा उच्च प्रयुक्तिको प्रयोगधर्मी शिल्प अवलम्बन गरिकोले यी दुई नाटकको रङ्गमञ्चशिल्प नाटकीय गुणसम्पदाले समृद्ध हुँदाहुँदै पनि उच्च प्रयोगधर्मी जटिलतातर्फ उन्मुख रहेको छ भने बाँकी नाटकका रङ्गमञ्चहरू सरल, सहज, समस्त नाटकीय गुणविशेषताले समृद्ध छन् । रचनात्मक स्तरमा सृजित हुने रङ्गमञ्चशिल्प पनि नाटकीय गुणविशेषताले समृद्ध हुने देखिन्छ र सबै नाट्यकृति रङ्गमञ्चीय प्रस्तुतिप्रदर्शनका दृष्टिले अभिनेय र दर्शकको संवोगात्मक जीवनलाई उद्दीप्त पार्न समर्थ देखिन्छन् भत्रे यस अध्ययनको निष्कर्ष हो । {The presented article is focused on the study of stagecraft of Vijay Malla's play. The characteristic of stagecraft is through the direct observation of the form and condition of the stage performance of the play, but the basis of all the forms and conditions of the stage performance is drama. With the aim of providing an audio-visual result to the drama itself, the stage is prepared in a representative or symbolic manner of the place, time and situation where the action of the character is the foundation stone.When taking the play to the stage performance, the actors study the external form and condition of the character through the study of the script, and in the coordination of other physical devices and art forms, they transform the drama into an acting art and give an audio-visual result. In this situation, the stage becomes the only cornerstone that gives meaning to the creativity of the dramatist, the drama and the performance of the artists.Therefore, Rangamancha Bhatru is not a physical world devoid of human beings, but a collection of various forms, conditions, and artistic actions of the physical world made to be colorful. This special venue not only brings joy to the audience as a whole; It also awakens the interest to observe the drama by indicating the broad background of the character as a prelude.Since the composition of the play is composed for the stage performance and it proves its worth in the stage performance, the evaluation of the play should be done in connection with the artistic beauty of the stage. But in the study tradition, it is not found that there has been a specialized study by making the representation of Vijaya Malla's color and theater characteristics as a central topic. This study aims to fill this gap.Therefore, this study is important. The present study is qualitative in nature.Inspired and influenced by eastern and realism and post-realism western theatrical values and methods, Vijay Malla's dramaturgy is moving in a new experimental way and his stagecraft cannot be evaluated by any specific theatrical values and craft methods, so a theoretical concept has been prepared for the analysis of the facts through the coordination of eastern and realism and post-realistic experimental theatrical values.According to the same format, the facts have been described and analyzed. On a creative level, the mountain is screaming and what will happen tomorrow? Due to the adoption of highly applied practical art in the drama, the stage art of these two plays is rich in dramatic qualities, but is oriented towards high practical complexity, while the rest of the plays are simple, easy, and rich in all dramatic qualities.Theater art that is created at a creative level seems to be enriched with dramatic qualities and all plays are capable of stimulating the emotional life of the actors and the audience from the point of view of theatrical performance, according to the conclusion of this study.}
24
Kolisnyk, Liudmyla. „THE INFLUENCE OF NON-TRADITIONAL METHODS AND TECHNOLOGIES ON THE PSYCHO-EMOTIONAL STATE OF OLDER PRESCHOOLERS WITH APHASIA“. Psychological and Pedagogical Problems of Modern School, Nr. 1(5) (27.05.2021): 161–68. http://dx.doi.org/10.31499/2706-6258.1(5).2021.235979.
Der volle Inhalt der QuelleAnnotation:
In the article, the author reveals the positive impact of non-traditional methods and technologies on the psycho-emotional state of older preschool children with speech disorders, which is called aphasia. The research is done on the author’s advanced pedagogical experience. The advantages of introducing non-traditional technologies into the educational process are clarified. The author shares the experience of implementing the most effective non-traditional methods and technologies for the correction of speech disorders in aphasia (information and communication technologies, sand-play technology, Sujok therapy, oral folk art, theater) and the results of their positive impact on behavior, well-being, attention, memory, and psycho-emotional state of the preschooler.The author shares the results of the introduction of shadow theater as the most effective means of speech development of older preschoolers with motor aphasia. The finger theater of shadows removes the tightness of children, shyness, and evokes positive emotions. Theater often helps when a child is capricious, and loses his temper, and also encourages to provide speech activity spontaneously.The article reveals the advantages of sand-play technology among other non-traditional methods and technologies, which liberates inner feelings and encourages creativity; children get great emotional satisfaction and lays the foundation for further development of positive communication skills.The author shows the necessity and expediency of the innovative method of Sujok therapy in correctional work with older preschool children with aphasia, as the development of fine motor skills of the fingers stimulates the development of the central nervous system and speech development of preschool children.The article presents the important role of folk art and information-communicative technologies at the organization of correction of phonemic disturbances at children of senior preschool age. Such tools are close and accessible to children, relieve stiffness, isolation, depression, evoke positive emotions, faith in their strength and desire to cooperate.The author displays the need to continue the study of a number of innovative methods of speech correction and further education of older preschool children with aphasia.
Keywords: aphasia, non-traditional methods, technologies, psycho-emotional state, sand-play technology, Sujok therapy, correction, speech disorders.
25
Marchenko, Herman V. „THE VAKHTANGOV SCHOOL: CREATION OF TEACHING METHODS“. Scientific and analytical journal Burganov House. The space of culture 17, Nr. 3 (10.09.2021): 50–64. http://dx.doi.org/10.36340/2071-6818-2021-17-3-50-64.
Der volle Inhalt der QuelleAnnotation:
The article presents information about the faithful disciple of Evgeny Vakhtangov, Boris Zakhava. For 50 years, Boris Zakhava continuously led the Shchukin Theater Institute. He was, perhaps, the only one of Vakhtangov’s students who, having come to the Studio from the first days of its foundation, remained faithful to the theatrical principles of Evgeny Vakhtangov. Also, the article examines the period of creation of Zakhava’s method of teaching acting at the Shchukin Theater Institute. A significant role in the formation of Zakhava as a theorist and teacher was played by his teacher, Evgeny Vakhtangov, a student of Stanislavski. Vakhtangov mastered the method of Stanislavski’s work with an actor and became the head of the Mansurov Studio, continued to search for new theatrical techniques, influencing the formation of Zakhava’s creative personality. In his practice, Vakhtangov moved away from the realism of the early Moscow Art Theater and created his direction, which he called fantastic realism. Thanks to his pedagogical talent, many wonderful actors appeared, who were able to achieve the independence of the Studio and organise not only the theatre named after their teacher but also to preserve the theatre school based on the principles of the work of Evgeny Vakhtangov. The name of Zakhava is not often heard in the theatre environment at present; however, his contribution to the preservation of the Vakhtangov Theater and the Shchukin Theater Institute is fundamental. The educational system within the walls of the Shchukin Theater Institute was created based on the practical works of Stanislavsky (first year) and the theoretical and practical works of Zakhava, who preserved in his memory the precepts of his teacher, Evgeny Vakhtangov. Work on creating a methodology for acting was actively going on in the 1930s. For several years, Zakhava was engaged in developing the education system, engaging Vakhtangov’s direct students in pedagogical activities at the school. And as a result, a unified educational system with specific goals and objectives, as well as a set of exercises for each semester was created. Zakhava contributed to the creation of one of the best theatre educational institutions in the country. His activities were entirely directed into pedagogy to help students master the Vakhtangov method of education.
26
Powers, Holiday. „Those Who Will Join Us“. Nka: Journal of Contemporary African Art 2023, Nr. 53 (01.11.2023): 88–98. http://dx.doi.org/10.1215/10757163-10904104.
Der volle Inhalt der QuelleAnnotation:
“Those Who Will Join Us” reviews Bouchra Khalili’s multimedia installation The Circle (2023) in the context of Sharjah Biennial 15. The Circle was commissioned by Sharjah Art Foundation and won one of the biennial prizes, and suggests larger questions about what it means to be in the world, how we might remake the world, and what the role of art could be within this. The installation, which includes archival images and small televisions around a large two-channel video projection, is an investigation of the Movement of Arab Workers (MTA) and its theater groups, Al Assifa and Al Halaka. These agitprop t heater groups, formed by North African migrant workers and students like the rest of the MT A, were active in Paris and the south of France between 1973 and 1978. Khalili’s work particularly focuses on the 1974 presidential run of D jellali Kamal, a pseudonym for an anonymous Al Assifa member whose candidacy was seen as an extended public performance meant to reveal the ways in which migrants were denied civil rights.
27
Flores, Tracey T. „“We Are More Than That!”: Latina Girls Writing Themselves from Margins to Center“. Research in the Teaching of English 57, Nr. 4 (01.05.2023): 332–54. http://dx.doi.org/10.58680/rte202332471.
Der volle Inhalt der QuelleAnnotation:
In this article, I center the voices and experiences of Yazmin, Valeria, Guadalupe, and Monet, four escritoras that participated in Somos Escritoras, a creative space for Latina girls (grades 6–12) that invites them to share and perform stories from their lived experiences using art, theater, and writing as tools for reflection and examination of self and world. For two weeks, these escritoras created art and composed personal stories from their lives that addressed the tensions and contradictions at the intersections of age, language, culture, and ethnicity they navigate daily as Latina girls. For my inquiry, I explored the following questions: How do Latina/Chicana girls use writing and art to describe their experiences, histories, and identities? What can we learn from their voices? In their embodied art and writing, the girls wrote toward the foundation that their mothers had paved for them through their hopes and dreams, sometimes deferred. Rewriting narratives of self, the girls drew on creative acts to examine their lives and reclaim their experiences. Theorizing the future, the girls construct a world for themselves rooted within the stories and voices of their ancestors and those of the writers, poets, and storytellers whose writing has carved out a place for us in the world. Their words offer important perspectives into the ways that we design spaces and literacy curriculum that centers their intellectual, cultural, and gendered ways of knowing and being as important resources for teaching and learning.
28
Kirillova, Anna Nikolaevna, und Arsenii Anatolevich Belomytsev. „Semantic oscillations of supporting music of the ancient cult as the foundation of metamodernism elements in the works of contemporary opera directors“. Культура и искусство, Nr. 8 (August 2021): 11–19. http://dx.doi.org/10.7256/2454-0625.2021.8.36335.
Der volle Inhalt der QuelleAnnotation:
In recent decade, modernism as one of the varieties of post-postmodernism, draws interest of the researchers. It is suggested that modern culture has transgressed the situation of postmodernism, gravitating towards conceptual and semantic sustainability. As a language of self-description of the new era, the foundations of metamodernism are reflected in various forms of art. The opera house, overcoming the inertia of conservatism, perceives these trends, refracting them in a characteristic oscillation between the extreme semantic poles, which formed during the period of antiquity. The subject of this research is the correlation between the ancient musical heritage and metamodernistic trends in the modern opera theater. It is determined that translation of the principles of musical score of the ancient cult within the framework of the works of modern opera directors implies the characteristic to the supporting music of the cult forms of Ancient Greece and Rome oscillation between the poles of monophony – polyphony, instrumentality of accompaniment – a cappella, improvisational – preset of musical pieces. Paradigmatic assimilation of the fluctuations inherent to the cult of antiquity, as well as the absence of intentionality in their manifestations (which partially reflects the religious-ecstatic procedurality of art), largely determine the specific attributes of metamodernism, emphasized in the works of R. Castellucci, P. Sellars, R. Wilson, and D. Chernyakov.
29
Setyawan, Dedy, und Florentianus Dopo. „Strengthening National Identity Through The Learning of East Culture-Based Art Education“. Harmonia: Journal of Arts Research and Education 20, Nr. 1 (09.06.2020): 39–46. http://dx.doi.org/10.15294/harmonia.v20i1.21711.
Der volle Inhalt der QuelleAnnotation:
Eastern culture-based art education is an effort to strengthen and build national identity through the transfer of knowledge and the transfer of value in the values of diversity and cultural preservation. The purpose of this study is to provide a conceptual picture of strengthening national identity through learning art education based on eastern culture. The method used is qualitative research by examining science theoretically through literature study, documentation, video, and audio study approaches that are analyzed descriptively. The results showed that some of the eastern cultural arts which are full of messages, moral values, and philosophy of life as a foundation for strengthening and building national identity through art education based on eastern culture are the arts of go laba, Ja’i, and reba traditional rituals. The art is a tradition of the people of Ngada, Flores, NTT which is used as an accompanying event in traditional rituals such as the ritual of making a new traditional house, the ritual of making customary symbols (ngadhu-bhaga), and the ritual of pesat kampung (ka nua). While, the conceptualization picture of strengthening the national identity through learning art education based on eastern culture can be done by; First, the stages of classification by selecting various kinds of art genres (music, dance, theater, visual) Eastern culture, to find meaning and values embodied in local wisdom. Second, the identification stage by identifying the learning of arts-based on eastern culture in the form of text and context into the realm of affective, cognitive, psychomotor, and creative. Third, the implementation stage by applying the results of classifying and identifying eastern culture-based art learning to be applied to students so they can understand the values contained in local culture and have cultural intelligence.
30
Zolotukhin, Valeriy. „Speech Melody Research as the Interdisciplinary Foundation of the Petrograd Institute of the Living Word“. Arts 13, Nr. 1 (07.02.2024): 31. http://dx.doi.org/10.3390/arts13010031.
Der volle Inhalt der QuelleAnnotation:
The assumption of similarity between artistic speech melody and music was deeply rooted in Russian Symbolism and based on the culturally established analogy between poetry/lyrical prosody and music. This connection was the basis for a wide range of performative practices focused on performed word such as the experiments of director Vsevolod Meyerhold and composer Mikhail Gnesin in Petrograd theater studios in 1900–1910s, and the collective declamation of Vasilii Serezhnikov and Vsevolod Vsevolodskii-Gerngross. However, after the October revolution, this analogy not only inspired new artistic paths, but also new approaches in humanities. This article explores the correlation between a practice-based strategy and advanced theory that characterized the structure and curricula of the Petrograd Institute of the Living Word (Institut zhivogo slova; 1918–1924). Its specific institutional features affected the development of disciplines in the fields of linguistics, poetics, and literary studies. The earlier period of its work (1918–1921) was defined by the search for common ground, which could unite representatives of different disciplines. The study of the melody of speech, which this article is focused on, became one of the key joint research projects of the Institute’s team. It is the perspective of the Institute of the Living Word’s research projects and performance-related art practices that is used for analysis of the Russian Formalist approaches in the 1910s–20s, specifically articles and books of philologist Boris Eikhenbaum on the melody and composition of verse intonation.
31
Наталія Семергей. „ЛІТЕРАТУРА ТА МИСТЕЦТВО В УКРАЇНСЬКОМУ НАЦІОНАЛЬНО-КУЛЬТУРНОМУ ВІДРОДЖЕННІ ДРУГОЇ ПОЛОВИНИ ХІХ – ПЕРШОЇ ТРЕТИНИ ХХ СТОЛІТТЯ: НОВІТНЯ ІСТОРІОГРАФІЯ“. International Journal of Innovative Technologies in Social Science, Nr. 3(24) (31.03.2020): 31–34. http://dx.doi.org/10.31435/rsglobal_ijitss/31032020/7015.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the analysis of modern historiography concerning the place and the role of literature and art in the rise of Ukrainian national and cultural revival of the second half of the ХІХth – the first third of the ХХth century. It has been found out that historians consider the works of writers, poets, linguists, artists of Ukrainian theater, music, fine arts as a key factor and simultaneously a manifestation of the rise of Ukrainian national and cultural movement. It has been revealed that consideration of the literary and artistic component of national revival in close relation to social and political processes is common to modern historiography. Historians believe that Ukrainian artists formulated the slogans of state and national independence of the Ukrainians in a figurative and metaphorical form, and ensured these slogans dissemination to the general public. Attention is drawn to the fact that in the historiographical discourse particular attention has been paid to the study of the place and the role of literature and arts in disseminating the Ukrainian language, Ukrainianization of the social, cultural and everyday spheres of life of contemporary Ukrainian nation. Conclusions are drawn that the spread of the Ukrainian language by means of literature and art has played a significant role in the development of Ukrainian self-awareness and the formation of value and cultural foundation of national identity.
32
Khramykh, Anton. „Letters of Anna and Lubov Dostoevsky in the Archive of the National Library of France“. Неизвестный Достоевский 8, Nr. 4 (Dezember 2021): 112–29. http://dx.doi.org/10.15393/j10.art.2021.5761.
Der volle Inhalt der QuelleAnnotation:
The article introduces into scientific circulation two letters written by the widow and daughter of F. M. Dostoevsky in 1912 and 1924 and addressed to the famous French director Jacques Copeau. These documents were discovered as a result of archival searches in the J. Copeau foundation in the National Library of France. The two letters are connected by their subject — the debut production of the play “The Brothers Karamazov” by Copeau at the Paris Theater of Arts in 1911. Reviews of the production published in the European and Russian press contain range of opinions: from enthusiastic to sharply critical. In his letter A. G. Dostoevskaya praised Copeau’s drama, however, she familiarized herself with it without seeing the theatrical production itself, by reading the book that the director had sent her. The publication of Copeau’s play, which is based on the novel “The Brothers Karamazov”, is a little-known exhibit of the Memorial Museum of F. M. Dostoevsky, established by the writer's widow in 1889. It is mentioned only in the notebook of A. G. Dostoevskaya 1912–1913. The year of inclusion of published Copeau’s play in the collection of the Memorial Museum of F. M. Dostoevsky is established based on the letter and the notebook of the writer’s widow. The letter from L. F. Dostoevsky contains information about her communication with such famous French writers as Jacques Copeau, Irénée Mauget and Paul Bourgeois, as well as about the attempts of the copyright heiress to receive remuneration for the production undertaken by Copeau. These details augment the currently scarce information about the emigration period in the biography of the writer's daughter. The appendix to the article contains the letters of A. G. and L. F. Dostoevsky in French and in translation.
33
Cusack, Carole M. „The Contemporary Context of Gurdjieff’s Movements“. Religion and the Arts 21, Nr. 1-2 (2017): 96–122. http://dx.doi.org/10.1163/15685292-02101004.
Der volle Inhalt der QuelleAnnotation:
The “sacred dances” or “Movements” were first revealed by George Ivanovitch Gurdjieff (c. 1866–1949) in 1919 in Tiflis (Tblisi), the site of the first foundation of his Institute for the Harmonious Development of Man. The proximate cause of this new teaching technique has been hypothesized to be Jeanne de Salzmann (1889–1990), an instructor of the Eurhythmics method of music education developed by Émile Jaques-Dalcroze (1865–1950). Jeanne and her husband Alexandre met at Jaques-Dalcroze’s Institute at Hellerau in 1913, and became pupils of Gurdjieff in 1919. It was to her Dalcroze class that Gurdjieff first taught Movements. Esoteric systems of dance and musical education proliferated at the time. Gurdjieff was deeply interested in music, theater, and art. When Pyotr Demianovich Ouspensky (1878–1947) met him in 1915 he spoke of dances he had seen in Eastern temples, and was working on a never-performed ballet, The Struggle of the Magicians. This article argues that body-based disciplines introduced by esoteric teachers with Theosophically-inflected systems are a significant phenomenon in the early twentieth century and that Gurdjieff’s Movements, while distinct from other dance systems, emerged in the same esoteric melting-pot and manifest common features and themes with the esoteric dance of Rudolf Steiner, Rudolf von Laban, Peter Deunov, and others.
34
Maslennikova, Anzhela. „Opera and Choral Performance in Mykhailo Krechko’s Work“. Scientific herald of Tchaikovsky National Music Academy of Ukraine, Nr. 130 (18.03.2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.
Der volle Inhalt der QuelleAnnotation:
The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.
35
Perepelytsia, Oleksandr O. „Innovations of Genre-Related Form in Karmella Tsepkolenko’s Piano Music“. ICONI, Nr. 3 (2020): 46–55. http://dx.doi.org/10.33779/2658-4824.2020.3.046-055.
Der volle Inhalt der QuelleAnnotation:
The article is devoted to the innovations in the piano compositions of Karmella Tsepkolenko. The presentation of the present theme demonstrates the complex-dialogical character of the interrelations between the composer and artistic space in contemporary music, which requires a broad contextual approach upon analysis and study of the latter. By the example of Tsepkolenko’s children’s pieces and concert piano pieces, disclosure is made of the main parameters of innovations, such as artistic stimulation, the emotional-energetic context of the composition, the scenary development of the musical material, the principle of synthetic mastery of art, and theatricalization of non-theatrical musical genres. Scenary development (the composer’s expertise) becomes the foundation on which the theatricalized events in the piano pieces are unfolded. At the same time the eventful groundwork of the music does not wedge itself into the Procrustean bed of the traditional, historically developed forms and genres, but directs the composer’s thinking towards innovation, towards the creation of new forms and genres appropriate to the scenario. In the children’s pieces and in the concert piece the narrative unfolds according to the principle of “the theater of representation,” when the narration is stated from the third person. One of the manifestations of the “theater of representation” is the inner theatricalization, based on the dialogic relations between separate structural modules, thematic germs, juxtapositions both within each of the musical structures and between them. An important particularity of inner theatricalization is the presence of the element of play, bringing in the role principle into the development of the musical material, fi lling the composition with “images” of the protagonists. Outward theatricalization is also broadly used, and a special role in outward theatricalization belongs to plastic forms — these are gestures of the musicianactors, their behavioral roles. It is shown that the use of the principles of synthetic mastery of art, relying on the phenomenon of play in its inseparable integrality, theatricalization as the main principle of the unfolding of artistic form and scenary development of the musical material directs the composer towards the creation of new aesthetic models, activates the composer’s subconscious structures for the creation of semantic complexes which are new in their new in their form and content, and fi lls the musical composition with complex dialogic connections and play energy.
36
Fedenko, Alevtyna. „The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine“. Aspects of Historical Musicology 19, Nr. 19 (07.02.2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.
Der volle Inhalt der QuelleAnnotation:
Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.
37
Mykula, Erika, und Nataliia Levkovych. „The evolution of the imaginative and plastic concept of creativity by V. Prykhodko in the context of socio-cultural transformations of the second half of the 1980s to the 2000s“. Bulletin of Lviv National Academy of Arts, Nr. 51 (10.10.2023): 63–73. http://dx.doi.org/10.37131/2524-0943-2023-51-7.
Der volle Inhalt der QuelleAnnotation:
The exploration of Vyacheslav Prykhodko's creative legacy within the context of regional and national artistic processes from the second half of the 20th to the early 21st century prompts the identification of leading artistic tendencies and the analysis of the master's creative issues. This study aims to uncover aspects of the dialogue with tradition that reveal the distinctiveness and representativeness of the artist's oeuvre. In the period of 1980-2000, V. Prykhodko's creative work witnessed the formation of an authorial imaginative and plastic concept characterized by the elevation of ordinary phenomena and processes to symbols and metaphors of life. It involved a departure from naturalistic-mimetic approaches to a transition towards generalized-conditional, imaginative-symbolic perception and reproduction. The construction of artistic imagery was guided by the principles of harmony as an aesthetic category and the foundation of worldview. This concept entailed the fusion of the rationality of the creative method and the structural integrity of pictorial representation with poeticism, color expression, and the dynamics of planes, lines, and shapes. Factors contributing to V. Prykhodko's creative evolution included the vibrant artistic life of Uzhhorod and informal creative communication, as well as his passion for music, theater, world literature, and exposure to information about global artistic trends. The artist's stylistic exploration was significantly influenced by modernist elements in Transcarpathian visual arts synergized with the decorative aspects of folk artistic traditions. Within the realm of Transcarpathian painting, V. Prykhodko's work belongs to the "innovative pole" of Transcarpathian visual arts and its "experimental direction," alongside other representatives such as E. Kremnytska, F. Seman, and P. Bedzir. A distinctive feature of the artist's body of work within this direction is the strong foundation of academic art education and the assertion of his creative independence through the exclusive selection of expressive means and the stylistic approach in his works.
38
Wen, Qi, und Jiajun Zhong. „The Living Inheritance and Moving Progress of Contemporary Cantonese Opera from the Perspective of Communication“. Communications in Humanities Research 17, Nr. 1 (28.11.2023): 52–58. http://dx.doi.org/10.54254/2753-7064/17/20230817.
Der volle Inhalt der QuelleAnnotation:
Between July 3 and July 28, 2023, Television Broadcasts Limited released the Hong Kong drama Unchained Medley, which used a small village in the countryside and Cantonese Opera as the backdrop for the drama. It tells a tragic and touching story of human-ghost love between pop musician Ivan Zhang and the female ghost Wan Lau Fong (Cantonese transliteration is used). Artistic elements in Unchained Medley - Cantonese Opera is an ancient form of traditional Chinese theater, a local performing art that employs Cantonese as the language of performance, singing, acting, reciting and traditional folk music, along with distinctive stage costumes and abstract forms. When reviewing Chinese and English papers published between 2019 and 2023, research on the analysis of Cantonese opera primarily focused on the transformation of performance forms and the creation of Cantonese opera repertoire content. However, there needs to be more in living inheritance with Cantonese Opera. This paper utilizes James W. Careys The Ritual View of Communication as a theoretical framework. The article mainly adopts methods such as literature review, case studies, and comparative analysis to elucidate the significance and complex dilemmas surrounding the vibrant communications of Cantonese opera in the post-COVID world. It then consolidates and summarizes research experiences related to the protection and universal transmission of Cantonese opera in every aspect, laying the foundation for the in-depth development of Cantonese opera research.
39
Bemis, Michael F. „Book Review: Conflict in Ancient Greece and Rome: The Definitive Political, Social, and Military Encyclopedia“. Reference & User Services Quarterly 56, Nr. 3 (03.04.2017): 215. http://dx.doi.org/10.5860/rusq.56n3.215c.
Der volle Inhalt der QuelleAnnotation:
Classical civilization represents the foundation upon which rests all of modern-day Western society. The English language, in particular, is larded with allusions to the Greeks and Romans of yesteryear, from “Achilles’s heel” to “deus ex machina” to “Trojan Horse,” which make reference to the many influences that these cultures have had on our art, literature, theater, and, unfortunately, war and military (mis)adventures. For all these reasons, it behooves the modern reader to have at least a passing familiarity with what transpired all those thousands of years ago. The editors would appear to agree with this assessment, as they state in the “Preface” that this three-volume work “is intended to fill a gap in current reference works. It meets the need for a standard reference work on Greek and Roman military history and related institutions that is accessible to nonspecialists” (xxiii). Just what criteria the editors used in framing this statement is unknown; however, a literature search reveals many well-regarded titles covering this subject matter. From the topic-specific, such as John Warry’s Warfare in the Classical World: An Illustrated Encyclopedia of Weapons, Warriors, and Warfare in the Ancient Civilizations of Greece and Rome (University of Oklahoma Press 1995) to the more general, such as the venerable Oxford Classical Dictionary (Oxford University Press 2012), now in its fourth edition, there is certainly no shortage of print reference materials concerning warfare during the time of the Greek and Roman empires.
40
Fedenko, A. Yu. „Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, Nr. 56 (10.07.2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
Der volle Inhalt der QuelleAnnotation:
Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
41
Razvodova, Marina. „THE ESSENCE AND STRUCTURE OF CHOREOGRAPHIC-PERFORMANCE SKILLS OF JUNIOR SCHOOLCHILDREN“. Academic Notes Series Pedagogical Science 1, Nr. 195 (2021): 191–96. http://dx.doi.org/10.36550/2415-7988-2021-1-195-191-196.
Der volle Inhalt der QuelleAnnotation:
At the new stage of development of the socio-economic sphere, culture and education, the issues of artistic and creative development of the younger generation are receiving special attention. There is a growing need in society for highly intelligent creative individuals who are able to solve emerging difficulties, make non-standard decisions and implement them. All this requires the development of new methods of educating the younger generation and entails unconventional approaches to art education – as a basis for further improvement of personality. The greatest interest in this regard are younger students, as it is at this age that the foundation of personality is laid, there is an orientation to the development of spirituality, self-realization, self-expression and formed worldviews necessary in later life. Choreographic creativity is one of the means of comprehensive development of students, because the productivity of artistic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythmics, fine arts, theater and plastic arts. A characteristic feature of our time is the intensification of humanistic tendencies in the education of the younger generation. The purpose of the educational process is to maximize the development of the child as a free, active, creative, responsible and tolerant person. The search for effective ways and means of this development is recognized today as an urgent pedagogical problem. Her decision is connected, among other things, with the involvement of children in choreographic culture – a layer of culture with great moral, humanistic content, focused on artistic and creative education of the child, the disclosure of its potential. Choreographic art has great potential for full-fledged aesthetic improvement of the child, his harmonious spiritual and physical development. The formation of choreographic skills acquires special significance in preschool childhood, when the foundations of the child's value attitude to the world are laid, the basis of his personal culture is formed. In the article the author considers the relationship between the concepts of «performing activities», «choreographic-performing skills» and «choreographic-performing skills». The structure of choreographic-performing skills that are formed in the process of choreographic training of junior schoolchildren is revealed. The performing complex is analyzed, which contains motor-technical, metro-rhythmic, space-oriented, coordination and artistic-expressive components.
42
Razvodova, Marina. „THEORETICAL AND METHODOLOGICAL APPROACHES TO THE FORMATION OF CHOREOGRAPHIC SKILLS AND ABILITIES OF PRIMARY SCHOOL STUDENTS“. Academic Notes Series Pedagogical Science 1, Nr. 203 (März 2022): 124–27. http://dx.doi.org/10.36550/2415-7988-2022-1-203-124-127.
Der volle Inhalt der QuelleAnnotation:
In the article the author analyzes the synthesis of multicultural, polyartistic and participatory approaches, determines the multilevel theoretical and methodological basis for the development of choreographic skills in junior high school students. At the new stage of development of the socio-economic sphere, culture and education, special attention is paid to the issues of artistic and creative development of the younger generation. There is a growing need in society for highly intelligent creative individuals who are able to solve emerging difficulties on their own, make non-standard decisions and implement them. All this requires the development of new methods of educating the younger generation and entails unconventional approaches to art education as a basis for further improvement of personality. The greatest interest in this regard are younger students, as it is at this age that the foundation of the individual is laid, there is an orientation to the development of spirituality, self-realization, self-expression and formed worldviews needed in later life. Choreographic creativity is one of the means of comprehensive development of students, because the productivity of artistic education of children by means of choreographic art is due to the synthesizing nature of choreography, which combines music, rhythmics, fine arts, theater and plastic arts. In this regard, there is a need to move to a qualitatively new, innovative development of all branches of culture, including choreography, as one of the important and important aspects of forming a multicultural, comprehensively developed personality is education through dance. The multicultural approach provides the creation of a multicultural environment that educates and shapes the personality, involves children in the process of learning about culture through dialogue, cooperation and self-realization of the essential forces and abilities of the individual in his cultural identification. Polyartistic approach to the development of choreographic skills in junior high school involves the accumulation of artistic knowledge in the process of active communication between participants in the educational process, active participation in which provide such personality traits of the future specialist as spiritual uplift and creative imagination. Participatory approach provides organizational integration and identification of value orientations of future professionals.
43
Gudovic, Radmila, und Biljana Srdic. „Life and works of Jovan Andrejevic Joles“. Archive of Oncology 18, Nr. 4 (2010): 129–31. http://dx.doi.org/10.2298/aoo1004129g.
Der volle Inhalt der QuelleAnnotation:
The first Serbian anatomist Jovan Andrejevic Joles was born in Novi Sad on October 6, 1833 to a priest father. The primary school and the first four grades of the grammar school he finished in Novi Sad, and the seventh and the eighth grades in Timisoara. After finishing grammar school, Andrejevic moved to Pest where he started medical studies in 1853. He continued the studies in Prague and Vienna where he received the diploma of a doctor of medicine. During the studies of medicine, this remarkably educated and talented man demonstrated great interest in science. In his research he came to new findings he published through the report of the Vienna Academy of Sciences in the paper titled 'On the Fine Structure of the Liver' (Ueber den feineren Bau der Leber), making his mentor, professor Ernest von Br?cke, proud. Apart from the scientific work, young Andrejevic also translated literature from German and English. His interests also covered photography, art and aesthetics. He actively participated in the work of the United Serbian Youth, which brought him many problems with the ruling regime of the time. At a very early age, Andrejevic fell down with tuberculosis and had to stop his scientific work and move back to Novi Sad in 1861 where he began working as a physician. Apart from the medical practice, Andrejevic was still in the center of scientific, political, and cultural events. He continued regular correspondence with professor von Br?cke who informed him on the success of his scientific results. Apart from a number of texts and critical writings, together with Jovan Djordjevic, Andrejevic worked hard on the foundation of the Serbian National Theater in Novi Sad. During 1863, his illness aggravated and he died of tuberculosis on July 21, 1864. The memory of the first Serbian anatomist is kept by the Department of Anatomy of the Faculty of Medicine in Novi Sad where the documentation on his life and works is stored. The ground floor hall of the Faculty of Medicine holds the bust of Jovan Andrejevic.
44
Khokhlova, Daria. „To the question of choreographic interpretation of male images of W. Shakespeare’s drama of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon“. Культура и искусство, Nr. 10 (Oktober 2020): 1–16. http://dx.doi.org/10.7256/2454-0625.2020.10.33879.
Der volle Inhalt der QuelleAnnotation:
The subject of this article is the interpretation of male images from W. Shakespeare’s “The Winter’s Tale” by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the semantic analysis of choreography, developed in the scientific works of such theoreticians of ballet art as Lopukhov, Dobrovolskaya, Krasovskaya, Surits, Slonimsky. Comprehensive approach towards interpretation of the literary original on the modern ballet stage required the analysis of such sources, as the English-language peer reviews of the world premiere of the ballet and video materials from the archives of the Royal Opera House in London and the Bolshoi Theater in Moscow. The author also applied the method of overt observation based on the personal experience of working with Wheeldon in Bolshoi Theatre, and accompanied by the analysis of rehearsals from the author's archive (over the period from March to April 2019). The author carried out a detailed semantic analysis of the stage interpretation and choreographic language of the male images of W. Shakespeare's play of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon (which served as the key instrument for this research). The conclusion is made that the conceptual ground of Wheeldon’s interpretation of the male images is based on the Shakespeare’s text adapted to the realities of a stage performance. He employs a wide array of plasticity and other innovative means of expression, applying an individual approach towards staging each male role.
45
Khisamutdinov, Amir. „Languages of “Modern” (Harbin Hotel “Modern” in the History of Russian-Chinese Cultural Relations)“. Problemy dalnego vostoka, Nr. 2 (2023): 134. http://dx.doi.org/10.31857/s013128120024928-1.
Der volle Inhalt der QuelleAnnotation:
The construction of the Chinese Eastern Railway and the foundation of Harbin determined the importance of this city in Russian-Chinese relations, which increased even more during the Civil War in Russia and after it. Various aspects of these relations can be analyzed using the example of the Harbin Hotel Modern. Its owners were the first to realize the idea of creating an entertainment and hotel complex, where the hotel and restaurant service was organically combined with the possibilities of cultural leisure and introducing the population to art. In the article "Modern" is presented as an example for studying the cultural and leisure aspects of the life of Harbin residents in the first half of the 20th century. Built on the initiative of Russian entrepreneurs, "Modern" has become a symbol of intercultural communication in a multinational city. Readiness for it, he broadcast the language of architecture, cooking, theater and cinema. The authors introduce the concept of the architectural language of the building itself, which is of great artistic value, give a brief description of the culinary language of "Modern", in which the traditions of Chinese cuisine were organically combined with European technologies, analyze the repertoire. European (Russian) and Chinese cultures met on the stage of "Modern", both amateur performers and outstanding artists performed, and important political negotiations took place. Two main periods of activity of "Modern" are considered: the first, 1906-1945, is more connected with Russian history, the second, from 1945 to the present day, represents the Chinese reality, but the Russianness characteristic of the past persists to this day. "Modern" and today plays an important role in the business and cultural life of China. The article is based on materials from Russian, Chinese and American archives and libraries, as well as on the results of the authors' field research.
46
Veksler, Yulia S. „Alban Berg. “Diary” of a trip to Leningrad (based on the composer’s notebooks)“. Contemporary Musicology, Nr. 1 (2019): 86–141. http://dx.doi.org/10.56620/2587-9731-2019-1-086-141.
Der volle Inhalt der QuelleAnnotation:
The article is based on previously unpublished archival materials from the Alban Berg Foundation of the Austrian National Library. These are, namely, the composer’s notebooks with his account of the trip to Leningrad to the premiere of the opera Wozzeck in June 1927. The article features facsimiles, transcriptions, and translations of some materials as well as their general description. The jewel of the collection is the notebook that Berg took with him on his trip to Leningrad. It resembles a diary with a detailed account of the trip to Leningrad and back. Inter alia, it describes what Berg did on each of the five days of his stay in Russia and provides a record of cash payments in several currencies. Besides, the new materials reveal that Berg visited a rehearsal and two performances at MALEGOT (now know as the Mikhailovsky Theatre), a performance at the Moscow Art Theater, and one dress rehearsal of Wozzeck. The notebook contains information about the meetings with stage directors N. Smolich and J. Lapitsky, conductor N. Malko, and members of the ASM Leningrad (Association for Contemporary Music). The records also feature numerous addresses of Moscow musicians. The new materials complement the available information on the plans for the production of Wozzeck in other cities and theaters, primarily in the Bolshoi. They also provide a broader context for interpreting the little that is available about Berg’s trip in his letters and interviews. Another notebook, used by Berg on his return from Leningrad, documents the beginning of correspondence with Russian counterparts, much of which is poorly-preserved. It also provides information about translation of Russian reviews through Universal Edition and sheet music sent to Russian musicians. The documents featured in the article shed light and provide important details of Berg’s visit to Leningrad; they contribute to our understanding of relations between Russia and Austria of that time and open up new vistas for archival research.
47
Weinstock, Alexander. „Das umgeschriebene Genie. Zum Verhältnis von literarischem Autorschaftsdiskurs und Schriftpraktiken im Theater“. Journal of Literary Theory 16, Nr. 1 (28.04.2022): 51–76. http://dx.doi.org/10.1515/jlt-2022-2016.
Der volle Inhalt der QuelleAnnotation:
Abstract The present article proposes, as its successively developed tool of analysis, a combination of literary, theatre historical and manuscriptological approaches, which then reveal the extent to which the study of written artefacts may further our understanding of collaborative models of (literary) creation, analysed along with their corresponding practices. Authorship is often understood, on the one hand, as a discursively produced phenomenon – as an ensemble of attributes that are not only ascribed to any producer of literary texts, but are also demanded of them, and which, at the same time, are supposed to guarantee the quality of their literary ›products‹. By contrast, the present article focuses on a level of concrete practices at which, instead of a lone individual, a plurality of actors contributing to a literary text may be identified. This text, in turn, should be considered not as an inviolable work of art produced by a single entity but as an object of utility used by many, at least in those instances where it is functionally incorporated into a dynamic ensemble of technical, aesthetic and social requirements, norms and expectations, where, in other words, it becomes the basis for a theatre performance. As this article argues, the inclusive approach just described, as well as its consequences regarding questions of authorship and textual work, can be fully identified only in specific textual artefacts found at the centre of the eighteenth-century manuscript culture shaping the literary theatre of that time. Accordingly, the contrast between, on the one hand, discourses and practices (sketched more fully below) and the various understandings of authorship, on the other, can be located in historical terms: In the present article, it is sought out and analysed based on those stretches of history during which the various notions began to emerge with great formative power. In the case of the discourse of single authorship, this decisive phase is the Sturm und Drang period with its concurrent aesthetics of genius; the corresponding practice is that of a wholly literary theatre, already mentioned, which is founded on a dramatic text now considered binding; and the corresponding textual artefact is the prompt book, which adapts that textual foundation to the needs of a theatrical production (and which, at that time, is often the only book containing all of the dramatic text). Ultimately, this article is focused on the hypothesis that, upon closer consideration of the materiality of the textual artefact, the dramatic text, which usually is considered the work of a single auctorial consciousness, may reasonably prove a work of many hands. And indeed, various actors contribute, by different theatrical and manuscript practices, to the adaptation of the dramatic text to the conditions and requirements of the stage, without being placed, however, in a position of authorship comparable to that of the ›classic‹ author. More often than not, they remain unmarked and can only be differentiated – e. g., with regard to their hierarchical relationships – through an analysis of the artefacts themselves, their contexts of use and institutional framework. As this analysis suggests, prompt books in use were in a state of continuous revision, based on various intra- and extra-theatrical factors. Individual revisions include different kinds of corrections such as deletions, additions or pastings, as well as traditional elements of Western manuscript cultures or symbols and abbreviations specific to the theatre. It also becomes clear that the changes made in this way are by no means final but, being the material equivalent of theatrical and thus ephemeral processes, are only ›valid until revoked‹, i. e., they may be changed again at any time. These changes, which in the written record are usually effected by several hands (especially when a prompt book has been used for several productions), therefore could be considered as a kind of ›updates‹ on the original text, as theatre professionals keep a prompt book that is in use up to date. And even though such prompt books are standardised, to an extent, by the requirements of theatrical procedure, these updates individualise each written artefact which in turn exhibit both their revisions and their various dynamics in a two-tiered material performance. There are many reasons for introducing changes to the dramatic text. Aspects of theatrical practice may come into play, such as when there are fewer actors available than are needed to fill all roles, or when the text at hand is too long and deletions have to be made. Even poetological concerns and others – often closely related – with the aesthetics of theatre can occasion such changes. Theatrical depictions of sexuality and violence are a case in point, as they may be addressed and/or portrayed too directly (e. g., when lines spoken onstage are too explicit or events depicted are too drastic, either would have to be ›softened‹). In cases of doubt, the audience’s reaction would draw attention to sequences in need of such ›softening‹. And lastly, there were demands for changes originating not from the theatrical sphere, per se, such as in the case of political censorship. From a manuscriptological perspective, the present article considers the specific practices of updating and revising prompt books, as well as the interplay of the factors motivating or demanding those changes. In order to be able to identify and assess those factors in terms of their relative importance, a contextual background in literary theory and theatre history is needed; this will facilitate the placing of the textual artefacts under consideration in their cultural, social and institutional contexts. By following this interdisciplinary approach, the present article investigates the requirements and representational modes of single authorship within the discursive framework of the aesthetics of genius, as well as the various and contrasting ways of dealing with individual texts as they are adapted in theatrical terms, i. e., are rewritten and updated constantly. The article proposes an analytical framework, which is then demonstrated by way of example. This framework serves to make the various characteristics and functions, the material dynamics and concrete uses of prompt books – both as literary texts and as the focal points of theatrical and manuscript practices – accessible and methodologically suitable for further historical and systematic investigation and discussion.
48
Nosyriev, Oleksandr, und Tetiana Bukina. „SOCIO-CULTURAL TRANSFORMATION OF UKRAINE IN THE CONTEXT OF EUROPEAN VALUES“. Three Seas Economic Journal 2, Nr. 1 (26.04.2021): 110–15. http://dx.doi.org/10.30525/2661-5150/2021-1-18.
Der volle Inhalt der QuelleAnnotation:
The article considers the issues of changing accents and cultural transformation in Ukraine, Great Britain and other European countries. In recent years, Ukraine has seen an active revival in the cultural sphere. From publishing to music, from film production to theater, from fashion to curatorial exhibitions – the Ukrainian cultural environment has become bold, diverse and large-scale. Euromaidan has given impetus to a powerful wave of cultural activism: from discussion platforms to spontaneous exhibitions, from urban regeneration projects to volunteer groups seeking to protect dilapidated national heritage sites. The impetus for it was the dynamism of the Ukrainian creative community. And further development became possible thanks to the support of new state cultural institutions. These institutes emerged after Euromaidan, such as the Ukrainian Cultural Foundation, the Ukrainian Book Institute, and the Ukrainian Institute. Institutions with a long history, such as the State Agency of Ukraine for Cinema, have strengthened their positions. The creation of these new institutions marked the departure from the post-Soviet system of cultural management. And the transition to a consistent and comprehensive cultural policy. The main thing is that the creation of a new system of culture in Ukraine has helped to bridge the gap between the state and cultural activists and the creative sector. One of the most important problems of the cultural sector in Ukraine for the last 25 years is funding. This problem is also relevant for the United Kingdom. But when it comes to finding resources for artists and cultural institutions, British policy has a respectable tradition and a number of successful answers. Support for the arts by both the state and business seems to be a matter of course for the British. At the same time, the idea of the self-worth of art is also supported by the idea of its social significance, as well as the perception of art as a primary source of creativity, innovative development, creative industry. The relationship between the European Union and the society of Ukraine is already yielding some results in the context of ensuring the democratic and European development of the state. For the successful implementation of European integration in Ukraine, it is necessary to apply such mechanisms that will ensure coordinated management of social processes of the state in the direction of European integration. The main mechanism is cultural policy, which should be aimed at regulating the regulatory framework. And the application of regulations in practice. This will allow culture to take a leading position on the path to national modernization. Legislation should be a mechanism for achieving goals, and the main thing should remain that the person should be at the center of cultural policy of the state. Given the experience of the United Kingdom, the formation of Ukraine's cultural policy should be based on the idea of the all-encompassing impact of culture on modern society. Accordingly, such a policy, being aimed at the cultural sector, effectively affects all spheres of public life. Consistent support for culture at the financial and fiscal, legislative and executive, national and local levels should, above all, be based on an awareness of the value of culture. Culture enriches people's lives, changes their worldview and inspires creativity. In the social dimension, its impact has the most significant impact on education, health and cohesion.
49
Lybo, O. L. „Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, Nr. 51 (03.10.2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.
Der volle Inhalt der QuelleAnnotation:
Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.
50
Kucher, L. I. „Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s.“ Aspects of Historical Musicology 14, Nr. 14 (15.09.2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
Der volle Inhalt der QuelleAnnotation:
Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.