{"title":"Applicability Of Actor's Art Methods In Online And Reality – Three Sisters, A.P. Chekhov","authors":"Andrei Vizitiu","doi":"10.35218/tco.2024.14.1.07","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.07","url":null,"abstract":"The Actor's Art techniques derived from the methods of the great pedagogues Stanislavsky, M. Chekhov, Viola Spolin were incorporated into the new pedagogical paradigm: digital theater training. The covid pandemic took the entire university environment by surprise, and the acting teachers faced a unique situation in the history of theater pedagogy. În the current situation, exams from \"Three Sisters\" by Chekhov were practiced, both in digital format, through Zoom platform, but also physically, in the classroom. The metaphor of the text, the metaphor of personal creative freedom existed even in these online conditions. The article presents differences and similarities in teaching the Actor's Art technique in the two situations, the adaptation of classical teaching methods to the digital situation and the evolution of students. This research took place in 2021 at Pitesti University.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"35 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141053338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dance film from Maya Deren to Anne Teresa De Keersmaeker","authors":"Emanuel-Alexandru Vasiliu","doi":"10.35218/tco.2024.14.1.09","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.09","url":null,"abstract":"This study sets out to review the most influential creators in the history of dance film, both historical and recent figures. In approaching dance film I was inspired by my own experience in this field, a short dance film, and by my passion about contemporary dance. I see the communication between cinema and dance as capitalising both on corporeal expressive capacity and the technical means of editing, lighting and oratorical accumulation in the sense of a discourse, whose substance need not be epic or narrative. The studied creators demonstrate the primacy of poetry, as it is transposed into movement, in the making of a dance film.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"13 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141031945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Metaphor and Theatre","authors":"Radu Teampău","doi":"10.35218/tco.2024.14.1.06","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.06","url":null,"abstract":"This paper aims to analyze how metaphor operates in the theatrical realm. Metaphor viewed from a linguistic point of view has a certain impact on theatre and is a consequence of looking at theatre as language. But viewed from a pragmatic point of view, beyond the linguistic aspect, as a model of thinking, metaphor becomes a cognitive tool. Between these two perspectives lies a wide range of ways in which theatrical metaphor intervenes in the scenic creation. At the same time, seen as a metaphor of life, theatre assumes, through a series of successive metaphors, a creative freedom which, however, can become anarchic and end up in what is called dead metaphor. For this reason, metaphor, from the point of view of theatre creators, must be assumed insofar as it is a conceptual tool, which has the ability to penetrate the various levels of reality in order to achieve a meaning concomitant with a sense of the scenic action. This may be the real freedom that the use of metaphor offers in theatre: the ability to achieve a meaning concomitant with a sense of the scenic action in the absence of the chain of cause and effect. Only in this way can metaphor remain an element of vitality in a living theatre.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"47 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141024488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"My Puppet, My Freedom!","authors":"Albert Bagno","doi":"10.35218/tco.2024.14.1.01","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.01","url":null,"abstract":"The puppet has always been the metaphor of freedom. Here is a list of events that have taken place over the centuries and in various countries where puppetry has been necessary to claim freedom. Try not to solo the voice of the voice, but the voice of the voice does not have voice! No, during a difficult period, and in the course of developments and war, the Marionette was born in particular and it was a difficult task at the moment. The most surprising thing is that during periods of time it is not alone that it is difficult to move and it is difficult to do so, but I keep people in the community for a while to resist, resist and live poorly all the time.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"68 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141051715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cinematic Symbolism: Delving into Metaphor within Film","authors":"Olimpia Melinte","doi":"10.35218/tco.2024.14.1.18","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.18","url":null,"abstract":"Metaphor transcends its role as mere embellishment and emerges as a pivotal process within both language and cognition. This article ventures into uncharted territory within film studies by exploring the potential application of Max Black's interactional theory of metaphor and cognitive metaphor theory to analyze metaphor in film language. This perspective, though hitherto unexplored in film studies, proves indispensable for dissecting complex metaphorical structures within film texts and offers a precise framework for understanding associative language in film. Initially, this study delves into the description of the metaphorical process as delineated by interaction and cognitive metaphor theories, applying them to the analysis of film texts. Special emphasis is placed on elucidating how ideology intricately intertwines with the construction and reception of both conventional and non-conventional metaphors. In the article the final segment, meticulous analyses of Roland Emmerich's \"2012\" is conducted, spotlighting the interplay of structuring, personification, and displacement metaphors in shaping the ideological discourses embedded within the films.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"45 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141043686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The limits of freedom: Eu sunt! Și? Case","authors":"Sorin-Dan Boldea","doi":"10.35218/tco.2024.14.1.10","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.10","url":null,"abstract":"In 2019, in Romania, there has been an active debate about the limits of theatre expression in the Eastern European cultural space. It is acknowledged that documentary and political theatre have a strong influence on the cultural scene in Eastern Europe, especially after the emergence and appreciation of new techniques such as Verbatim or Devised Theatre among theatre makers. Notwithstanding the fact that these forms of theatre, which have an extremely strong social and critical voice, have appeared in the European space for decades and have started to become more and more widespread, in 2018, in Cluj-Napoca, the premiere of the performance Eu sunt! Și?, directed by Loran Betty, for which I wrote the text. This performance was performed for a year all around Romania, and in 2019 it was proposed for censorship and amendment by the Romanian Orthodox Church. This was one of the first cases of its kind after the exit from the Romanian communist regime, one of the first, or even the first, to be fined by the National Council for Combating Discrimination in Romania, for discriminating against people of faith. Therefore, it is important to understand the context in which this event occurred, as well as the history of performances with similar concerns after Communism, and of course, the opinion of the authors of this performance. In addition to all this, we will also analyze performances that addressed similar themes in the Romanian space and discuss the limits and freedoms of theatre in the Romanian cultural space.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"24 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141041371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lonely Lives – A Living Theatrical Metaphor","authors":"Ana-Magdalena Petraru","doi":"10.35218/tco.2024.14.1.12","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.12","url":null,"abstract":"This article overviews Hauptmann’s naturalist dramaturgy with an emphasis on the play Lonely Lives and references to a recent staging by the National Theater of Iași. Thus, we aim to reveal the loneliness of the characters (ordinary temperaments with common destinies, unlike those in other plays) on a vivid metaphorical level, given by faith and the lack of it, respectively.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"4 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141044226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Neuro-Aesthetics – Representing the Mind on Stage","authors":"Marius-Alexandru Teodorescu","doi":"10.35218/tco.2024.14.1.08","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.08","url":null,"abstract":"This article analyses the challenges of representing the mind on stage, through stage design and acting techniques. To address this particular difficulty, we used our practice as research at Craiova National Theatre in 2019, with the play Under (re)Construction, written by Marco Tesei, and also various examples in both theatre literature and theatre practice, focusing on relevant renditions of the mind on stage in modern theatre. Our conclusions highlight the difficulties, from a director’s point of view, of making the audience understand that a specific section of a play takes part in a character’s mind. Moreover, the study shows that representing the mind on stage equally poses problems to the team of artists involved in the creation of the show.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"36 28","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141037214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Metaphor in movement","authors":"Pamela TĂNASĂ-GACHE","doi":"10.35218/tco.2024.14.1.15","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.15","url":null,"abstract":"In a world where the right to opinion and freedom of expression endure, freedom, subjectivity, universality, and transdisciplinarity merge and create the particular and specific meanings of metaphors, beyond semantics. But how much freedom does a metaphor actually have? Who gives meaning to metaphors? What is their purpose, and who gives meaning to their purposes? And why can't we abandon metaphorical thinking and speaking in any aspect of our lives? Is there total freedom, or is it just an illusion? If it didn't exist, then there would be no action, no choice, no \"doing\"; therefore, there would be no free will and no creation. Although the freedom of metaphor is limited not only by the imagination of the person who creates it but also by other factors of human, social, and academic nature, metaphors find their meanings in the fields of activity in which the brain that conceives them operates. In other words, people associate what they hear and perceive with what they know and are interested in; always! In dance, the body of a dancer, through the unarticulated expression of his thoughts and emotions, becomes the metaphor of his language. For it is the mind that creates personality, and personality defines the style of movement and creates the body-metaphor.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"35 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141044892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Actor – The Generator Of Living Narrative Structures And Metaphors","authors":"C. Curuţiu-Zoicaş","doi":"10.35218/tco.2024.14.1.04","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.04","url":null,"abstract":"The actor during the process of dramatic creation constantly provokes and elaborates compositions through his own body, voice, thoughts and imagination. He becomes a body in action that expresses and incorporates different typologies/characters, imagines and plays out different situations from countless different perspectives, creates physical and mental actions, forms, represents and signifies, elaborates living narrative structures. The creative process can be diverted by blockages that can arise from multiple causes, but above all from a lack of order in the discourse, of rigour, when the work is based on intuitive and chaotic constructions, or when there is a lack of mastery of the means of scenic expression, theatrical techniques and methods, due to the lack of structure, composition and a concrete language and vocabulary. This work aims to emphasise the importance of knowing the components related to technique, of playing in front of an audience in a controlled, supervised, verified but spontaneous way, of understanding and mastering the various compositional principles, language and specific concepts that describe how actors create and organise space, movement, action, communication, etc. These notions form the vocabulary of stage creation and provide actors with clear tools for working, a system for organising and constructing their own work.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"12 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141052020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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