Theatrical Colloquia最新文献_第2页

horeography in operetta performances – Case study: The ball of Prince Orlofsky from Die Fledermaus production by Johann Strauss – The Son, act II 歌剧表演中的舞美设计 - 案例研究：约翰-施特劳斯歌剧《蝶恋花》中奥洛夫斯基王子的舞会 - 第二幕，儿子

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.13

Anca Iorga

{"title":"horeography in operetta performances – Case study: The ball of Prince Orlofsky from Die Fledermaus production by Johann Strauss – The Son, act II","authors":"Anca Iorga","doi":"10.35218/tco.2024.14.1.13","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.13","url":null,"abstract":"Operetta is a musical and dramatic performance similar to, yet shorter than opera, composed to a dramatic libretto with humorous elements. It is a complex production engaging the viewer in an appealing visual and audible experience marked by a harmonious blend of movement, colour and form. From a choreographic perpective, operetta brings a particular approach in that nearly the entire performance consists of planned dance sequences or ample parts of scenic movement. The research topic is the ball organised by Prince Orlofsky of Die Fledermaus (The Bat) operetta by Johann Strauss – The Son, a part of Act II, staged by Matteo Mazzoni, choreographed by Roxana Colceag and acted out by Victor Bucur. The wide range of sequences of dance steps in an operetta performance is due to the themes of such performances which allow and even impose the existence of choreographic moments, on the one hand, and to the rhythmic, danceable music often inspired from various dances specific to the geographical area where the action takes place, on the other. The performers must accurately execute the dance technical elements. The method used in creating the choreographic moment under research is immitation–based learning. Immitation is the best-known and frequently used dance composition means and consists in the reproduction by the performer, as faithfully as possible, of a dance phrase given by the choreographer. The scenic movement and the planned sequences of dance steps are the valuable fruit of the choreographer's searches and of the performers' endeavours towards achieving a flawless creative behaviour on stage, always starting from the director's perspective. In embodying their character, the performer does not truly rely on the external models they refer to, but on a great amount of spontaneity and creativity.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"32 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141043985","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}

引用次数: 0

The metaphor of kitsch in Caragiale's work. A Stormy Night & Company at "Tudor Vianu" Theatre Giurgiu 卡拉盖莱作品中的媚俗隐喻。图多尔-维亚努 "久尔久剧院的《风雨之夜与同伴》剧照

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.11

Cristi Avram

引用次数: 0

Theatrical metaphor in a „woke” and „cancel” culture 唤醒 "和 "取消 "文化中的戏剧隐喻

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.17

Adrian-Paul Nedelcuță

{"title":"Theatrical metaphor in a „woke” and „cancel” culture","authors":"Adrian-Paul Nedelcuță","doi":"10.35218/tco.2024.14.1.17","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.17","url":null,"abstract":"In this article we explore the complexity of the metaphor in contemporary theatre, emphasizing its importance in the context of \"woke\" and ”cancel” culture. We argue that, historically, theatre has been a medium in which the metaphor has played an essential role, serving as a means of creative expression and challenging seemingly immutable realities. In the modern era, theatre faces new challenges, including pressures to be socially responsible and inclusive, which can limit the use of metaphors. We emphasize the need for artistic freedom in theatre to enable a deep exploration of human complexity and to keep theatre relevant and accessible. It also discusses how current pressures can drive self-censorship in art, but we emphasize that creativity can flourish even under constraints, suggesting that metaphor can evolve to remain relevant in the face of social change. By calling for ongoing dialogue in the theatre community about the role of art and freedom of expression, we highlight the importance of adaptation and innovation in the face of contemporary challenges, maintaining theatre as a vital space for reflection, introspection and social change. We conclude with the question: If there is a space where the metaphor and the actor can take on new meaning, challenge and innovate in a way that balances the respectful approximation of diversity and inclusion with the unceasing desire for artistic exploration.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"12 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141054070","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}

引用次数: 0

Heart In The Bag, Love In The Sack And Hope Still Alive? The Magical Realism Of Playwright John Cariani. Study On The Metaphor In The Text Almost Maine 心在袋子里，爱在袋子里，希望还在吗？剧作家约翰-卡里阿尼的魔幻现实主义。文本《几乎缅因州》中的隐喻研究

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.14

Oana Mogoș

{"title":"Heart In The Bag, Love In The Sack And Hope Still Alive? The Magical Realism Of Playwright John Cariani. Study On The Metaphor In The Text Almost Maine","authors":"Oana Mogoș","doi":"10.35218/tco.2024.14.1.14","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.14","url":null,"abstract":"In the magical universe of the American playwright John Cariani, the explosion of symbols and metaphors completes the creative process of both the actor and the spectator. The ease with which deep themes of human nature are approached is due to the mastery with which references of the soul are used in the identity of real and mundane objects. The characters carry their love in bags, their heart in sacks and their hope in inches. The magical world where the city of Maine exists but does not exist at the same time, is the world where any human dream or thought or need can become reality. The contemporary language of the text brings the soul closer to its organic understanding. One will focus their attention on the inner and outer structures of the characters, on the human themes approached, on the acting tools necessary for the organic assumption of the performance. Almost Maine, a universe of dreams and hopes, was staged in Romania in six theatrical institutions relevant to the contemporary artistic landscape. The space between real and imaginary, concrete and magical outlines the inner world of John Cariani characters.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"9 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141055759","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}

引用次数: 0

A Play of the Double 双人剧

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.03

Diana Cozma

引用次数: 0

The stage of the radio theater - new metaphorical space 广播剧院的舞台--新的隐喻空间

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.05

Dana Enache

引用次数: 0

Lessons Regarding Liberty 关于自由的教训

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.02

A. Ciobotaru

{"title":"Lessons Regarding Liberty","authors":"A. Ciobotaru","doi":"10.35218/tco.2024.14.1.02","DOIUrl":"https://doi.org/10.35218/tco.2024.14.1.02","url":null,"abstract":"Research represents a form of expression of the need for exploration from which questions and reformulations arise, but also a way of assimilating fundamental \"lessons\", about the profession, about life; and – thus –, the story goes on. Thus, exploring the \"Horia Barbu Oprișan\" fund, within the archive of the \"Romanian Peasant Museum\" (MTR), in Bucharest, has implicitly allowed me to approach the labor behind the books about the history of popular theater (with or without puppets). In my mind, questions sprout through which I return to his most well-known works, Teatru fără scenă [Theater without a Stage] and Teatrul popular românesc [Romanian Popular Theater]. What was not included in the volumes? What remains in the sealed files with strings, like crosses of the researcher's destiny. In fact, the three puppeteers – Ion Perjan, Ghiță - Artist of the World, and Rudy (Rudolf) Nesvadba - whose profiles are outlined by Horia Barbu Oprișan, urge us to reflect on the necessity of rearranging information. The history of animation theater in Romania - a puzzle of unknown theatrical destinies, but which have often produced unforgettable emotions, invites a reevaluation of informative resources - more or less known. Each reader has their own perspective, born from their own concerns; each spectator has their own reception, born from personal searches; the lesson of freedom of choice represents a possible meeting point.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141026339","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}

引用次数: 0

Stage Lighting In Puppetry, A Friend Or An Enemy ? 木偶戏中的舞台灯光，是朋友还是敌人？

Theatrical Colloquia Pub Date : 2024-05-01 DOI: 10.35218/tco.2024.14.1.16

Ileana Ocneanu

引用次数: 0

Involvement and Detachment of the Actor in the Creative Process. Stanislavsky System - Brecht System 演员在创作过程中的参与和脱离。斯坦尼斯拉夫斯基体系 - 布莱希特体系

Theatrical Colloquia Pub Date : 2023-12-01 DOI: 10.35218/tco.2023.13.2.16

Marius Bodochi

引用次数: 0

Confluences Between Theater and Visual Arts: Van Gogh and Edvard Munch or From Tragedy to Dramaturgy 戏剧与视觉艺术的交汇：梵高与爱德华-蒙克或从悲剧到戏剧创作

Theatrical Colloquia Pub Date : 2023-12-01 DOI: 10.35218/tco.2023.13.2.12

Aura Evelina Radu

{"title":"Confluences Between Theater and Visual Arts: Van Gogh and Edvard Munch or From Tragedy to Dramaturgy","authors":"Aura Evelina Radu","doi":"10.35218/tco.2023.13.2.12","DOIUrl":"https://doi.org/10.35218/tco.2023.13.2.12","url":null,"abstract":"Between the performing arts and visual arts, for example between theater and painting or graphics, there are multiple interferences, which are not limited to scenography and costume. Cultural references and visual quotes are just two directions of development of modern and contemporary theater. Artists can support plays through images, but they can just as well inspire dramaturgical texts, either through life and professional activity, or through their creation, in itself. From books such as “The Lives of Painters, Sculptors and Architects” signed by Giorgio Vasari or Giovanni Pietro Bellori, or from various works and biographical studies dedicated to artists, we can find out a lot of information that explains or completes what we know or what we can deduce directly from their work, but most of the time those aspects are conjunctural, explaining only the context of the professional training, the orders or the game of chance that led to the realization of their works, as they came to be known. About artists such as Michelangelo, Caravaggio, Claude Monet, Tolouse Lautrec, or more recently about Pablo Picasso and Salvador Dali one can say that they have put themselves in their work, in addition to unparalleled mastery and personality. Rarely, however, there is such a continuity between life and artistic work, as in the case of Van Gogh and Edvard Munch.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"117 25","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138609236","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}

引用次数: 0