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Articles de revues sur le sujet « Theater, pictorial works »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 28 juillet 2025

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1

Moskovkina, E. A. "“WITHERS, DISAPPEARS” BY V. M. SHUKSHIN AND “CONVERSATION” BY I. P. POPOV: INTERMEDIALITY AND INTERTEXTUALITY." Culture and Text, no. 51 (2022): 99–115. http://dx.doi.org/10.37386/2305-4077-2022-4-99-115.

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The article presents an attempt to study the phenomenon of “parallel” creativity, mutual influence and mutual citation of the writer and the artist on the example of the works of V.M. Shukshin and I. P. Popov. The artistic features of the story “Withers, disappears” (1966) are considered in the context of an intra-genre modification (story-skit), taking into account the intertextual and ekphrastic impact of Popov’s painting “Conversation” (1967). Common and overlapping autobiographical, compositional, plot, and pictorial components of the works are revealed. The tendencies of the intermedial d

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Tkachenko, T. I. "REINTERPRETATION OF PROSE TEXTS IN THE PLAYS BY MYXAJLO STARYCZKYJ." Literary Studies, no. 60 (2021): 210–19. http://dx.doi.org/10.17721/2520-6346.60.210-219.

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The article represents the study of the peculiarities of the reinterpretation of prose works by Myxajlo Staryczkyj (1840–1904) in plays to enrich the repertoire of the “Coryphées theater”. Attention focuses on the coverage of the author’s literary communication, which is characterized by the involvement of ethnographic, household, folklore findings, coverage of history in a new perspective, unexpected plot changes related to the spectacle of the play and the Ukrainian mentality, psychologism and coverage of internal conflict. The work investigates the formal and semantic components, in particu

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Krasnovа, Nataliia. "Technologies of Aesthetic Education of Personality by Means of Theatrical Art." Bulletin of Luhansk Taras Shevchenko National University 1, no. 6 (344) (2021): 78–92. http://dx.doi.org/10.12958/2227-2844-2021-6(344)-1-78-92.

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The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purp

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Kirsch, Sebastian. "Street Smart or Smart Street?" Performance Philosophy 7, no. 1 (2022): 66–83. http://dx.doi.org/10.21476/pp.2022.71300.

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In its first part the essay reflects on an ongoing transformation in the history of power relations by commenting on a short passage from Elfriede Jelinek's 2013 theater text Die Schutzbefohlenen (Charges: The suppliants). Reading Jelinek's words as a play on Martin Heidegger's essay "Die Zeit des Weltbildes" ("The Age of the World Picture") but also on his concept of the "Gestell", the essay discusses a current crisis of pictorial framing which corresponds today's reshaping of the logics of production by digital network technologies. The essay argues that one of the most significant symptoms

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Esherick, Joseph W., and Jeffrey N. Wasserstrom. "Acting Out Democracy: Political Theater in Modern China." Journal of Asian Studies 49, no. 4 (1990): 835–65. http://dx.doi.org/10.2307/2058238.

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For two and a half months in the spring of 1989, China's student actors dominated the world stage of modern telecommunications. Their massive demonstrations, the hunger strike during Gorbachev's visit, and the dramatic appearance of the Goddess of Democracy captured the attention of an audience that spanned the globe. As we write in mid-1990, the movement and its bloody suppression have already produced an enormous body of literature—from eyewitness accounts by journalists (Morrison 1989; Zhaoqiang, Gejing and Siyuan 1989) and special issues of scholarly journals (Australian Journal of Chinese

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Inshakov, Alexander N. "Monumental Painting by Sergei Romanovich: Former and Unfulfilled." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 102–26. http://dx.doi.org/10.21638/spbu15.2021.107.

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The article is devoted to an important period in the life and work of the Moscow artist Sergei Romanovich (1894–1968), one of the most interesting young artists of the Russian pictorial avant-garde of the second half of the 1910s, a student and later friend of Mikhail Larionov. From the late 1930s to the mid-1950s, Romanovich was an employee of the Workshop of Monumental Painting at the Academy of Architecture of the USSR. Together with Lev Bruni and Vladimir Favorsky, he worked on the decoration of the Red Army Theater, participated in the development of projects and interior design of theate

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Peremislov, Larisa G., and Igor I. Cherkassky. "ARTIST JULIA DOLGORUKOVA. PERFECT EXPRESSION OF LOVE." Arts education and science 3, no. 36 (2023): 160–65. http://dx.doi.org/10.36871/hon.202303160.

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The article presents an overview of the work of the famous Moscow artist Julia Dolgorukova, who works in the genres of landscape, still life and composite composition in various painting techniques. The basis of her pictorial language is Russian impressionism and the creative search of nonconformists of the 60s — 70s. Throughout her career, her paintings trace the creation of her own individual style, based on the experience of her teachers and, at the same time, transcending all existing trends. In still lifes Julia Dolgorukova creates volumes with large colored strokes both with a brush and

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Portnova, Tatyana V. "Peculiarities of E. Dega's creative method in the interpretation of the theme “Paris opera ballet”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 157–71. http://dx.doi.org/10.17223/22220836/45/15.

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The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of

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Suntsova, Elena A. "Konstantin Korovin, an Emigrant: The Native Land in the Artist’s Memoirs." Вестник Пермского университета. Российская и зарубежная филология 15, no. 1 (2023): 139–46. http://dx.doi.org/10.17072/2073-6681-2023-1-139-146.

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Konstantin Korovin is a famous Russian artist, one of the first Russian impressionists, as well as a theater decorator. The artist was highly sensitive to the beauties of the nature of his native land, and his oeuvre consists mostly of landscapes. In 1922, being at his senior age, Korovinwas forced to move to one of the centers of Russian emigration –Paris. Life away from his motherland becomes one of the reasons for the painter’s artistic crisis. It was during these difficult years that Korovin began to engage in literary work. Korovin writes memoirs, significant part of which is memories of

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Kol'tsova, Natal'ya Zinov'evna, and Liu Miaowen. "Dialogue of arts in the novel “The Artist is Unknown” by V. Kaverin." Litera, no. 9 (September 2020): 42–50. http://dx.doi.org/10.25136/2409-8698.2020.9.33780.

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Prose about the artist is fairly popular in the world and Russian culture, but the novel &ldquo;The Artist is Unknown&rdquo; by V. Kaverin holds a special place within the Russian literature, and the title itself is precedent for the philologists &ndash; it is mentioned each time when it comes to genre of the novel about artist. Kaverin not only creates a vivid image of the artist-painter, but also restores his manner via literary style. The pictorial beginning is prevalent in the text; however, orientation towards other types of art, namely sculpture and theatre, are also noticeab

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Panarin, Sergei A. "Alla Tsybikova: Sketches to a Biography. Part 1. Becoming an Artist." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 2 (2024): 144. http://dx.doi.org/10.31857/s086919080030025-4.

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The life and career of Alla Tsybikova are closely connected with Buryatia and Russia. However, Tsybikova plays also a special part in the world art of late 20th century. Few artists of this time can be compared with her in the way how the qualities of her pictorial images – color harmony, integrity and poetry – organically fuse one with another. Her works captivate with beauty and unique poetry. She created her own artistic system, where world images and national culture are refracted through personal experiences. Tsybikova’s development as an artist began in an art studio of the Pioneer House

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Mykula, Erika, and 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, no. 51 (October 10, 2023): 63–73. http://dx.doi.org/10.37131/2524-0943-2023-51-7.

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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 ordi

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Батхулэг, Э. "Mongolian painters — graduates from the Ilya Repin Leningrad Institute and their role in the development of theatrical and decorative painting of Mongolia (using the example of the creative work of Luvsangiin Gavaa)." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 58–71. http://dx.doi.org/10.46748/arteuras.2023.03.005.

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В статье ставится вопрос о значении деятельности монгольских художников — выпускников Ленинградского института живописи, скульптуры и архитектуры имени И.Е. Репина в развитии театрально-декорационной живописи Монгольской Народной Республики во второй половине XX века. Рассмотрен обширный изобразительный материал, уточнены многие важные детали творчества мастеров. Актуальность задачи исследования обусловлена тем, что история развития сценографии в Монголии не получила еще достаточного освещения в научных трудах по истории искусства страны. Особое значение имеет факт, что наиболее заметный вклад

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Nikitin, Andrii. "Philosophical context in the work of Sergei Zoruk." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 46–53. http://dx.doi.org/10.33838/naoma.29.2020.46-53.

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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are c

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Oktavianti, Yeni Sari, Jaeni ., and Sukmawati Saleh. "The Influence of Visual Art in Irwan Jamal’s Theatre Artistic Vision." PANTUN: Jurnal Ilmiah Seni Budaya 9, no. 2 (2024): 177–87. https://doi.org/10.26742/pantun.v9i2.3604.

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Irwan Jamal, the founder of the Pictorial Theatre and the Casanova Theatre, is an artist who has studied several art disciplines at once, including theatre, visual arts, literature, and music. Genetic influences from his father’s family, who are skilled in drawing, as well as his education and experience in theatre, have resulted in a form of theatre that is rich in visual expression. This is based on Sigmund Freud’s theory of primary creativity which grows and becomes the foundation of one’s creativity. This article will also discuss and analysed the influence of the visual arts on Irwan Jama

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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "The Grotesque and The Surreal in Gian Carlo Riccardi: Some Psychological Considerations." British Journal of Multidisciplinary and Advanced Studies 6, no. 2 (2025): 1–14. https://doi.org/10.37745/bjmas.2022.04276.

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The main purpose of this study is to analyse some graphic and pictorial works created in the 1970s by the Italian avant-garde artist Gian Carlo Riccardi (1933-2015). The main theme seems to be the grotesque representation of contemporary society and the individual victim of a homologising and apathetic humanity. This research intends to show how the artist's experiments are expropriated of an aesthetic function, to impose themselves as a traumatic and reactionary force, thus investigating the body and unconscious of the protagonists of his works, the drives, the collective and individual anxie

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Dogorova, Nadezhda Alexandrovna, and Lu Han. "The phenomenon of Peking Opera: Syncretic nature, symbolism, convention and canons." Pan-Art 5, no. 1 (2025): 93–103. https://doi.org/10.30853/pa20250011.

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The study is devoted to the art analysis of Peking Opera. Particular attention is paid to the study of the deep potential of expressive themes and ideas, the creative heritage of drama, techniques and means of language in creating unique artistic images. On the basis of a comprehensive analysis, the phenomenon of Peking Opera is explored as a syncretic art form, where special attention is paid to the interaction of four key components: symbolism (symbolic codes), theatrical convention, syncretic nature and aesthetic canons. The choice of Peking Opera as a canonical example of traditional Chine

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Stahl, Andrea. "Vom Sprechen der Bilder: Variationen visueller Wahrnehmung bei Joan Brossa." Zeitschrift für Katalanistik 21 (July 1, 2008): 231–50. http://dx.doi.org/10.46586/zfk.2008.231-250.

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Summary: Approaching the works of Joan Brossa from an intermedial perspective, this essay seeks to examine his written experiments within the context of pictorial manifestations and thus intends to draw attention to his almost paradoxical engagement in the mediality of images. Starting out from his poesia visual i objecte, this essay wants to read individual examples as études of visual and written phenomena, as reflected compositions, which also find a paradigmatic expression in the theatre play Concert irregular per a pianista i cantatriu. These diverse border-crossings between image and tex

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Adéoyè, Michael Adérèmí. "Inventing animate floats: transformation and interpretation in Nigeria’s Abuja Carnival." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 267–80. http://dx.doi.org/10.4314/ejotmas.v7i1-2.17.

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This study focuses on the technical process through which available materials and space are transformed into motif-based animate floats and desired landscapes for carnival performances. Carnival performances are often guided by underlying conceptual scripts which basically depend on the technical processes of theatre design as a major requirement in connecting the carnival performance with its audience and which has not received adequate attention from existing theatre scholarship. The study adopts Roland Barthes’ semiotic theory, Intertextuality as the framework for analysing the interplay of

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Bell, David. "Floating world at Te Papa: the Heriot collection." Tuhinga 30 (June 1, 2019): 56–81. https://doi.org/10.3897/tuhinga.30.e34248.

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This article examines Edo period (1603–1868) Japanese artworks acquired by the Museum of New Zealand Te Papa Tongarewa from the Ian and Mary Heriot collection in 2016. It situates its commentary on these works of art in the context of the emergence of a new, affluent, educated middle class and a new ‘floating world’ sensibility that favoured the enjoyment of literature, visual and decorative arts, kabuki theatre and the teahouses, restaurants and pleasures of the Yoshiwara licensed brothel district of Edo, the city we know today as Tokyo. It constructs a historical narrative for the broader de

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Portnova, Tatiana V. "The images of the russian ballet in the Fine Arts of the late XIX and early XX century." Revista de la Universidad del Zulia 12, no. 34 (2021): 631–50. http://dx.doi.org/10.46925//rdluz.34.34.

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The purpose of the study is to analyze various interpretations of the theme of ballet in the context of creating an artistic image taking into account the specific characteristics of various arts on the factual visual material of the late nineteenth - early twentieth century. Methodology: 1) Search method, which allowed to reveal in museums and private collections, works of art dedicated to ballet of the period under consideration; 2) Historical and tipological method, which helped to group the works according to the thematic principle, to determine the degree of their value in the process of

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Saikovska, Olena. "Інтермедіальні коди у творах болгарських фантастів ХХ–ХХІ ст". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, № 3 (2021): 177–88. http://dx.doi.org/10.36770/bp.629.

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The article is dedicated to the study of the intermedial codes in the fantastic works written by the Bulgarian writers of the 20th-21st centuries. Intermediality as a form of interconnectedness of different types of art is challenging for literature research. The aim of the article is to study the interaction of verbal and audio (music), verbal and visual (pictorial art, architectural models), verbal and performing/synthetic (cinema, theatre) arts. The object of the research is the Bulgarian fantastic literature of the 20th-21st centuries, where the subject is codes of intermediality. The meth

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CHECHIK, Valentina. "VADIM MELLER’S ART: ON THE WAY TOWARDS CONSTRUCTIVIST ABSTRACTION." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (2023): 128–39. http://dx.doi.org/10.33625/hudprom2023.01.128.

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This article discusses the features of the refraction of the techniques and principles of abstract art in V. Meller’s early works. The research field comprised both widely known and completely unknown artist’s easel works and theatrical projects from the late 1910s to the early 1920s. The stylistic vocabulary of Meller’s works of this period in art history literature is rightly associated with CuboFuturism. At the same time, it is easy to see how the artist reaches the borders of Cubo-Futurist thinking – to abstract compositions. In the painting Futuristic Composition (1919–1920), and in the t

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Bell, David, and Mark Stocker. "Rising sun at Te Papa: the Heriot collection of Japanese art." Tuhinga 29 (June 1, 2018): 50–76. https://doi.org/10.3897/tuhinga.29.e34240.

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In 2016, the Museum of New Zealand Te Papa Tongarewa (Te Papa) acquired more than 60 Japanese artworks from the private collection of Ian and Mary Heriot. The works make a significant addition to the graphic art collections of the national museum. Their variety and quality offer a representative overview of the art of the Japanese woodblock print, and potentially illustrate the impact of Japanese arts on those of New Zealand in appropriately conceived curatorial projects. Additionally, they inform fresh perspectives on New Zealand collecting interests during the last 40 years. After a discussi

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Rumpel, Helmut, Ling Ling Chan, Judy SP Tan, Ivan HB Ng, and Winston EH Lim. "Clinical Functional Magnetic Resonance Imaging for Pre-surgical Planning – the Singapore General Hospital Experience with the First 30 Patients." Annals of the Academy of Medicine, Singapore 38, no. 9 (2009): 782–87. http://dx.doi.org/10.47102/annals-acadmedsg.v38n9p782.

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Introduction: Functional magnetic resonance imaging (fMRI) is a neuroradiological technique for the localisation of cortical function. FMRI made its debut in cognitive neuroscience and then eventually to other clinical applications. We report our experience with pre-surgical fMRI on a high field scanner, based purely on a clinical platform. Materials and Methods: The protocols included motor, auditory, visual and language fMRI. The choice of protocols was dependant on clinical request and lesion locale. Results: Retrospective analysis and audit of the first 30 consecutive patients over a 12-mo

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Arbós, Joan Mut I. "Lawrence Alma-Tadema and the nineteenth-century 'periode eye': Classical sources for his Entrance of the theatre (1866) and An exedra (1869)." Oud Holland – Journal for Art of the Low Countries 137, no. 3 (2024): 121–39. http://dx.doi.org/10.1163/18750176-13703003.

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The Anglo-Dutch artist Lawrence Alma-Tadema (1836-1912) is known for being one of the leading representatives of historical genre painting. His paintings are often set in antiquity that usually transmits a peaceful atmosphere, although they also regularly refer to classical sources that include critical messages. Two key works of Alma-Tadema’s Pompeian period are Entrance of the theatre (1866) and An exedra (1869). These works are paradigmatic of the artist’s in-depth knowledge of classical civilization. He seemed obsessed with the historical accuracy of his paintings, which can be partly expl

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Lebedeva, A. I. "Index retardation as the basis of an epic play (a case study of A. Ostrovsky’s dramaturgy)." Philology and Culture, no. 4 (December 29, 2024): 293–300. https://doi.org/10.26907/2782-4756-2024-78-4-293-300.

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Retardation plays a significant role in A. Ostrovsky’s artistic universe, being prevalent in his works and indicating the intermedial nature of the author’s oeuvre. The strengthening of intertextual connections between literature, theatre, painting and music has contributed to the evolution of traditional genres. In terms of genre, Ostrovsky highlighted the importance of capturing static space, referring to his comedies as paintings, scenes and so on. Small dramatic forms are characterized by a substantial conflict, owing to the fact that the playwright’s focus is not on the development of int

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Kasianova, Olena. "Evolutionary modifications of dance scenes in the context of the genesis of the ukrainian opera." Ukrainian musicology 46 (October 27, 2020): 58–74. http://dx.doi.org/10.31318/0130-5298.2020.46.234595.

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The relevance of the research lies in the search for a solution to the problem of the plasticchoreographic image of the work, the peculiarities of the interpretation of dance in the process of the formation of the Ukrainian national opera school, taking into account the author's intention, its rethinking in the realities of our time. Scientific novelty lies in the definition of conceptual approaches to the genre-style interpretation of dance scenes in Ukrainian opera in accordance with the theatrical aesthetics of a particular time. The purpose of the publication is to determine the evolutiona

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Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.

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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. To

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Sayel, Aref Abdel, and Hind Ayoub Farhan. "The Presence of the Poet's Self in Muhammad Al-Maghout's Poetry." Anbar University Journal of Languages and Literature 15, no. 1 (2023): 99–117. https://doi.org/10.37654/aujll.2023.138298.1025.

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Al-Maghout is considered one of the most prominent poets who used prose poetry to express reality. In his poems, the poet's presence came as an artistic entity through which the poet presents what he feels about his environment, especially since he cares about this environment, the issues of society he lives in and suffers from. The study is divided into two parts: one of them is external, represented in tangible realistic data such as the wind, flowers, the ship, and the silkworm, which reflected the poet’s transformations through them and his occupation of himself. The poet's transformations

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Pogrebnіak, Galyna. "The scene as a space for artistic searches of the director-author. Part 2. M. Forman, A. Hitchcock: the theater as a hobby." Collection of scientific works “Notes on Art Criticism”, no. 41 (August 26, 2022). http://dx.doi.org/10.32461/2226-2180.41.2022.263473.

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The purpose of the article is to identify the problems of creativity of directors who have realized their artistic potential both in auteur cinema and in the space of the stage and to determine scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of the filmmaker in the performing arts. Research methodology. Methods of scientific analysis, comparison, generalization, self-analysis of the artist were used in elaboration of the theme. In addition, analytical and systematic methods were applied in their unity, which is necessary to study the art aspect of the p

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Pogrebniak, Galyna. "The scene as a space for artistic searches of the director-author. Part 1. Rainer Werner Fassbinder: stage-screen experiments." Collection of scientific works “Notes on Art Criticism”, no. 40 (December 30, 2021). http://dx.doi.org/10.32461/2226-2180.40.2021.250389.

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The purpose of the article is to identify the problems of creativity of directors who have realized their artistic potential both in auteur cinema and in the space of the stage and to determine scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of the filmmaker in the performing arts. Research methodology. Methods of scientific analysis, comparison, generalization, self-analysis of the artist were used in the elaboration of the theme. In addition, analytical and systematic methods were applied in their unity, which is necessary to study the art aspect of t

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Portnova, Таtiana. "MYSTICAL IMAGES IN THE ROMANTIC ERA ART WORKS: THROUGH ANCIENT LEGEND OF THE GISELLE BALLET TO PICTURESQUE CANVASES BY C.D. FRIEDRICH." História e Cultura 13, no. 1 (2024). http://dx.doi.org/10.18223/hiscult.v13i1.4331.

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The article is focused on a comparative analysis of the romanticism works by A. Adam and C.D. Friedrich. The purpose of the study is primarily framed by the fact that it is the first attempt to jointly analyze the Giselle ballet and the paintings by C. Friedrich, and to provide their comprehensive description from a standpoint of mystical beauty reflected in Romanticism trend in art in the 19th century. The author highlights the innovations originating in the ballet theatre and the pictorial art of the period, which landed a natural balance in the spatial organization principles between all co

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Nykonenko, Ruslan. "Influence of Scenography Development on Artistic Interpretation in Plastic Directing." Collection of scientific works “Notes on Art Criticism”, no. 42 (December 27, 2022). http://dx.doi.org/10.32461/2226-2180.42.2022.270349.

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The purpose of the article is to reveal the specifics of the development of scenography in plastic directing and its influence on artistic interpretation in the context of the peculiarities of theoretical developments and practical implementation in stage practice of leading theatre directors of the 20th – early 21st centuries. Research methodology. The research is based on modern art history and philosophical concepts of the study of the phenomenon of development of unique forms and the principles of the artistic relationship between direction and scenography. Taking into account the interdis

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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an

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Barrantes-Madrigal, M. D., T. Zúñiga-Salas, R. E. Arce-Tucker, et al. "Revealing time’s secrets at the National Theatre of Costa Rica via innovative software for cultural heritage research." Scientific Reports 11, no. 1 (2021). http://dx.doi.org/10.1038/s41598-021-88066-1.

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AbstractEstablishing affordable, efficient, accessible, innovative, and multidisciplinary methodologies to the diagnosis of the conservation state of an artwork is key to carry out appropriate strategies of conservation and consequently to the creation of modern public policies on cultural heritage. Limited access to large-format paintings is a challenge to restoration scientists seeking to obtain information quickly, in a non-destructive and non-invasive manner, and identify regions of interest. Therefore, we put forward two unique software tools based on multispectral imaging techniques, wit

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Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese

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Brackley du Bois, Ailsa. "Repairing the Disjointed Narrative of Ballarat's Theatre Royal." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1296.

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IntroductionBallarat’s Theatre Royal was the first permanent theatre built in inland Australia. Upon opening in 1858, it was acclaimed as having “the handsomest theatrical exterior in the colony” (Star, “Editorial” 7 Dec. 1889) and later acknowledged as “the grandest playhouse in all Australia” (Spielvogel, Papers Vol. 1 160). Born of Gold Rush optimism, the Royal was loved by many, yet the over-arching story of its ill-fated existence has failed to surface, in any coherent fashion, in official history. This article takes some first steps toward retrieving lost knowledge from fragmented archiv

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Hill, Wes. "Revealing Revelation: Hans Haacke’s “All Connected”." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1669.

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In the 1960s, especially in the West, art that was revelatory and art that was revealing operated at opposite ends of the aesthetic spectrum. On the side of the revelatory we can think of encounters synonymous with modernism, in which an expressionist painting was revelatory of the Freudian unconscious, or a Barnett Newman the revelatory intensity of the sublime. By contrast, the impulse to reveal in 1960s art was rooted in post-Duchampian practice, implicating artists as different as Lynda Benglis and Richard Hamilton, who mined the potential of an art that was without essence. If revelatory

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Luigi Alini. "Architecture between heteronomy and self-generation." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 21–32. http://dx.doi.org/10.36253/techne-10977.

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Introduction «I have never worked in the technocratic exaltation, solving a constructive problem and that’s it. I’ve always tried to interpret the space of human life» (Vittorio Garatti). Vittorio Garatti (Milan, April 6, 1927) is certainly one of the last witnesses of one “heroic” season of Italian architecture. In 1957 he graduated in architecture from the Polytechnic of Milan with a thesis proposing the redesign of a portion of the historic centre of Milan: the area between “piazza della Scala”, “via Broletto”, “via Filodrammatici” and the gardens of the former Olivetti building

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Macken, Marian. "And Then We Moved In." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2687.

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   Working drawings are produced, when a house is designed, to envisage an imagined building. They are a tangible representation of an object that has no tangible existence. These working drawings act as a manual for constructing the house; they represent that which is to be built. The house comes into being, therefore, via this set of drawings. This is known as documentation. However, these drawings record the house at an ideal moment in time; they capture the house in stasis. They do not represent the future life of the house, the changes and traces the inhabitants make upo

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