Wyniki wyszukiwania - Biblioteka Nauki

1

Antonín Dvořák et la France

100%

Chotil-Fani A.

Hudební věda (Musicology)

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2005

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tom 42

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nr 3-4

247-254

EN

The study of newspapers from the 1878-1914 period shows the origin of French ignorance of Dvorak. Very few of his works were then played in France. Their appreciation was varied. Slavonic Dances were esteemed, chamber music raised problems, symphonic works remained practically unknown. The best defenders of Dvorak were foreigners and mainly the Czechs. The French musical circles were however conscious of the composer's importance. A Dumka and his article about Schubert were published in Paris. Dvorak was proposed as foreign correspondent by the Academie des Beaux-Arts, invited to conduct his works in the capital, requested for an exhibition of autographs in 1900 and decorated with the Gold Medal of the City of Paris. In 1906, the 9th symphony conducted by Camille Chevillard strongly divided the critics. In 1913, Pablo Casals refused to play the Cello Concerto under the leadership of Gabriel Pierne, scorning the score. A nationalist and anti-German opinion, hindered by the prejudices and colonialism could explain the difficulties encountered by Dvorak in France, in spite of the constant interest of the public.

2

CONCEPTS AND RECORDS OF PERFORMANCE GROUPS AT THE PEDVALE OPEN AIR ART MUSEUM (1991-2009) (Performancu grupu koncepcijas un hronika Pedvales Brivdabas makslas muzeja (1991-2009)

88%

Jankovska Z.

Makslas Vesture un Teorija

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2011

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tom 14

37-50

EN

In the Latvian art-historical context, Pedvale Open Air Art Museum (POAM) is regarded as a continuation of the sculpture park near Bierini in Riga that began life in the 1980s. Sculptor Ojars Feldbergs set about realising his idea of an open-air art park in 1991. Processes in the Museum are regulated by a concept that envisages the integration of the natural landscape, agricultural landscape, cultural heritage and art in a unified environment; the aim is to create a place where the creative idea could both mature and be embodied in harmony with the landscaped environment and finally become part of that environment. POAM for Feldbergs is part of his creative work in which he envisages something and directs its further realisation, performing in the process as an artist or actor. Thus each artefact created in the Museum is not to be detached from the sculptor's personality and assessment of the artwork, functioning as the main criterion of selection and subjective critique of contemporary processes. Feldbergs' performances can be divided into three categories: 1. Performance as an element complementing the event; 2. Performance ending up in the form of an installation; 3. Performance that is created using a previously prepared sculptural work. Performances at POAM can be classified in four categories: 1. Ritual-type performances close to the Baltic traditions and forms of festivities; 2. Artworks based on modern dance; 3. Artworks synthesised with the open-air objects, installations or sculptures on view at the permanent exposition, thus interacting with the form and location of the artwork; 4. Performance as a pure form of visual art in which the human body plays the leading role.

3

REPERTOIRES OF SLOVAK AND SLOVENIAN THEATRE HOUSES AND THEIR PRODUCTIONS OF THE WESTERN EUROPEAN AND AMERICAN AUTHORS (1945 – 1970)

88%

Andres R.

Slovenské divadlo (Slovak Theatre)

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2017

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tom 65

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nr 3

283 – 301

EN

This article is a comparative review of performances of Western European and American authors in Slovak and Slovenian theatres in the two decades after World War II. First, we present a short historical context, comparing the political systems and cultural policies of both states. We define the importance of the selection of works for the repertoire(s) and then parallel them to the main characteristics, authors, and dramatic texts prevalent in that period. Second, we highlight the particularities of staging of the Western European and American authors in both cultural spaces, evaluate their importance, and explicitly determine the fundamental differences between the two theatre spaces and performing arts in the socialist system in general. Third, we expose the similarities and differences in the quantity and diversity of authors. This is done on the basis of the performances by institutional theatres, recorded in the repertoire databases of the respective countries. Everything deviating from the norm is located in a separate chapter, as a phenomenon, where we are looking for the reasons for (not) performing certain authors or poetics. The article functions as a review of the period, and seeks to shed light on theatre production in the Central European cultural area during the undemocratic socialist regime, regardless of basic differences between the two political systems.

4

BODY, ART AND POWER (Kermenis, maksla un vara)

75%

Kule M.

Materiali Latvijas makslas vesturei

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2006

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tom 5

166-172

EN

The article deals with the philosophical interpretation of power in relation to the representation of body in contemporary art. Power, according to Michel Foucault's philosophy, is a wide concept meaning not political or economical dominance but a kind of relationships where dominance and subservience are interchangeable, creating a kind of network where the most varied processes of human life are involved. The body might possess power, too. Different trends of contemporary art represent the shift from the classical period determined by the mind and will to the post-classical one when the body and its sensations come to the foreground. The man realizes power relationships through the body. Since the 17th century the power has developed as the control over life. It happened in two forms: one of them was focused on the body as a mechanism, involving training, increasing skills, including systems of economical control. This is the politics of anatomy or discipline. The other sphere has increased in importance since the 18th century and is focused on the human body as a species through which biological processes like birth, death, health, and life duration are regulated. This is biopower. On the one hand, art conveys bodily passions, finality and death, expressions of pleasure, on the other - speaks about ways of how biopower is realized. Edmund Husserl's phenomenology describes two senses of the body: Leib stresses the presence of the spirit and connection between the body and the soul, Korper refers to the mortal, physiological and sensual body. The art of previous eras often strived to show the soul through the body. This is rarely found in contemporary art where the body appears as something mortal, changeable, vulnerable, cloned, something one chooses, etc. Artists often see the body as alienated, subjected to dominance and outer, alien power. The epoch is marked by a power that subjects, moves and changes the body, making it yielding, brutal, extreme and unstable. The body might turn into a detached thing injured in public (Viennese Actionism, Oleg Kulik, Gina Pane, Ron Athey, etc.), details come to the foreground, back and hair are depicted instead of face (Egon Schiele, etc.), the body becomes a place where the codes of consumerist culture are inscribed, etc.

5

SOME ASPECTS OF ARTIST PERSONALITY IN CONTEMPORARY SCULPTURE (Dazi makslinieka personibas izpausmju veidi musdienu telnieciba)

63%

Caupova R.

Makslas Vesture un Teorija

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2007

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tom 8

34-45

EN

Ideas on the role of the artist's personality and potential in the processes of emerging artistic paradigms involve complex, often hard to define qualities of perception, choice and stimulation on various psychic levels. In the 20th century sculpture, especially in the second half of the century, there have been especially radical changes of practice, psychological involvement and perceptual concepts. A typical example is the personality of Serbian artist Marina Abramovic (1946). Realising often dangerous performances with snakes, insects, and stones, and undergoing physical pain, suffering or meditation, the artist has shown both courage and the ability to coordinate the streams of pulsating energy, subjecting herself to deeply open, intuitive perception. In Latvia the mid-1980s saw a wider use of installations and various actions and performances. Taking up the connection between psychophysical and mental spheres is revealed in the multimedia projects of Latvian artist Solveiga Vasiljeva. Using drawings of material structures, photographs and digital prints (including her own medical examination results), the artist invites the viewer to inspect unusual conditions of her body and psyche. In Latvia several sculptors, such as Ojars Feldbergs (1947), Ojars Bregis (1942), Andris Varpa (1950), Vilnis Titans (1944-2006), Pauls Jaunzems (1951) and Igors Dobicins (1958), have maintained the traditional national attitude towards stone as an ancient cultural symbol, perfecting the means of working stone and searching for a new context for their ideas.