UArtPress

A vásári bábjátékhősök játékhagyománya a 19. és a 20. században (Vitéz László és Paprika Jancsi)

2024-02-03T20:00:30+00:00

In the last decade, we have witnessed a marked increase in interest in fair puppetry. Fair puppetry has become a fascinating topic from a scholarly point of view, and, as an inseparable part of this, the processing and making accessible of the material and intellectual heritage of the significant puppeteer dynasties generates new questions. Typically, two dominant approaches and trends can be observed: one part of the research examines the topic from the European roots and the other deals with the segments of the Hungarian fair puppetry traditions. The lack of systematization of the different approaches and the cultural, historical and social factors that influenced the development, consolidation and transmission of fair puppetry is a shortcoming of the trends. The research follows the tendency of the study of Hungarian fair puppetry throughout the analysis of the history of the development of the puppet figure of Vitéz László, taking into account the segments of the tradition and cultural, historical and social factors. The research methodology follows the holistic approach of taking into account the social, historical and cultural factors of the given period because this allows a deeper contextual interpretation of the history of the development of the fair hand puppets.

Perspectives

2024-01-05T23:14:22+00:00

In Perspectives, theatre director and pedagogue Éva Patkó offers a director's analysis of contemporary Romanian theatre's distinct artistic, institutional, and sociopolitical practices. Focused primarily on the rise of post-dramatic dramaturgies on Romania's post-communist stages, Patkó draws on her experience directing and collaborating with several of the country's foremost playwrights as she attends to the evolving intersections of text and performance in the region. Through essays, private directing journals, and practical exercises for the rehearsal room, Patkó invites us to peer inside the mind of a director steeped in Romania's theatre traditions and emergent aesthetics, as well as the pressing cultural issues that define its current complexion. By turns scholarly and personal, analytical, and creative, Patkó's book is for both researchers and practitioners. Not only does Patkó shed light on the recent past of Romanian theatre, but she, with the spirit of a thoughtful innovator, strategizes for its imminent future.

Evan Hill

Limbajul comediilor lui Caragiale de la text la scenă

2023-11-06T13:01:36+00:00

The language of Caragiale's comedies from text to stage. (Critical repertoire for the Director's Notebook and all performers of the Caragiale repertoire)
The stylistic analysis of the comic language will highlight the role of stylistic deviations from the literary norm in characterising Caragiale's characters. The approach of a psycholinguistic nature will facilitate the translation of the comic sense from the text to the stage performance, revealing a problematic preconscious that the characters would like to abstract from internally and mask it from the others.
Through this "Repertoire", the literary secretaries and directors will be able to update their visions about Caragiale so that the actors can embody it credibly, and the translators transpose it into other languages, all these results being applauded (or not) by a maybe well-informed Receivers. That is why we aim to provide an accessible approach for creating a director's book and related stage interpretations.
Beyond the specialized aspects, the work will be addressed to anyone: pupil/student, or already: teacher, philologist, sociologist, philosopher, psychologist, anthropologist (of culture), historian, journalist (undercover or not), political analyst, engineer, doctor, architect, financier, diplomat, manager, broker, gamer, influencer, worker, farmer, etc., even reaching some politicians, but also other functional illiterates. All of them being: "Romanians, more or less honest" (Nae Cațavencu, in: A Stormy Night, III, 14, 8).

A félig kötött formájú (FKF) szöveges rögtönzés gyakorlati haszna a beszédoktatásban

2023-11-01T17:30:31+00:00

The Importance of Half-Bound-Form Textual Improvisation (HBFTI) in Speak Learning
The half-bound-form textual improvisation (HBFTI) offers a chance for the practical examination of the process of sound production, the conscious perception of muscle activities that take place during the articulation of speech sounds and for experiencing the possibility of creative thought. The combined use of the Alexander technique, sphincter gymnastics and vocal therapy multiplies the effectiveness of speech training: it maintains a dynamic state in the body and it enables loose, cramp-free voicing. The set of increasingly complex exercises in HBFTI creates a balance of challenge and ability and aids the coordinated functioning of action and intellect. The set of rules is straightforward, and the goal is attained when a new body of speech is created; this can either be a sequence of words, a personal account using five words given or even a fictional story. If it succeeds, feedback is entirely positive from both acting students and teachers, which benefits the confidence of the author of the body of speech. Personality development and voice development interact with each other: as confidence increases, the capacity for resonance increases as well. Constant control: checking posture, balancing out muscle functions, precision of pronunciation, and the grammatically correct and phonologically nuanced formulation of the body of speech created; all these aid in maintaining awareness of ourselves and guarantee that we will preserve the state of active attention. HBFTI exercises harmonize the state of intellectual readiness with the set of requirements involved in teaching phonation. Their didactic, technical and creatological usefulness comes to light when performing the exercises.

Polemici

2023-11-14T19:56:07+00:00

Polemics

edited, introductory study and notes by Tiberius Vasiniuc

The never-ending rivalry between Iosif Blaga and Ghiță Pop made possible the Polemics published in this volume, which can be considered a kind of addendum to the Theory of Drama (1900). Despite some conceptual clumsiness and the somewhat irreverent tone of the two, the Polemics from this edition can contribute to a better understanding of the maturation process of the Romanian aesthetic discourse at the confluence between the 19th and 20th centuries. At the same time, a perspective is offered on the European aesthetic traditions with which Iosif Blaga and Ghiță Pop became familiar and on how they interpreted them in the Romanian context.

Improvizația ca geneză în arta actorului

2023-11-01T10:46:47+00:00

O incursiune interdisciplinară (improvizație, arta actorului de teatru, dans, mișcare scenică) în câteva dintre cele mai semnificative ”metode” de întruchipare a personajelor de teatru ne ajută să decriptăm sensurile și semnificațiile învățăturilor unor mari personalități teatrale, ideea de corp fiind fundamentul oricărei creații umane, în toate domeniile. Acest volum este o încercare de analiză multidisciplinară, în care sunt îngemănate mai multe discipline: improvizație scenică, arta actorului de teatru, expresivitate și mișcare scenică, dans, balet, toate în vederea argumentării teatralității limbajului scenic.

Hei, dud(e)! Strategiile absenței în opera lui Samuel Beckett

2022-11-22T23:44:03+00:00

Hey, dud(e)! Strategies of Absence in Samuel Beckett's Writings
The book seeks to distance the reception of Beckettian writings from the canon that consecrated them, namely that of the theatre of the absurd. Using instruments of theology, philosophy, and art philosophy, the author brings back to the discussion the significant elements of the Irish writers' work: that of poetics and that of Gnostic thought. Ultimately, Beckett maintains a constant and often tense dialogue with the Holy Books in his writings. At the same time, he cultivates an ambiguity of expression that approaches the paradox, if not of faith, at least of religious feeling.
The present volume proposes an immersion into the depths of being, constantly oscillating between reason and faith, possible and the impossible, presence and absence, depths which are insurmountable in the existential destiny of any of us.

Az alkalmazott zene hermeneutikája

2022-11-22T23:23:31+00:00

The Hermeneutics of Applied Music
This study is the result of many years of scientific research and experience as a composer. The aim of the research was that the exploration of self-immolating applied music would contribute to the complex examination of the results of contemporary theater science, and to the scientific analysis of the (sound) layers of the past. I tried to outline a synthesis that starts from the premise that music is a specific signal network created in the dramatic process, and that this signal network is the interpretation of space, dramatic text, acting and presence, a mise en scene if you like in the sense of a broader understanding. I borrowed this method of understanding that can move a wide spectrum from philosophical hermeneutics, and since it is a relatively unexplored research field, the attempt to read music and/or applied music hermeneutically, can also be interpreted as a language-searching and language-creating exercise. The hermeneutical approach to music places the understanding by hearing, the meanings represented by the musical language and the function of application as the object of scientific research. Within a performance, we can understand music from different perspectives: as a quality that carries an effective approach, as a specific function or as legible sound content. The extent to which the music is used outlines the composer's creative and compositional method so that through the music we can also gain insight into the inner processes of creation. In a theater performance, music is a symbolic and language-creating phenomenon. We can aim the understanding this language with the specific method of hermeneutics. With this method, we can take a closer look at many details that, at first sight/listening, where reflection is only possible based on our perceived aesthetic experience behind the harmony of the music and the performance. By examining the discourse between musical texts and forms of expression, we can find perspectives that can be both historical, i.e. tradition-based, and text-centred, or linguistic, in theatre theory.

Vocația excelenței - Béres András - A kiválóság dicsérete

2022-10-31T17:23:36+00:00

The Vocation of Excellence - Béres András
Volume dedicated to the eighteenth birthday of the teacher and art philosopher Béres András.

Teatrul pentru publicul tânăr în România

2022-10-31T20:52:35+00:00

Volumul „Teatrul pentru publicul tânăr în România” constituie prima cercetare a fenomenului teatral pentru adolescenți (14-18 ani) de pe scenele românești și își propune o radiografiere a unui fenomen relativ nou, aflat, în România, încă în faza de pionierat.

Caragiale mosolya

2023-10-31T23:19:40+00:00

Caragiale’s Smile
The volume contains the complete dramatic works of I.L. Caragiale in the Hungarian translation of theatre director Attila Seprődi Kiss. Alongside the translations of A Lost Letter (O scrisoare pierdută), A Stormy Night (O noapte furtunoasă), and The Carnival (D-ale carnavalului) , the volume contains the one-act play Leonida Face to Face with Reactionism (Conu Leonida față cu reacțiunea), the drama Scourge (Năpasta) and the monologue 1st of April (1 aprilie).

A musical műfajának esztétikai és pedagógiai vetületei

2023-10-31T23:01:55+00:00

" Scientific literature does not indulge us with textbooks on musicals: the genre still bears the stigma of frivolous audience-baiting and pure commercial expediency even in these times of the cultural and theatrical canons, and the relativization of the ‘elite’ and ‘popular’. It is therefore welcome that Imre István Strausz does not focus on extremely popular and less well-known musicals in terms of the genre in a general informative way, nor on the historical orientation of serious approaches to the genre, but on dissecting their aesthetic creation, researching the components of their mode of action. The reader will recognize it is about a genre that enforces theatrical aspects to the core, which, due to its difference from distinctly dramatically grounded and text-centered modes of impact, meets a harsh reception by those who still understand theatre as drama. Its mastering, therefore, has an important place and role in the acting training, and this is the process that this book presents."

(Árpád Kékesi Kun)

Cuvântul rostit de actor pe scenă – Ființare, Identitate, Conectare

2022-10-31T15:27:43+00:00

Cartea reprezintă un demers al cuvântului rostit de actor pe scenă, pornind de la cuvântul originar și până la cuvântul conectat și validat de laboratorul lăuntric al artistului dramatic și de celelalte instrumente de expresie și expresivitate. Lucrarea poate fi privită ca un manual de utilizare a cuvântului care nu este doar pronunțat, ci rostit.

Coeditor: Presa Universitară Clujeană

Nagyváradi magyar színháztörténet 1950–1990. Philther-elemzések

2023-11-13T17:57:10+00:00

Istoria teatrului maghiar din Oradea 1950–1990. Analize Philther
Studiile Philther incluse în volum vizează patru decenii din istoria teatrului profesional de limbă maghiară din Oradea: era de aur a operetei în orașul numit și Parisul de pe malul râului Peța, respectiv perioada de glorie a stilului liric-oratoric reprezentat de către regizorul principal al teatrului, Szabó József.

Coeditor: Teatrul Szigligeti din Oradea, EME (Societatea Muzeului Ardelean)

Satisfacția studenților din cadrul Universității de Arte din Târgu Mureș

2022-10-31T14:13:46+00:00

Student Satisfaction at the University of Arts Târgu Mureș

The research initiated within the Theatrical and Multimedia Research Institute aimed to evaluate the degree of satisfaction of students and the perception of teaching staff regarding the services offered by the University of Arts Târgu-Mureș and the quality of study programs.

Nebunul din noi. Prolegomene la o istorie antropologică a bufonului

2023-11-13T18:54:03+00:00

The Fool Within Ourselves. Prolegomena to an Anthropological History of the Jester
The volume proposes both a historical perspective on the fool in his various poses but also an analysis of dimensions that open up new meanings regarding the art of theater. Jesters have appeared and still appear in history, culture and literature in many forms, which either provoke laughter or force us to answer uncomfortable questions. Even if we try to decipher and include the fool in a clear category, he slips through our fingers and, laughing, turns his mirror to the audience: after all, what is madness and who is the fool?

Öleljük meg egymást

2022-02-05T13:49:08+00:00

Let’s Embrace Each Another
UArtPress - Lector
Patrice Pavis (1947) is a world-renowned theater theorist, author of more than ten volumes, and a professor at major universities. His Dictionary of Theatre has been translated into more than thirty languages. He has also been writing theatrical plays since the 2000s, and in 2021 his novel Poème toi-même was published. The volume, translated by theatre director Éva Patkó, contains adaptations of the major Chekhov plays.

Plays:
Vania and Her (Vania et elle),
A Visit to the Hospital (Visite à l'hôpital)
Let`s Embrace in the Cherry Orchard (Embrassons nous dans la cerisaie)
My Three Sisters (Mes trois sœurs)

Színházi nevelés Erdélyben

2022-02-01T14:11:54+00:00

A könyv első összeírása az elmúlt negyedszázad azon erdélyi törekvéseinek, amelyek a színházi nevelés fogalma alá csoportosíthatóak. A kutatás megerősítése annak, hogy a színházi nevelés képes újraértelmezni és újjáteremteni az oktató-nevelő munka kereteit, és konstruktívabb, kooperatívabb szemléletet biztosítani tanár és diák számára egyaránt, ezzel is hozzájárulva a kompetenciaalapú tanulás és oktatás sikeréhez. A könyv előkészület és helyzetjelentés. Alapkutatási, összegző feladatot lát el a színháztudomány területén, és öt fejezetben, a színházelmélet és az előadáselemzés felől is megközelítve taglalja színház és nevelés kapcsolatát.

Kényelmetlen színház. A politikai tartalomtól az észlelés politikájáig

2022-02-01T13:49:31+00:00

Uncomfortable Theatre. From the Political Content to the Politics of Perception
The book's title is a metaphor created from the author's desire to capture contemporary performances that bring the spectator into an identity crisis. The book confronts contemporary Hungarian and Romanian theatre with the definition of politics articulated by the German theatreologist Hans-Thies Lehmann: "The politics of theatre is the politics of perception. (...) What can also be called the aesthetics of responsibility." (Lehmann 2009:224). In addition to Lehmann and Erika Fischer-Lichte, philosophers Hans-Georg Gadamer, Jacques Rancière and Alain Badiou provide the most important pillars in the analysis of the performances chosen by the author. Using their studies as tools, the author enquires chapters of 20th-century theatre history: the political theatre of Erwin Piscator and Bertolt Brecht, the surveillance and censorship of the communist period, and the response of art to these threats. The case study of the discussions after the critical rehearsals in the Hungarian State Theatre in Sfântu-Gheorghe during the sixties, seventies and eighties brings to light documents and correlations that were unknown before. Contemporary performance analyses include the first performance that thematized Hungarian-Romanian coexistence with the participation of Hungarian and Romanian actors, Gianina Cărbunariu's "20/20", a production in which the book's author worked as assistant dramaturg and translator.

Trilogia dramatică 2+1

2021-09-20T11:04:36+00:00

The Dramatic Trilogy 2+1 is a collection of two plays and a collage. The plays metaphorically approach moments in our contemporary history related to 1989 and the next era. The collage capitalizes on fragments from the work of I. L. Caragiale, highlighting the persistence of the same deficient language in the second-hand newspapers of the nineteenth century, to postmodern e-media.

Test – hatalom – intézmény

2021-09-20T11:34:37+00:00

Body – Power –Institution. The Structural Changes of the Theatrical Public Sphere in Transylvania
It is evidence for Theatre Studies researchers, that the hierarchical structures of East-European dictatorial regimes are reproduced by the institutional model of Regietheater, which uses their power structures and, very often, their means. Theatrical forms articulated in the period of dictatorial one-party regimes are evidently surrounded by secret, vagueness, non-disclosure and realities suppressed by power – today’s political and moral scandals result from those times. The starting point of our research can be defined from the perspective of contemporary theatre structures: we must discover the nature of this heritage -- what kind of moral, aesthetical, theatre pedagogical and power systems determine the „industry” and practice of theatre, and its public sphere. Our research aims for mapping the less investigated realm of Transylvanian (Hungarian) theatre practice: the structural changes of Transylvanian theatre institutions, the relation of art and power, as well as the theatrical regulation and nursing of the body, in the field of theatre, puppet theatre, theatre and dance pedagogy, as well as the amateur theatre. We follow these topics and track the changes of structure of the theatrical public sphere at the time when repertory theatres were (re)founded, in 1945-49 and after the political turn in 1990. The team of teachers and doctoral students at the University of Arts Targu-Mures is joined by researchers from Hungary, implementing comparative practices.

Szerep a színészben – a színész munkája a repertoár-színházban

2021-09-20T12:25:10+00:00

Role in the Actor – The Work of the Actor in Repertory Theatre
The book examines the making of an actor and the unpredictable process of staying in the field from the viewpoint of the author’s personal career and pedagogical experience. The ideas are organized from the assertion that it is impossible to define exactly who will become an actor, who will stay in the field, and what sacrifices are required to do so, no matter how much the pedagogy of the field might wish for a rational approach.
The author tries to formulate an answer that is based on the experience determined by the existing and unlikely professional opportunities from the perspective of the acting student at the University of Arts in Târgu-Mureș and the work in Hungarian-language repertory theatre companies in Transylvania.
The focus is on the actor's work, first of all the mechanisms of character construction, the formation of the understanding of the role in performances, the conditions and possibilities of repertory theatre; it also aims to identify the influences the actor faces in this professional environment, trying to mark those revelations generating changes in the actor's mentality and value system which, although specific, can nevertheless be considered typical throughout the actor's existence defined by a professional tradition.

Nézővé válni

2021-08-10T22:43:43+00:00

Aria cercetării pe care se bazează această lucrare de studii teatrale cuprinde analiza proceselor de percepție în teatrul contemporan, precum și identificarea acelor experiențe teatrale care sunt în mod expres specifice teatrului contemporan. Lucrarea, pe baza tematizării statutului spectatorului, urmărește descrierea cât mai complexă a următoarelor procese și fenomene: văzul, perceperea atmosferei, sonoritatea, procesele formării sinelui și a subiectivității spectatorului. Metodologia generală a cercetării este de natură fenomenologică, cu o orientație interdisciplinară pronunțată. Pe parcursul lucrării sunt aduse în prim plan acele teorii teatrale și fenomenologice, care au repoziționat centrul de greutatea al studiilor de pe analiza structurii speculare a percepției estetice pe cea legată de rezonant a și procesualitatea acesteia. Capitolele lucrării sunt ordonate după cerințele firești ale logicii implicației: încercarea de a depăși bidimensionalitatea imaginii a condus la punerea în discuție a problemelor atmosferei, prin care se realizează o legătură densă între spectatori și imagini. A fost apoi tematizată sonoritatea, care la rândul ei a direcționat studiile spre analiza sistematică a problemelor formării subiectului și a subiectivării traumatice. Cercetarea sinelui – implicit prin utilizarea conceptelor și concepțiilor psihanaliticii – a pus în evidență mecanismele memoriei. În fine, conceptul de subiectivare traumatică este un rezultat al fructificării acestor concepte teoretice și al analizei experienței profesionale, dobândite ca observator sistematic al spectacolelor teatrale.

Lucrarea conturează un parcurs posibil al procesului de percepere al spectacolului teatral contemporan. Subiectivarea traumatică este descrisă ca un proces care se întâmplă în spațiul interacțiunii dintre actor și spectator.

Lucrarea este varianta redactată a tezei de doctorat a autoarei, condusă de Dr. prof.univ. Béres András și susținută cu succes la Școala Doctorală a Universității de Arte din Tg-Mureș.

Perspectiva broaștei

2021-08-10T22:16:49+00:00

Absurdul realist şi decorul ca personaj la Ioan Bocoş
Oraşul în care s-a zburlit piatra sau Călătoria titirezului nebun
Zidul
Cel ce-a văzut
Gnomeea
Umbra
Perspectiva broaştei

Hétköznapi emberek: drámák

2021-09-20T12:39:25+00:00

Common People. Plays
The DramArt series wishes to promote contemporary plays with the help of translations. In this first volume we publish five dramatic texts by Gianina Cărbunariu, translated into Hungarian by Csűrös Réka and patkó Éva, with a preface by Botos Kinga. Hungarian readers have now the opportunity to meet an author whose texts do not start from the loneliness of the writer’s desk to proceed then towards publishers, editors and the stage. They are born and modelled by the interaction between the living reality of everyday life and the process of theatrical creation. This is a dialogue in which partners change, very much like in the case of successful translations. A text which finds its home in another language will not only bring otherness closer, but it will also have an impact on the languages involved. With the following Romanian, English and Hungarian volumes of this series we wish to contribute to the dialogue between cultures, languages and theatrical conceptions. The publication was financed by the Communitas Foundation and supported by the Studium Prospero Foundation.

Principii de etică şi integritate în arta spectacolului şi în cercetarea artistică

2021-09-20T13:03:11+00:00

Principles of Ethics And Integrity in Performing Arts and Artistic Research
This volume discusses those notions, theories and concepts that can raise questions about both the place that ethics plays in relation to the performing arts and aesthetics, and the way in which researchers and practitioners of the performing arts can connect their own moral principles to the norms, customs and, especially, deontology unanimously accepted. The dispute over the definition of ethics, on the one hand, and morality, on the other, forces us to understand that we have at our horizon the immutable laws of Mankind, but also the rules and social norms, assumed by each of them and last but not least, morality, which dictates how our own beliefs and "laws" meet those of our fellow men. The volume was funded by an FDI project.