The artistic practice of exorcism: Shabnam Shabazi (in conversation with Simon Ellis)

2020 ◽  
Vol 11 (2) ◽  
pp. 279-298
Author(s):  
Shabnam Shabazi
Keyword(s):  
Creative Work ◽  
Artistic Practice

This is a conversation between artist Shabnam Shabazi and choreographer (and Choreographic Practices co-editor) Simon Ellis. They discuss Shabazi’s practice and focus on her interest in the archive as a creative resource, the role of the concept of home in her creative work and in the ways in which our bodies are sites of transformation for artists and participants.

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

History Through the Prism of V.V. Rozanov’s Views and Myth-Creating

2019 ◽  
Vol 60 ◽  
pp. 40-48
Author(s):  
Galina V. Talina
Keyword(s):  
Middle Ages ◽  
Political Organization ◽  
Creative Work ◽  
Russian History ◽  
Historical Process ◽  
Static Image ◽  
State Bureaucracy ◽  
Role Of Religion ◽  
Public Person

The article analyzes V.V. Rozanov’s conceptions of antiquity, Middle Ages and new history. Rozanov singles out three periods of Russian history – Kiev, Vladimir-Moscow and Petersburg ones. The essence of each of those periods the philosopher consecutively correlates with adoption of Christianity, political organization formation and the beginning of individual creative work dominance. While interpreting his contemporary events as a public person and a journalist, Rozanov regards earlier epochs from the position of a myth-creator. The diverse historical process gives way to the literary and static image of the epoch. The author of the article pays special attention to how Rozanov characterizes historical personalities, to his views on the role of religion, state, bureaucracy and parliamentarism.

scholarly journals The personality and the creative work of A. Pasculli in the context of the West European music art of the 19th century

2021 ◽  
pp. 1-10
Author(s):  
Liliya Orlanovna Norbu ◽  
Mariya Vladimirovna Kholodova
Keyword(s):  
19Th Century ◽  
Early 20Th Century ◽  
Creative Work ◽  
Music Culture ◽  
Research Focus ◽  
The West ◽  
Russian Scientific ◽  
The 19Th Century ◽  
Creative Life

The authors of the research focus on Antonio Pasculli, a famous Italian virtuoso oboe player and composer of the late 19th - the early 20th century, whose name had long and undeservingly been in the wilderness. In the last two-three decades, his legacy has been getting a new lease on life. Pasculli’s compositions are on the concert list of oboe players all over the world. Despite the performance popularity, the personality and creative work of the outstanding Italian musician are still on the periphery of the research focus of Russian musicologists. All valuable information is contained in rare foreign researches. Therefore, the purpose of the article is to reconstruct the artistic portrait of Antonio Pasculli in the context of time. This research is the first in Russian musicology to introduce into Russian scientific discourse the data from foreign sources revealing the peculiarities of Pasculli’s creative life. Based on the analysis of the collected data, the authors conclude about the necessity to revise the role of Pasculli’s work and legacy in the context of European music culture of the 19th century. It is believed that familiarization with the information about the Italian musician, unknown to the Russian audience, will help to not only dive deeper into the specificity of Pasculli’s compositions, but also to reinterpret his place and role in the evolution of playing woodwind instruments.

scholarly journals Vyacheslav Lipinski about the peculiarities of nation-building and the role of religion in this process

2002 ◽  
pp. 45-54
Author(s):  
Z.V. Shved
Keyword(s):  
Nation Building ◽  
Religious Studies ◽  
The State ◽  
Creative Work ◽  
History Of ◽  
Role Of Religion

Over the last decade, interest in the heritage of such national thinkers who have worked in the space of sociocultural and religious studies has become relevant. That is why, in our opinion, the appeal to Vyacheslav Lipynsky's creative work is justified. Today, his legacy can be used not only to understand the history of society and the state, but also to understand some aspects of our present. Therefore, you should listen more carefully to the thoughts of this thinker.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals Motivación en educación artística. Tiempo y variables

2020 ◽  
pp. 56-61
Author(s):  
Inés López Manrique
Keyword(s):  
Arts Education ◽  
Educational Context ◽  
Artistic Practice ◽  
Comfort Zone ◽  
Education Students ◽  
Fundamental Factor ◽  
Artist Studios ◽  
Student Today ◽  
Work Done

Motivation is a fundamental factor for all kinds of activities, highlighting in it the role of emotions. Motivation is present, both in artistic practice and in the educational context, classifying as extrinsic or intrinsic. Reviewing fundamental authors on motivation directed to arts education students, variables such as time, resources, passion and the environment were found. Other strategies consist of evaluating: the importance of emotions, spaces, experimentation, recognition of the work done, reinforcement of the feeling of value and creative abilities, ideas, the introduction of new tools, unexpected objects and unexpected people. The importance of teamwork, getting out of the comfort zone, visiting artist studios or inviting artists to participate in classes is also defended. Attention is paid to the rhythms of each student, some faster, others calmer, giving them the necessary time according to the rhythm of each student. Today the increase in digitization also affects motivation in Art Education

scholarly journals TRIP SKETCHES IN CREATIVE ART OF LYUDMILA GORBATENKO

2018 ◽  
Vol 64 ◽  
Author(s):  
J.V. Romanenkova
Keyword(s):  
Art Criticism ◽  
Associate Professor ◽  
Creative Work ◽  
National Union ◽  
Graphic Arts ◽  
Creative Art ◽  
Main Factors

The article is dedicated to the creative art of modern Kharkov artist, Candidate of Sciences in Art Criticism, member of the National Union of artists of Ukraine, associate Professor of the Painting Department of Kharkov State Academy of Design and Arts Lyudmila Gorbatenko. Graphic arts as a segment of her creative work is considered. The role of sketching as one of the main factors of formation of an individual manner is emphasized. Cycles of watercolor sketches and travel sketches are analyzed. All analyzed works were created by the pencil in the period from 2003.

scholarly journals Valeryan Sergin and the development of the Siberian landscape painting at the turn of 21st century: to the study of the artist`s works

2021 ◽  
Vol 62 ◽  
pp. 310-324
Author(s):  
Natalia V. Pokrovskaya
Keyword(s):  
Creative Work ◽  
Artistic Practice ◽  
Siberian Region ◽  
Full Member ◽  
Creative Strategy ◽  
National Tradition ◽  
Art Program ◽  
International Projects ◽  
The Subject ◽  
Academy Of Sciences

The subject of research is an artistic practice of V. A. Sergin, a national artist of Russia, a full member of the Petrovskiy Academy of Sciences and Arts, an academician of the Russian Academy of Arts, a participant in more than 180 exhibitions, including 25 national and international projects, more than 20 personal exhibitions. The paper explores artist’s creative biography in the context of Russian and Siberian traditions and analyzes bright stages of the formation and flowering of the “Siberian school” of Russia, the Krasnoyarsk organization of the Union of Artists, with regional, regional, personal exhibitions and specific works of Sergin highlighted. The author addresses artistic originality of the national tradition of the Siberian region, allowing to holistically present a wide panorama of the development of the Siberian and Russian schools. The paper consistently attempts to discover the artist’s creative laboratory and to identify the “formula” of his inspiration. The basis of the study is a set of principles and techniques of work that have been carried out in practice by the artist from the late 1950s to the present day, and takes into account the creative work of V. A. Sergin, which solves specifically pictorial issues. The creative strategy of modern artist is perceived as a universal cultural environment, a territory for the formation of artistic meanings. The creative environment in the workshop, in the open air and during travels creates the conditions for implementing the art program and reveals those processes that help demonstrate and provide the continuity of artistic traditions.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

Legitimating Media: Shakespeare’s Awkward Travels Through Video Games and Twitter

2018 ◽  
Vol 11 (3) ◽  
pp. 418-435 ◽  
Author(s):  
Li Cornfeld ◽  
Victoria Simon ◽  
Jonathan Sterne
Keyword(s):  
Video Games ◽  
19Th Century ◽  
Creative Work ◽  
Interactive Game ◽  
Media Space ◽  
The Aesthetic ◽  
Media Form ◽  
The 19Th Century

Abstract Since the 19th century, Shakespeare references have recurred with surprising consistency in experimental forms of media. This article considers the role of references to and adaptations of Shakespeare texts when a media form takes on a new valence for a set of users in a particular time and place. We consider two different moments at length: a commercial interactive game from 1984 that made novel use of cassettes and sound, and the production and reception of early Twitter adaptations of Shakespeare in 2010. By standing in for the aesthetic possibilities and limits of a changing media space, Shakespearean references and deviations from them serve a key role for artists and critics in debates over the legitimacy and significance of creative work in emergent media. Thus, cultural producers, critics and audiences thus use these sometimes-awkward appearances of Shakespeare as a means of describing their aesthetic potentials and limits.

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