scholarly journals The work of the couple Brailowsky in the mirror of Serbian critiques

Muzikologija ◽  
2003 ◽  
pp. 81-113 ◽  
Author(s):  
Nadezda Mosusova
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
National Theatre ◽  
The World ◽  
Historical Dramas ◽  
Queen Of Spades ◽  
Artistic Career ◽  
Edmond Rostand ◽  
Husband And Wife

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making d?cor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moli?re, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Milos by Petar Konjovic, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nusic and Milutin Bojic, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.

Using Stanislavsky's Toolkit for Shakespeare's Richard III, Part II: Research on the Self in the Play

2013 ◽  
Vol 29 (2) ◽  
pp. 159-169
Author(s):  
Bella Merlin
Keyword(s):  
The Self ◽  
University Of California ◽  
Female Characters ◽  
Richard Iii ◽  
Professional Career ◽  
National Theatre ◽  
The World ◽  
The University ◽  
Shakespeare And Company ◽  
Consequences Of Violence

An actor's training continues throughout his/her professional career, yet they rarely have the time or inclination to write in detail about their processes, when building a character, to provide documents for inquisitive peers. In this two-part article, Bella Merlin articulates the discoveries made playing Margaret in Richard III at the Colorado Shakespeare Festival in Summer 2012, directed by internationally acclaimed actor-director Tina Packer (co-founder of Shakespeare and Company with Kristin Linklater in 1978). Merlin highlights how the shift from teacher to actor reactivates the ‘willing vulnerability’ that she demands of her own students. She focuses on Stanislavsky's three avenues of research: on the playtext; on the world of the play and playwright; and on the self. There can be resistance by some theatre practitioners to the application of Stanislavsky's tools to Shakespeare's texts, often due to a perceived over-psychologizing. In these articles Merlin challenges some of these resistances. She demonstrates that Packer's insistence on connecting voice with thought to release the imagination implicitly harnesses Shakespeare's structure with Stanislavsky's underpinnings. Packer also lays emphasis on contemporary resonance, freeing the natural voice, and the significance of Shakespeare's female characters in Richard III for awakening an audience to the consequences of violence. The journey is unsettlingly personal and startlingly global. In Part I, in NTQ 113, Merlin addressed research on the text and research on the play, drawing upon history, biography, accounts of grief, and chilling footage of the Rwandan genocide. In Part II, which follows, she uses the immediacy of a rehearsal journal to address research on the self. Bella Merlin is an actor, writer, and actor-trainer. Acting includes seasons at the National Theatre with Max Stafford-Clark's Out of Joint Company. Publications include The Complete Stanislavsky Toolkit (2007) and Acting: the Basics (2010). She is currently Professor of Acting at the University of California, Davis.

scholarly journals The Undiscovered Countries: Shakespeare and the Afterlife

Religions ◽  
2019 ◽  
Vol 10 (3) ◽  
pp. 174 ◽  
Author(s):  
Cyndia Clegg
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
Henry V ◽  
Antony And Cleopatra ◽  
Titus Andronicus ◽  
Last Judgment ◽  
Multiple Uses ◽  
To Come

The multiple uses of religion in Shakespeare’s plays seem to counter each other at every turn. In one respect, though, I have found a surprising consistency. Moments when Shakespeare’s drama imagines the afterlife are moments that lend significant insights into the play’s action or characterization, even though the image of one undiscovered country may differ drastically from another. Across the canon, the afterlife may appear as a place of religious judgment, as in Othello, Hamlet, Merchant of Venice; as a classical Elysium or Hades where the spirit or shadow removes elsewhere (Antony and Cleopatra, Titus Andronicus); as Abraham’s Bosom—a place of rest between death and the Last Judgment (Henry V, Richard III, Hamlet); or an unidentifiable life to come (Macbeth, King Lear).

Using Stanislavsky's Toolkit for Shakespeare's Richard III, Part I: Research on the Text and the Play

2013 ◽  
Vol 29 (1) ◽  
pp. 24-34
Author(s):  
Bella Merlin
Keyword(s):  
The Self ◽  
University Of California ◽  
Female Characters ◽  
Richard Iii ◽  
Professional Career ◽  
National Theatre ◽  
The World ◽  
The University ◽  
Shakespeare And Company ◽  
Consequences Of Violence

An actor's training continues throughout his/her professional career, yet they rarely have the time or inclination to write in detail about their processes, when building a character, to provide documents for inquisitive peers. In this two-part article, Bella Merlin articulates the discoveries made playing Margaret in Richard III at the Colorado Shakespeare Festival in Summer 2012, directed by internationally acclaimed actor-director Tina Packer (co-founder of Shakespeare and Company with Kristin Linklater in 1978). Merlin highlights how the shift from teacher to actor reactivates the ‘willing vulnerability’ that she demands of her own students. She focuses on Stanislavsky's three avenues of research: on the playtext; on the world of the play and playwright; and on the self. There can be resistance by some theatre practitioners to the application of Stanislavsky's tools to Shakespeare's texts, often due to a perceived over-psychologizing. Here, Merlin challenges some of these resistances. She demonstrates that Packer's insistence on connecting voice with thought to release the imagination implicitly harnesses Shakespeare's structure with Stanislavsky's underpinnings. Packer also lays emphasis on contemporary resonance, freeing the natural voice, and the significance of Shakespeare's female characters in Richard III for awakening an audience to the consequences of violence. The journey is unsettlingly personal and startlingly global. Part I, which follows, addresses research on the text and research on the play, drawing upon history, biography, accounts of grief, and chilling footage of the Rwandan genocide. Part II, planned for the next issue, uses the immediacy of a rehearsal journal to address research on the self. Bella Merlin is an actor, writer and actor-trainer. Acting includes seasons at the National Theatre with Max Stafford-Clark's Out of Joint Company. Publications include The Complete Stanislavsky Toolkit (2007) and Acting: the Basics (2010). She is currently Professor of Acting at the University of California, Davis.

Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; King Richard III. By Gillian Day. xiii + 259 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Merchant of Venice. By Miriam Gilbert. xiii + 183 pp. $24.99; Shakespeare at Stratford. Series edited by Robert Smallwood, Susan Brock, and Russell Jackson. London: Arden Shakespeare, 2002; The Winter's Tale. By Patricia E. Tatspaugh. xiii + 240 pp. $24.99.

2004 ◽  
Vol 45 (1) ◽  
pp. 155-158
Author(s):  
Cary M. Mazer
Keyword(s):  
King Lear ◽  
Julius Caesar ◽  
Merchant Of Venice ◽  
The Winter's Tale ◽  
Richard Iii ◽  
Winter's Tale ◽  
The Merchant Of Venice

Scholars preparing production histories of individual Shakespeare plays have long been faced with the challenges of structuring their studies. The scholar can choose to write a straightforward one-actor-or-production-after-another monograph (Rosenberg on Othello, Ripley on Julius Caesar and Coriolanus, Bartholomeuz on Macbeth and The Winter's Tale, etc.), a transhistorical encyclopedic scene-by-scene and line-by-line collation (Rosenberg on King Lear, Macbeth, and Hamlet), a transhistorical interlineated text (Bratton and Hankey's Shakespeare in Production editions, under a variety of different series titles and publishers), or an exemplary-production snapshot album (Mulryne and Bulman's Shakespeare in Performance series).

Aventure du côté du carnaval: Vie et mort du Roi Boiteux

1992 ◽  
Vol 17 (3) ◽  
pp. 203-216
Author(s):  
Louise Vigeant
Keyword(s):  
Club Foot ◽  
Full Length ◽  
Richard Iii ◽  
The World ◽  
The Subject ◽  
Marilyn Monroe

Jean-Pierre Ronfard's Vie et mort du Roi Boiteux, an impressive six-play cycle telling the story of King Richard ‘Premier’ (i.e. ‘The First’, but Premier is meant here as a family name, as would be Jones or Smith), was created in 1981 and has been seen ever since as a landmark in the recent evolution of Québécois drama. It starts out as games played by children in a back lane and focuses on a limping boy who will be king. The limping king whose story is told as a ‘play-within-a-play’ refers to Oedipus's club foot as well as to Shakespeare's deformed Richard III. The story is heavily parodic, set simultaneously in all parts of the world and at all times, so that Marilyn Monroe and Queen Nefertiti can meet, as well as Brecht and Aristotle. Each play has been staged separately, but the full cycle was occasionally done in succession, a spectacular event lasting fifteen hours. The subject of this article is the very first full-length production, done partly outdoors, on 24 June 1982, in Montreal.

I Love You. Who Are You? The Strategy of Drama in Recognition Scenes

PMLA ◽  
1977 ◽  
Vol 92 (2) ◽  
pp. 297-306
Author(s):  
Helene Keyssar
Keyword(s):  
King Lear ◽  
Audience Participation ◽  
Stanley Cavell ◽  
The World ◽  
The Spectator ◽  
Critical Process

Audience participation in theater often obscures or confuses the magical nature of the activity of theater. The uniqueness of this activity is centered in the separateness of the world of the play from the world of the audience, as Stanley Cavell remarks. The importance of such separateness becomes vivid in recognition scenes which are the structural core of most drama. Aristotle perceives the importance of recognition scenes, but does not show adequately what such scenes do to the spectator. The recognition scenes in Sophocles’ Oedipus Rex and Shakespeare’s King Lear reveal drama’s special ability to allow the spectator to acknowledge another while himself remaining private. The critical process involved in coming to such an understanding of drama, while similar to some elements of structuralistic analysis, focuses more directly on a concern with the patterns of relationship between play and audience. My methodology corresponds to Stanley Fish’s “affective” stylistics.

scholarly journals Images of game and gamer in the space of literature and computer games

2020 ◽  
pp. 69-80
Author(s):  
Olga Anatol'evna Bychkova ◽  
Aleksandra Valer'evna Nikitina
Keyword(s):  
Computer Games ◽  
Russian Literature ◽  
Literary Work ◽  
Psychological Type ◽  
Classical Literature ◽  
Modern Computer ◽  
The World ◽  
The Subject ◽  
Queen Of Spades ◽  
First Time

The subject of this research is the images of game and gamers. In the space of literary work, they are arrayed in metaphorical and often demonic raiment, receiving moral-ethical interpretation in one or another way. The problem of game and gamer in criticism was regarded by Y. Mann (“On the Concept of Game as a Literary Image”), V. V. Vinogradov (“Style of the Queen of Spades”), E. Dobin (“Ace and Queen”, A. Pushkin’s “The Queen of Spades”), R. Caillois (“Games and People”), British writer and researcher of online games R, Bartle, American scientist Nick Yee, and many others. However, juxtaposition of literature sources on the topic to the research in the field of computer games is conducted for the first time. The scientific novelty consists in the comprehensive examination of the psychological game of the gamer based on the material of Russian literature (A. S. Pushkin “The Queen of Spades”, V. V. Nabokov The Luzhin Defense”) , as well as the modern computer games practice, in which psychological type of the gamer found its realization and development in accordance with genre diversity. Even the Russian classical literature depict game as an autonomous space that encompasses the gamer, and often has devastating effect on their personality. The author also observes an important characterological trait of the gamer: the conceptual, “literal” perception of the world, which is based on the reception of visual images of the world against verbal. Therefore, the Russian literature alongside the research practice of modern videogames from different angles approach examination of the images of “game and gamer”, cognize the factors and consequences of the problems that emerge in this object field, as well as seek for their solution. The data acquired in the course of the conducted comparative analysis is mutually enriching.

scholarly journals Antroposeeni kansallisella näyttämöllä

2017 ◽  
pp. 45-63
Author(s):  
Elsi Hyttinen
Keyword(s):  
National Culture ◽  
Illustrative Case ◽  
National Theatre ◽  
Research Material ◽  
Theatre Production ◽  
Companion Species ◽  
The World ◽  
The Future ◽  
The Media ◽  
The Relationship

Anthropocene on the National Stage: Maaseudun tulevaisuus (“Future of the Countryside”, The Finnish National Theatre 2014) and the Interregnum We Live in The article argues that entering the Anthropocene has pushed us into a cultural interregnum. However, the discussions of the Anthropocene and the concept of interregnum seldom meet. In this article it is assumed that this stems from the fact that the concept of interregnum pertains to the 20th century critical epistème and as such, it is a mismatch with the current theoretical impulse of turning toward affects, ontology and becoming. However, the case is made that we should not let go of the critical legacy altogether: to analyse struggle over and between epistemologies, we need critical concepts. Research material in the article consists of the manuscript of Leea Klemola’s 2014 Finnish National theatre production “The Future of the Countryside”, and nine articles from the newspaper Helsingin Sanomat’s digital archive, published during the play’s opening week. “The Future of the Countryside” asks what could the relationship between humans and their companion species be like, were it not based on the idea that it is legitimate for humans to treat the rest of the world as resources. However, the media brouhaha surrounding the play’s opening night hardly touches upon this theme at all. Instead, the nation and the limits of national culture are repeatedly evoked as the primary explanatory framework. In this way, the “Future of the Countryside” provides an illustrative case of the interregnum we live in, understood as old epistemologies losing ground but still keeping the new from emerging.

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