Military Costume in Ukrainian Theaters Performances of the First Half of the XX Century

The purpose of the article is focused on the analysis of the distribution of military costumes in Ukrainian theatrical performances of the first half of the twentieth century. We consider the role and significance of military costumes as an important component of the construction of the mise-en-scène of the play and the means of creating its texture to be especially important here. Methodology. The methods used to achieve this goal are used in the sequence and interaction of the practice group and the theoretical group. First, based on a combination of cultural-historical and historical-comparative methods, it is important to trace the first examples of the appearance of characters in military costumes in the plot of the play and establish their meanings. Thus, historicism allows us to establish the main trends and traditions that emerged in the chronotypes of various performances. Given the need to superimpose images from the dramatic text on the images of characters and the composition of mise-en-scène, it is also necessary to use the hermeneutic method. The scientific novelty is due to the lack of academic works and publications on this topic, and therefore the article for the first time raises the question of the development of the typology of theatrical costume during the first half of the twentieth century. The conclusions obtained by the author during the analysis of the collected materials are based on the three most important points. Military costume in Ukrainian drama and performance was used in the XIX century as a marker of individual characters who particularly influenced the decision of the culminating events of the plot and were the bearers of special skills and abilities. The appearance of plots related to revolutionary events in the play makes the military costume on the stage popular. In the synthesis of the arts involved in the play, the military costume became the leading texture that formed the latest mythologies of characters and meanings in theatrical art. Key words: military costume, the mythology of a military character, soldier-magician, someone else's costume.

Theatre for All

At the crossroads of ESL education and drama there lies a relatively unexplored issue facing schools. Little research exists proposing and examining the efficacy of pedagogy designed to serve students without an English-as-a-first-language background. Through the lens of Ontario’s education system wherein students of all language backgrounds are expected to learn together in subject classrooms, the impacts of existing ESL focused pedagogy were tested in this mixed environment. Using existing linguistic analysis techniques focused around rhythm and pause, the development of students’ performance of dramatic text who followed this pedagogy was measured against a control group in an attempt to ascertain whether this pedagogy has merit in the classroom, and what still needs to be done to create more inclusive and effective drama classrooms in the province of Ontario.

Actors’ and Actresses’ Perceptions on the Applications of Discourse Analysis from a Qualitative and Quantitative Outlook to Musical Theatre

Homo loquens has the ability of language. Language is present in all the aspects of life, including performing arts. The main goal of this proposal is to assess the perception of actors and actresses on a resource which has been developed to help them make the most of the text; the fundaments of this resource are in the linguistic theory. The main goal of this acting resource which combines a quantitative and a qualitative approach to the text is to foster critical thinking. The goal is thus to approach the dramatic text from different perspectives to provoke deep reflections on the text through discourse analysis. Subsidiarily, an interview to a professional actress has been carried out to know her thoughts on the resource and her perception was positive. As a conclusion, it might be interesting to explore the relationships between drama and linguistics.

One Text, Many Literary Traditions: The Multidimensionality of Wole Soyinka’s Death and the King’s Horseman

Death and the King’s Horseman, published in 1975, is undoubtedly Wole Soyinka’s most acclaimed play. When awarding the playwright the Nobel Prize in Literature in October 1986, the Committee specifically cited it as a “drama of existence”. Many literary critics have written about the play from multifarious perspectives. However, the dramatic text is still open to multidimensional interpretations that can further illuminate the rich texture of this canonical work. My study contextualises this dramatic masterpiece as yielding to a form of critical inquiry that makes it cohere with definitions of various literary traditions. It can be interrogated as Yoruba/Nigerian national literature, African literature, postcolonial literature, and world literature. It is, therefore, in this effort to use many approaches to see the play as a holistic text that I have chosen to interrogate it as “one text, many literary traditions”.

Художня артикуляція проблеми постлюдства у п’єсі Карела Чапека “Р.У.Р. Россумові універсальні роботи”

In the article Karel Čapek’s play “R.U.R. Rossum’s universal robots” is read not only as an anti-utopia devoted to the confrontation between humans and robots, but also as a work of art that defines a number of humanitarian discourses of the twentieth and early twenty-first centuries. The play correlates with modern humanitarian studies of posthumanity, posthumanism and transhumanism, examines various projects of posthumanistic reduplication of man – the archetype of the homunculus, types of humanized robots, cyborgs, iron warriors, predicts the decline of masculine discourse and the origins of feminism. The impact factor of this dramatic text goes beyond fiction and theatre and extends to the whole culture, because the concept of “robot” introduced by Karel Čapek is a stable concept of culture, transformation and technology. At the conceptual level, the article deals with the ability of artistic thinking to forecast, identify promising general scientific issues and structure future humanitarian discourses.

The Copyrightability of Opera Direction

A judgment of the Italian Court of Cassation – No. 17565 of 18 June 2021 – offers an opportunity to investigate the legal protection options applicable to the direction of opera. As this issue is not addressed by EU law, EU Member States have adopted different approaches, from awarding copyright, to neighboring rights, to a mixture of the two. This opinion aims at finding the most consistent solution within the Italian legal framework. After an assessment of the alternative legal options, it argues that opera direction should be eligible for copyright protection via an analogical application of Art. 44 of the Italian copyright law, which indirectly includes cinematic direction within the area of copyrightable works. This conclusion is based on the fact that there are no substantial differences between the two types of direction justifying a diverse treatment. Otherwise, it would result in blatant and unsubstantiated discrimination because both categories of directors set out to convert a text – the dramatic text or the film script – to the medium of theatre or film respectively. Finally, this opinion suggests that even if the other creative roles involved in opera making are not addressed by the law, they too should qualify as co-authors if they make a creative contribution.

Features and problems of drama translation (from the tragic farce material by Muliat Emizh "" ("The Place of the Dog")

Рассматривается одна из проблем художественного перевода - перевод драматического текста. Актуальность обращения к данной теме обусловлена отсутствием в адыгейской филологии фундаментальных теоретических трудов, посвященных переводу драмы. Анализируются разные подходы к исследованию драматического текста в переводоведении. В качестве примера для подробного анализа, выявления и решения наиболее значимых проблем было выбрано произведение адыгейской писательницы Мулиат Емиж «Хьэм игъолъыпI», выбор обусловлен наличием сложных с точки зрения перевода ситуаций, принципом построения сюжета, а также отсутствием перевода данной пьесы на русский язык. Исследуются наиболее проблемные места пьесы, предлагается собственный вариант перевода, разъясняются переводческие решения, например трансформации, к которым пришлось прибегнуть в процессе. Перевод драматических текстов находится на пересечении литературы и театра, в связи с этим наиболее успешной переводческой стратегией при обращении к драме следует считать сочетание интерпретации, трансформации и адаптации. One of the problems of artistic translation is the translation of the dramatic text. The relevance of the address to this topic is due to the lack of fundamental theoretical works devoted to the translation of drama in the Adygean philology. Different approaches to the study of dramatic text in translation are analyzed. An example for detailed analysis, identification and resolution of the most significant translational problems was chosen by the work of the Adygean writer Muliat Emizh "Hiem Igolyp". The choice is due to the presence of difficult situations in terms of translation, the principle of plot construction, as well as the lack of translation of this play into Russian. The most problematic places of the play are considered, the translation is offered, translational solutions, for example, transformations, which had to be used in the process, are explained. The translation of dramatic texts is at the intersection of literature and theatre, and the most successful translation strategy in addressing drama is a combination of interpretation, transformation and adaptation.

STAGE MODELS USED İN THE STAGİNG OF THEATER PLAYS,DECOR AND STAGE DESİGNS

Stage design is the design of decor, costumes, accessories, lights, effects and all other audio-visual environments for the enactment of a theatrical play on the stage. Stage design is the general name of the design of all counted areas. This art branch, which started in the Middle Ages in accordance with today's understanding as stage painting and stage decoration in the West, lived its brightest and most glorious period in the 19th century. The stage mechanics created by applying it to scenes that could be created in the 20th century, by inserting the visual illusion on purpose, cause the audience to see these false worlds with surprising and astonished glances. Stage decoration is a branch of art that incorporates all branches of plastic art, especially painting and architecture, but its function is to create spaces that will provide the necessary action on the stage, in accordance with the drama text written by the author. However, today, it continues to function with a new structuring like other developing and changing art branches. Now the stage designer must have a very good art background as well as being a good İnterior Architect. Their current and social cultural background, which is sensitive to the problems of the country and world societies he lives in, is an important factor in the emergence of a good stage design. It is no longer a stage decoration that is suitable for the dramatic text and it’s visually is in the foreground, but a stage design enriched and meaningful with the artistic interpretation of the artist and the expression of his feelings. In this article, the applicability of the interior architecture process and stage design process in the field of theater plays has been tried to be revealed.

Stage design of the modern Ukrainian director theater

The purpose of the article is to identify and analyze the leading directions in the development of stage design in modern domestic director's theater, as well as to explore the problem of director's search in stage design. Methodology. A systematic method was applied, aimed at theoretical and artistic, and practical comprehension of the main aspects of the process of solving a stage work in the complex of organizing stage action and stage space; the method of artistic-critical analysis in the process of studying the modern theatrical repertoire, made it possible to study the stage design of the domestic director's theater in the variety of its forms; the typological method, helped to systematize traditional and innovative approaches to the development and implementation of stage design, as well as to determine its features in modern Ukrainian theater; the method of figurative and stylistic analysis, thanks to which the specifics of the stage design of modern productions of Ukrainian theater directors have been identified and analyzed; the hermeneutic method helped to identify and interpret the meanings laid down by the director in the rhythm-chronotopic configuration of the stage design. Scientific novelty. The directing-staging and scenographic activity of the leading Ukrainian directors (B. Polishchuk, D. Kostyuminsky, S. Masloboyshchikova) has been investigated, the variable variety of approaches to solving stage design in modern Ukrainian drama theater has been revealed and their influence on the artistic structure of the performance has been characterized; the specifics of the design solution for a modern theatrical performance by Ukrainian stage designers, as well as production directors, have been determined. Сonclusions. The transformations of the functions and vocabulary of stage design in Ukrainian directing theater XXI century are directly related to changes in the visual aesthetics of modern theatrical art, the problems of interpretation of the literary source, and its stage embodiment. Taking over the functions of a theatrical artist, stage directors strive to create a unique author's environment for a dramatic situation, visualizing a literary text in the space-time continuum of presentation in accordance with the individual definition of the meaning of the production, in an effort to accurately illuminate their own concept. But in the production, carried out by theatrical artists, the dominant position is occupied by the image - the performance is a series of visual images, and visual symbols exert an emotional impact on the viewer, which is usually stronger than a dramatic text and acting.

Dramatic Text in the Teaching of Literature

In this text, we analyze the presence of dramatic texts in the teaching of literature based on the previous experiences from the Curricula, as well as the current presence of dramatic texts in the Curriculum for the Sarajevo Canton. In the science and methodology of literature education, the issue of a lack and insufficiency of the dramatic genre in literature teaching has been recognized for a long time. Our objective is to present how dramatic texts may and have to be more present in teaching through more significant inter-subject correlation. Thereby the importance of scene education is emphasized, which is primarily acquired in the literature and language teaching, but it may be applied in the teaching of other subjects as well.