Gaismu dramaturģija 21. gadsimta teātrī. Latvijas Nacionālā teātra izrādes „Asins kāzas” piemērs

The article is devoted to contemporary theatre’s aesthetic strategies, specifically researching the increase of the principle of visuality in the message of the performance. Both the theory of postdramatic theater introduced by the German theatre scholar Hans Thies Lehmann and the researches of various leading theatre semioticians emphasise the growing importance of visual elements (scenography, costume, actor’s body, etc.) in the structure of the production. The theatrical lighting score is relatively one of the least studied components of 21st-century theatre. In the semiotic sign system of the performance, the stage light can be perceived as an integral part of the space, introducing the dramaturgy of light as an important element of the performance message. The aim of the research is to define the meaning of light dramaturgy in 21st-century Latvian theatre. The object of the research is the new generation outstanding lighting artist Oskars Pauliņš (b. 1989) and his light score for Vladislav Nastavšev’s production “The Blood Wedding” (2016) at the Latvian National Theatre. The article tackles the main principles of light dramaturgy in the performance, based on the four parameters of stage lighting (intensity, colour, mode of distribution, movement/dynamics) as defined by the light artist and theorist Richard Pillbrow. The analysis of the light score proves that the stage light created by Pauliņš becomes an artistically sufficient element of the stage production that participates in the formation of the performance message.

Illuminance Calculations for Stage Lighting Concept as a Tool to Improve It

The article covers lighting design in terms of its impact on a human. After making an analysis of scientific sources on this topic, the project has been implementing with the use of 3D modeling software. The model of the concert hall of NUST “MISIS” was created, then several concepts of stage lighting were developed. We made an analysis of one concept using lighting engineering calculations. This allowed us to find out how safe developed variant of stage lighting is.

Hyper Reality Theatre: Violating the Boundary of the Realism Structure through the Work “Theatre Lembu/Tepuk Amai-Amai”

The millennial era of the 21st century has fallen witness to the emergence of popular artistic works that transcend beyond reality marks and serve as a condition of the hyper-reality world. In this context, this paper work argues that Malay theatre performance is a popular art form that has risen and built its own tendency as a post-modern art product that violates the realism structure boundary and acts as a hyper-reality world. This must have been caused by the Malay theatre direction that comes with recent directors who have the desire to violate this realism structure, in their assertion of new theatre performance forms. Related to this, our current paper work discusses the work directed by Namron entitled ‘Lembu’ and another one by Wan Khairunazwan Rodzy entitled ‘Tepuk Amai-Amai’ that have olated the boundary of the realism structure by forming themselves as hyper reality theatre. Using the non-structured observation method and the application of the hyper semiotics theory as the study’s analysis outcome, this paper is able to explain the form of hyper reality theatre created by both directors as their effort to oppose to the realism theatre style in Malay theatre performance. This article’s main discussion is based on the interpretation of the actors’ acting form sign-system, the stage scenic sign-system, the stage lighting composition signsystem and the characters’ costume sign-system that have been channelled to both theatres ‘Lembu’ and ‘Tepuk Amai-Amai’. Thus, the findings in this article show that the actors’ acting form sign-system, the stage scenic sign-system, the stage lighting composition sign-system and the characters’ costume sign-system in ‘Lembu’ and ‘Tepuk Amai-Amai’ are the conditions of the proper sign, pseudo sign, false sign, recycle sign and superlative sign that mix together in the performance space. Thus, the integration among the proper sign, pseudo sign, false sign, recycle sign and superlative sign which overlap has led to this newly formed theatrical performance of Lembu and Tepuk AmaiAmai as hyper reality theatre and given a hyper-reality world experience into the staging Malay theatre today