Celem tego tekstu jest ukazanie podobieństw formalnych, konstrukcyjnych i ideowych między strategią poetów letrystycznych (przede wszystkim Isidore’a Isou) a określoną grupą polskich dramatów ...XX-wiecznych. W wierszach letrystów (które ostatecznie funkcjonują jak parateatralne scenariusze) słowo funkcjonowało jako obiekt wizualny i dźwiękowy, wyrwany z tradycyjnej semantyki, będący swobodnym zapisem fizycznej pracy głosu i ciała; zaprzeczano tym samym tradycyjnemu alfabetowi i systemowi języka (w tym wypadku – aby pokazać kres reprezentacji niemożliwości tekstualizacji apokaliptycznego doświadczenia). Na podstawie analiz tychże praktyk autor wprowadza pojęcie „dramatu konkretnego”, który – podobnie jak poematy letrystów – jest jednocześnie obiektem wizualnym, partyturą rytmicznej kompozycji muzycznej, dziełem literackim i zapisem, oraz proponuje grupę tekstów, które można zaliczyć do tejże kategorii gatunkowej. Dokonana analiza wykazuje nieuświadomione i niezależne podobieństwo dwóch awangardowych prądów estetycznych, rozwijających się w XX wieku we Francji w Polsce.
Steve Beresford's polymathic activities have formed a prism for the UK improv scene since the 1970s. He is internationally known as a free improviser on piano, toy piano and electronics, composer for ...film and TV, and raconteur and Dadaist visionary. His résumé is filled with collaborations with hundreds of musicians and other artists, including such leading improvisers as Derek Bailey, Evan Parker and John Zorn, and he has given performances of works by John Cage and Christian Marclay. In this book, Beresford is heard in his own words through first-hand interviews with the author. Beresford provides compelling insight into an extensive range of topics, displaying the broad cultural context in which music is embedded. The volume combines chronological and thematic chapters, with topics covering improvisation and composition in jazz and free music; the connections between art, entertainment and popular culture; the audience for free improvisation; writing music for films; recording improvised music in the studio; and teaching improvisation. It places Beresford in the context of improvised and related musics – jazz, free jazz, free improvisation – in which there is growing interest. The linear narrative is broken up by 'interventions' or short pieces by collaborators and commentators.
The touch and movement senses have a large place in the modern arts. This is widely discussed and celebrated, often enough as if it represents a breakthrough in a primarily visual age. This book ...turns to history to show just how significant movement and the sense of movement were to pioneers of modernism at the turn of the 20th century. It makes this history vivid through a picture of movement in the lives of an extraordinary generation of Russian artists, writers, theatre people and dancers bridging the last years of the tsars and the Revolution. Readers will gain a new perspective on the relation between art and life in the period 1890-1920 in great innovators like the poets Mayakovsky and Andrei Bely, the theatre director Meyerhold, the dancer Isadora Duncan and the young men and women in Russia inspired by her lead, and esoteric figures like Gurdjieff. Movement, and the turn to the body as a source of natural knowledge, was at the centre of idealistic creativity and hopes for a new age, for a ‘new man’, and this was true both for those who looked forward to the technology of the future and those who looked back to the harmony of Ancient Greece. The book weaves history and analysis into a colourful, thoughtful affirmation of movement in the expressive life.
The relation between avant-garde and modernism has always been an issue in dispute, partly because the hypothetical nature of the terms makes them hard to cover the all-encompassing artistic reality, ...and partly because discussion of their relation is always in a macroscopic perspective, which makes it difficult to produce detailed and concrete research results. This paper compares Russian futurism and symbolism to analyze the similarities and differences between avant-garde and modernism in terms of their ontological, artistic, and linguistic views in creation. It has, to some extent, obtained a relatively clear answer to the relation between avant-garde and modernism.
The three string quartets by eminent Serbian composer Ivana Stefanović (b. 1948) were composed during three distinct periods of her oeuvre: modernism, avant-garde, and postmodernism. As such, they ...are paradigmatic for the development of Serbian modernist and avant-garde tendencies in the second half of the twentieth century. The First Quartet (1969-70) is a student work influenced by Enriko Josif, her professor of composition who was a member of the first modernist wave that appeared in Serbian music in the 1950s. The Second Quartet, Harmonies (1976), indicates Serbian avant-garde features with arched forms and music that 'emerges' from silence before 'drowning' in it. The Third Quartet, Play Strindberg (1993), is a departure from the previous two-it is a tonal piece with a clear form, written for a theatrical play. The dramatised musical story carries with it an emphasized need for the literarisation of musical form and a typically postmodernist attitude towards styles such as romanticism and modernism.
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Sulla rappresentazione in prospettiva sembravano avvincenti le interpretazioni delle presunte ‘trasgressioni’ compiute dagli artisti del Cinquecento dopo la codificazione delle regole per ...l’applicazione del metodo. Le sperimentazioni sulla policentricità di alcune rappresentazioni pittoriche sembravano lecite violazioni rispetto alla monocentricità, vista tuttavia come una pura astrazione dalla realtà. Nei tre secoli successivi, i disegni di architettura realizzati con l’impiego della prospettiva perlopiù mostrano il permanere dell’equilibrio delle composizioni, laddove si accentua la monumentalità degli edifici oltre alla rigorosa costruzione dello spazio. Un profondo cambiamento nel settore della rappresentazione, relativamente all’impiego dei metodi e delle tecniche grafiche, si registra a partire dagli inizi del XX secolo e pertanto, si evidenzia che la produzione degli esponenti dei movimenti di avanguardia, suggerendo profonde modificazioni nei sistemi e nelle tecniche di rappresentazione, ha individuato elementi determinanti per la nuova grammatica e sintassi del disegno di progetto. Nei disegni di architettura si osserva che probabilmente la prospettiva dava enfasi al processo di invenzione, poiché la creatività nell’ideazione di nuove spazialità era al centro dell’interesse di ognuno dei protagonisti del periodo. Le prospettive avvaloravano le sperimentazioni sulle forme degli spazi, sulle profondità ed elevazioni, sugli elementi costruttivi e i materiali, sui trattamenti delle superfici e le eventuali soluzioni decorative. Lo spostamento del punto di vista dalla posizione centrale a quella d’angolo dunque poteva ulteriormente evidenziare aspetti singolari delle architetture progettate. Per gli esponenti del Razionalismo, autori delle rappresentazioni di architettura selezionate, la variabilità d’impostazione del punto di vista si è tradotta nella possibilità di inventare spazi e rappresentarli efficacemente coniugando razionalità con eleganza, funzionalità con armonia.
The Russian avant-garde was a composite of antagonistic groups who wished to overthrow the basic aesthetics of classical realism. Modernism was the totality of these numerous aesthetic theories which ...achieved a measure of coherence immediately after the First World War. This collection of essays by leading scholars examines the major figures, movements and manifestos of the period. Scholarly attention is given to literature, visual arts, cinema and theatre in an attempt to capture the complex nature of the modernist movement in Russia. This book would be especially relevant for university courses on the Russian twentieth century as well as for those looking for a comprehensive approach to the various movements and artistic expressions that constitute the Russian avant-garde.
Northern Fennoscandia entered Christian Dotremont's (1922–1979) imagination in 1956. The Belgian avant‐gardist was comfortable in Central‐European artistic milieus through his involvement in CoBrA ...(1948–1951), but a total of 12 journeys to Sápmi between 1956 and 1978 had a profound effect on his creative work, especially the logograms he is best known for. This article studies Dotremont's travel writings and logograms as site‐specific forms of writing, which can be seen as precursors to ecopoetic approaches. Dotremont's journeys took place at a cultural turning point, when ethnographers had made their field trips but mass tourism was still in its embryonic state in Sápmi. His Sápmi‐inspired travel writings reveal how the idealism related to a hyperborean north initially intrigued him while he sought to elude modernity. Dotremont's cultural exchanges in Sápmi were non‐artistic but manifested in his art and writing. Sápmi brought about an ecological awakening through awe that was not sublimated but a lived experience. Dotremont immersed himself in Sápmi, with fundamental repercussions to his creative exploits.
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