Provider: - Institution: - Data provided by Europeana Collections- Postaviti dihanje nasproti ritmu glasbe, srečati gibalne impulze sodobnega plesalca z baročno glasbo, stopiti v dialog z začetniki ...sodobnega plesa. Plesni solo Milana Tomášika Off-Beat raziskuje odnos sodobnega plesalca do ritma ter vzporedno temu hodi po opni napeti med zunanjimi vplivi iz zgodovine plesa ter notranjo koncentracijo plesalca.- To confront breathing with the rhythm of music and the motor impulses of a contemporary dancer with Baroque music, to start a dialogue with the originators of contemporary dance. Dance solo Off-Beat by Milan Tomášik explores the attitude of a contemporary dancer to the rhythm and at the same time walks the membrane extended between the external influences originating from dance history and the dancer’s interior concentration.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Postaviti dihanje nasproti ritmu glasbe, srečati gibalne impulze sodobnega plesalca z baročno glasbo, stopiti v dialog z začetniki ...sodobnega plesa. Plesni solo Milana Tomášika Off-Beat raziskuje odnos sodobnega plesalca do ritma ter vzporedno temu hodi po opni napeti med zunanjimi vplivi iz zgodovine plesa ter notranjo koncentracijo plesalca.- To confront breathing with the rhythm of music and the motor impulses of a contemporary dancer with Baroque music, to start a dialogue with the originators of contemporary dance. Dance solo Off-Beat by Milan Tomášik explores the attitude of a contemporary dancer to the rhythm and at the same time walks the membrane extended between the external influences originating from dance history and the dancer’s interior concentration.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Today, in the beginning of the 21st century, when a century has long passed since this farce was created, Cankar's Scandal in the ...Valley of St. Florian remains exciting particularly because of its Dionysian flare and open form, but at the same time its exceptionally precise dissection of the psychopathology of Slovenian everyday life – at the same time the everyday life of Cankar's space and time and of ours – joined together in the powerlessness of the perverted (neo)liberalism and provincialism. Cankar is our contemporary, because he resounds in our heads with his ethics and aesthetics, because the questions he asks are so fundamental, and the artistic answers he embodies so vivid. Vito Taufer, the grand master of authorial and living theatre readings of classics, stages Cankar's "greatest mischief" about the upstanding patriots of St. Florian Valley, shocked because of the "scandal" that "crept into the valley", in the persons of the artist-turned-bandit Peter and his muse, Jacinta, on one hand as pungently realistic and follows the script almost to the letter, and on the other he provides a decisive deviation and gives all roles, bar one, to men, which becomes the "indispensable driving force of the performance" (Zala Dobovšek, Delo), thanks to which "nothing is what it appears to be and is therefore even more like it is" (Sonja Zlobko, Radio Študent).- Vito Taufer ima za seboj že dolgo, razburljivo in pomembno režisersko pot, in kar nenavadno se zdi, da se doslej še nikoli ni soočil s Cankarjem. Janko Kos ugotavlja, da ima Cankarjevo Pohujšanje mnoge prvine ljudske igre, prek tega pa tudi tradicionalne vaške zgodbe, toda tradicionalni motivi imajo v tej drami novoromantični pridih; taka sta tudi razbojniški umetnik Peter in Jacinta kot prispodoba avtonomne umetniške ustvarjalnosti. Vito Taufer Pohujšanje vidi predvsem kot univerzalno, brezčasno pravljico, kot nesramen in neotesan buffo.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Today, in the beginning of the 21st century, when a century has long passed since this farce was created, Cankar's Scandal in the ...Valley of St. Florian remains exciting particularly because of its Dionysian flare and open form, but at the same time its exceptionally precise dissection of the psychopathology of Slovenian everyday life – at the same time the everyday life of Cankar's space and time and of ours – joined together in the powerlessness of the perverted (neo)liberalism and provincialism. Cankar is our contemporary, because he resounds in our heads with his ethics and aesthetics, because the questions he asks are so fundamental, and the artistic answers he embodies so vivid. Vito Taufer, the grand master of authorial and living theatre readings of classics, stages Cankar's "greatest mischief" about the upstanding patriots of St. Florian Valley, shocked because of the "scandal" that "crept into the valley", in the persons of the artist-turned-bandit Peter and his muse, Jacinta, on one hand as pungently realistic and follows the script almost to the letter, and on the other he provides a decisive deviation and gives all roles, bar one, to men, which becomes the "indispensable driving force of the performance" (Zala Dobovšek, Delo), thanks to which "nothing is what it appears to be and is therefore even more like it is" (Sonja Zlobko, Radio Študent).- Vito Taufer ima za seboj že dolgo, razburljivo in pomembno režisersko pot, in kar nenavadno se zdi, da se doslej še nikoli ni soočil s Cankarjem. Janko Kos ugotavlja, da ima Cankarjevo Pohujšanje mnoge prvine ljudske igre, prek tega pa tudi tradicionalne vaške zgodbe, toda tradicionalni motivi imajo v tej drami novoromantični pridih; taka sta tudi razbojniški umetnik Peter in Jacinta kot prispodoba avtonomne umetniške ustvarjalnosti. Vito Taufer Pohujšanje vidi predvsem kot univerzalno, brezčasno pravljico, kot nesramen in neotesan buffo.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Članek predstavlja metodo za prepoznavanje kvalitativnih in kvantitativnih razsežnosti odprtega javnega mestnega prostora v uporabnikovi doživljajski sliki. Temelji na domnevi, da odprti prostor ...mesta v miselni predstavi ni zvezni kontinuum, kar v splošnem velja za njegovo fizično pojavnost. Odkriva, kje in kako doživlja meje konkretnega odprtega javnega prostora, v katerem je, in kaj doživlja kot soseščino takega prostora. Raziskuje torej pravila, po katerih uporabnik fizično kontinuiran odprt javni prostor v mislih strukturira na manjše enote in jih povezujejo med seboj v omrežje. S poznavanjem teh pravil je mogoče odprte javne prostore, ki jih uporabniki doživljajo izrazito pozitivno, na miselni ravni razširiti na širši prostor in tako oživiti tiste sosednje prostore, ki so doživljani z negativno konotacijo ali pa v miselni predstavi sploh niso prisotni in posledično uporabljani. Prav navzočnost ljudi pa je bistvena sestavina kvalitetnega javnega prostora.
I civilizirana i primitivna društva zabavu smatraju nasušnom dječjom potrebom. (Lindstrom & Seybold, 2003.) Zabava je djeci višeslojni dragocjen doživljaj ispunjen jakim emocionalnim nabojem. ...Mentalno je svrsishodna i bitan je element razvoja djeteta. (del Vecchio, 2002.) Svi se slažu da djeca najbrže uče kroz zabavu, a i odgoj je kroz zabavu djelotvorniji.
U članku se predlaže nekoliko modela kroz koje bi se osnažila interakcija između kazališne predstave, kritike i publika unutar, te uz pomoć, digitalnog okruženja. Nekoliko primjera vezanih uz ...sjevernoamerički kazališni prostor nadaje se kao vrstan primjer uz pomoć kojih konzumenti kazališne predstave, uz određeno posredovanje, postaju producenti predstave, katkada i njezini izravni tvorci.
Pitanje zastupanja pa i obrane (književnih, estetskih, etičkih itd.) vrednota pojavljuje se često u Brešanovu dramskom opusu temeljem istovjetnoga meha¬nizma: između primitivizma, prijetvornosti i ...brutalnosti te potencijalnog i stvar¬nog prijestupa pa i zločina s jedne (Brešanova »Antiteza«), te prosvijećenosti, naprednosti/napretka i idealizma (»Teza«) s druge strane – stoji književni tekst kao produžetak Teze, tj. više ili manje očigledni/prikriveni predložak kojemu je svrha gradnja novoga dramskog kazivanja tematski i fabularno prilagođena prostornim, društvenim i svjetonazorskim okolnostima kojima pripada sam autor. »Posrednički« književni tekst u Brešanovim dramama (npr. Shakespeareovi Hamlet ili Julije Cezar) ulazi tako u zonu »popularizacije« jer svojom ulogom premosnika koji naglašava vrednote Teze, transfera između djelokruga »velike literature« i stvarnosti biva prezentiran kao građa koju treba učiniti bliskom široj publici, odnosno onomu tko konačni dramski tekst prima (čita ili gleda na pozornici), bez obzira je li primatelj sam prepoznao dotični, premosni tekst ili nije, tj. nije ga »dešifrirao«. Iz svijesti o toj konstrukciji nadaju se, među ostalim, pitanja o slojevitosti i ciljevima takve »posudbe iz klasike«.
Provider: - Institution: - Data provided by Europeana Collections- ROOM and ROAD je odprta zgodba, ki ne zatajuje hrepenenja do premika, do daljave, do sprememb.Je zgodba, ki govori sama o sebi, o ...elementarnem, o gibanju.
ROOM and ROAD je lahko tudi zgodba o deklini in potepuhu, ali o nedosegljivi bežeči točki, ki ima vznemirljivo privlačnost, o popotniku, ki se ustavi le kadar je z mislimi že v nekem naslednjem kraju.
ROOM and ROAD sta tudi dva prostora, ki se v različnosti dopolnjujeta, prvi je zaprt in drugi odprt. Sta dva pola, ki se snubita in, ki se lahko hkrati navdihujeta in si nasprotujeta. Sta kot dva značaja, ki ju ni moč razdvojiti saj prežita v vseh nas.
Gregor Podnar
ROOM and ROAD je nadaljevanje načina dela, kot ga je Mateja Bučar zastavila v predhodnem performansu (Koncept Koncepta), v katerem se plesalka sooča s prostorom, ki se s pomočjo računalniskega programa lahko giblje in tako postane njen "živ" partner. V performansu ROOM and ROAD sta dva gibajoča prostora, prvi je zaprt- notranji prostor (Room), ki je skozi svoje lastno lastno gibanje v dialogu z zunanjim prostorom (Road), hkrati pa sta oba »gibajoča prostora« tudi v dialogu z dvemi ali tremi plesalci, ki "potujejo",se gibljejo in plešejo z njima in med med njima.- Scene from the performance Room and Road. ROOM and ROAD is an open story, speaking about the desire to make a move, to long for distance and for change. It is a story speaking about the elemental, about the motion, about itself.
ROOM and ROAD is a story about a girl and a tramp, about unreachable point t that has un exciting charm and about a traveler who stops in one place but his mind is already in another
ROOM and ROAD, is also two different spaces completing each other, one closed and the other open are at the same time the two human poles endlessly opposing, inspiring and seducing each other.
Gregor Podnar
Room and Road explores and presents innovative way to use a computer generated projection as a base for the light and space solution in the performance.
The computer program that enables spaces to move and change also enables certain space to be in a relation with a dancer. The person behind the keyboard manipulates and creates the »moving« space, its walls to move, floor to disappear, reappear, jump or turn; It all happens in real time - he or she on the keyboard becomes, next to the dancers, an active performer.
The importance lies in the idea, to let the space that is generally perceived as motionless, static or dead, to present itself as moving and alive - to indicate the possibility for yet untaught or unimagined to become real.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
U radu se analizira projekt lutkarske predstave na Odjelu za nastavničke studije u Gospiću nastao kao rezultat korelativnog tipa nastave iz kolegija Scenska kultura, Likovna kultura i Metodika ...glazbene kulture, uključujući studente druge i treće godine učiteljskog studija. Na dramatiziranom literarnom predlošku Sanje Lovrenčić – Stavi soli svraki na rep studenti su, pod stručnim vođenjem svojih mentorica, osmislili, izradili i animirali štapne lutke, scenografiju, glazbenu podlogu, režirali predstavu i javno je izveli. Proces nastanka predstave odvijao se unutar jednog semestra, inicirajući niz kreativnih igara poticajnih u radu budućih magistara primarnog obrazovanja: igra uloga, animacije, igra pokreta, poigravanje oblicima, materijalima, bojama, glazbom.
