The training of specialists in artistic higher education institutions should be conducted using modern methods, technologies, and developments and be oriented towards a modern audience, but at the ...same time, training should be based on established principles and views that have been tested by time. Les Kurbas is a personality whose views and principles of acting and directing can be a guide for contemporary artists, and therefore they should be used in the professional training of students of theatre and film education. The purpose of this paper was to cover the aspects of training future specialists in higher education institutions based on Les Kurbas’s directing craft. To fulfil this purpose, the following research methods were used: biographical method, methods of analysis and synthesis, method of comparison, method of abstraction, method of analogy, methods of deduction and induction. The paper covered the foundations of Les Kurbas’s directing craft and its influence on the development of modern theatre and directing, compared his principles and views with those of contemporary artists. The paper revealed the role of Les Kurbas and his work in preserving the identity of Ukrainian theatre and cinema and in the development of Ukrainian culture. A parallel was drawn between modern approaches to training future specialists and the foundations of Les Kurbas’s directing craft. The conclusion was made on the expediency of using the basics of Les Kurbas’s directing craft in the educational process of higher educational institutions. The paper described the specific features of using the basics of Les Kurbas’s directing craft in the preparation of future specialists for professional activity and provided recommendations for their implementation in the educational process. The results of this paper can be used by teachers of artistic higher education institutions when developing lecture materials and special courses, as well as by students for self-improvement and work on themselves and their professional skills, which underlies the successful development of Ukrainian theatre and cinema.
Der Begriff »Reenactment« (engl. to reenact: nachstellen, wieder in Kraft setzen) bezeichnet eine ästhetische Praxis der Wiederaufführung und des Nachstellens historischer Ereignisse. Heike Engelke ...untersucht einen Paradigmenwechsel in der Diskussion von nachstellenden Strategien als künstlerischen Zugang zu Geschichte und ihren Ereignissen. Sie plädiert für die Ausarbeitung eines Vokabulars zu deren Beschreibung - mit dem Ziel, sich nicht in der Diagnose einer naiven Vergegenwärtigung oder eines kritischen Surplus in der spezifischen Wiederholung des Reenactment zu erschöpfen. Vielmehr gilt es, der vielschichtigen Verhandlung des Vergangenen innerhalb der Gegenwartskunst gerecht zu werden.
The professional achievement of women is very important in the development of the Turkish Cypriot society. The role of the first women teachers in the progress of education system held an important ...share in the trend of modernization of the society. The first half of the 20th century for Cyprus was a period of struggle to gain independence and retain its national identity under difficult conditions both economically and politically. The presence of specialist women in every occupational field could not be achieved prior to the 1950s. The achievements can be performed only in an environment that offers a rich educational background. During the periods that lacked this essential educational system for female students on the island under the British Rule, young scholars training to be teachers made the best of every opportunity and knowledge they acquired from the educators, mainly non-natives to improve themselves. This paper will introduce the reader to one of these women who is the first Turkish art teacher in Cyprus. Our attempts to discover more about the life of this first woman art teacher led to Mevhibe Şefik. She is, in fact, remembered today not only as an art teacher but also as the first female typing instructor and stage designer.
sisällön kuvaus: Susisaari B47. KOM-teatterin Suomen kuningas -näytelmä Suomenlinnan kesäteatterissa raveliini Hyvässä Omantunnossa. Vasemmalla näyttelijä Tom Wentzel.
mustavalkoinen
Content ...description: Susisaari B47. Finnish King of the Finnish KOM Theatre plays at the Summer Theatre in Suomenlinna, ravelin in Good Omantunno. Left actor Tom Wentzel.
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sisällön kuvaus: Susisaari B47. KOM-teatterin Suomen kuningas -näytelmä Suomenlinnan kesäteatterissa raveliini Hyvässä Omantunnossa. Kuvassa näyttelijä Tom Wentzel.
mustavalkoinen
Content ...description: Susisaari B47. Finnish King of the Finnish KOM Theatre plays at the Summer Theatre in Suomenlinna, ravelin in Good Omantunno. The picture shows actor Tom Wentzel.
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sisällön kuvaus: Susisaari B47. KOM-teatterin Suomen kuningas -näytelmä Suomenlinnan kesäteatterissa raveliini Hyvässä Omantunnossa. Näytelmään musiikin säveltänyt muusikko Kaj Chydenius harmonikka ...sylissään istumassa muurin sisääntuloaukon vieressä.
mustavalkoinen
Content description: Susisaari B47. Finnish King of the Finnish KOM Theatre plays at the Summer Theatre in Suomenlinna, ravelin in Good Omantunno. Musician Kaj Chydenius, who composed the music for the play, accordions in his arms sitting next to the entrance to the wall.
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sisällön kuvaus: Susisaari B47. KOM-teatterin Suomen kuningas -näytelmä Suomenlinnan kesäteatterissa raveliini Hyvässä Omantunnossa. Vasemmalla näyttelijä Kaisa Korhonen, oikealla Eriikka Magnusson.
...mustavalkoinen
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Content description: Susisaari B47. Suomenlinna Summer Theatre ravelin at Good Omantunno. The audience at the grandstand before the start of the performance of the Finnish King’s play at the KOM ...Theatre.
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sisällön kuvaus: Susisaari B47. Suomenlinnan kesäteatteri raveliini Hyvässä Omantunnossa. Yleisöä katsomossa ennen KOM-teatterin Suomen kuningas -näytelmän esityksen alkua.
mustavalkoinen
sisällön kuvaus: Susisaari B47. Suomenlinnan kesäteatteri raveliini Hyvässä Omantunnossa. Yleisöä katsomossa ennen KOM-teatterin Suomen kuningas -näytelmän esityksen alkua.
mustavalkoinen
Content ...description: Susisaari B47. Suomenlinna Summer Theatre ravelin at Good Omantunno. The audience at the grandstand before the start of the performance of the Finnish King’s play at the KOM Theatre.
black and white
