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1

Video and Theatre or a Hybrid Scene: The Case Of Theatrical Mise En Scène Fanny and Alexander

100%
MISTRÍK M.
Communication Today
|
2017
|
vol. 8
|
issue 2
134-145
EN
Today’s theatrical art sometimes utilizes modern electronic technologies of visualisation that may be, especially if we use a certain amount of simplification, generally defined as “video”. This kind of technology consists of a complex set of devices: shooting cameras, recording devices, trick equipment, broadcasting devices, screens. Theatrical mise en scènes once used to involve film; however, mostly before the emergence and refinement of digital video technologies. It is beyond any doubts that compared to film, video has many advantages – one of the most significant of these advantages is the fact that video technology allows to provide simultaneous online streaming of both image and sound. In case creators and producers of a theatrical mise en scène decide to use such a technology, they tend to favour it over the theatrical elements, which may lead to a shift from mimesis towards virtualisation of the performed spectacle. On the other hand, classic theatre, along with its long-term tradition and solid forms, is a strong, persistent sphere of art; even the video is rarely able to prevail and change the scenic reality into a virtual, abstract electronic world. We have decided to discuss these theoretical notions in relation to the theatrical mise en scène Fanny and Alexander by Ingmar Bergman, which was directed by Marián Amsler and performed at the Slovak National Theatre in 2016. Our analysis reflects on the forms of hybrid convergence merging theatrical art and video art in this particular case. However, as the conclusion suggests, video art and its technological possibilities may have influenced the mise en scène’s overall setting, but the given theatrical work was able to preserve its own integrity without sacrificing any part of the true nature of theatre as such.
2

CHANGES OF METHODS, TECHNIQUES AND RESEARCH RECORDS IN THE HISTORY OF SLOVAK ETHNOLOGY (Premeny metod, technik a zaznamov vyskumu na pozadi dejin slovenskej etnologie)

84%
Benuskova Z.
Slovenský národopis (Slovak Ethnology)
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2009
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vol. 57
|
issue 3
399-312
EN
Technologies, enabling to record findings obtained by open-field research, have marked the development of ethnology. The contribution deals with the penetration of modern technologies into research work methods employed by ethnologists since the middle of the 20th century up to the present. The focus is on the ethnological photography, drawings, the film and video documentation and the Internet. The authoress states three paradoxes that characterize the development of ethnology in the contemporary world of technologies. As it is in ordinary communication between people, the direct contacts between researcher and the informant become more and more often substituted by technological devices. The tendency of ethnologists to examine the contemporary society means not only to convert the new forms of communication into an object of their exploration but also to employ them as useful research tools in their scientific discipline.
3

DOWNCAST COLOSSUS. COMMUNIST ARCHITECTURE IN ROMANIA’S POST-COMMUNIST CINEMA

84%
Maxim J.
ARS
|
2012
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vol. 45
|
issue 1
6 – 17
EN
The article takes a closer look at a series of films and video performances that confront, assault, and more generally re-imagine the legacy and meaning of communist architecture in a post-communist world. Some of the works discussed are the Romanian artist Irina Botea’s video installations and photographs of 2003, revolving around the gigantic Ceausescu’s People’s House in Bucharest, and recent Romanian films in which the scenario revolves around the architecture of communist housing estates: 12:08 East of Bucharest (2006, director Corneliu Porumboiu), 4 Months, 3 Weeks and 2 Days (2007, director Cristian Mungiu), and “C” Block Story (2003, director Cristian Nemescu).
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