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Интермедијалноста во македонскиот театар

100%
Петровска-Кузманова К.
Poznańskie Studia Slawistyczne
|
2012
|
issue 2
EN
In the text  Intermediality in Macedonian theatre, which uses the play  Macedonian bloody wedding  by  Vojdan  Chernodrinski,  directed  by  Ljupco  Gorgievski,  as  an  example,  an attempt  is  made  at  representing  intermediality  in  theatrical  performance.  It  is  achieved through  a  ready-made  technique  in  which  a  significant  role  is  played  by  the  music  group Foltin and their performance. They use various props, which they turn into their instruments. This  leads  to  their  actualization  through  dedication  to  their  essence.  In  this  way,  the  old forms  and  elements  of  the traditional folk  culture  cross  the  bounds  of  time,  reading  the folklore signs in the style of the postmodern scene expressions.
MK
In the text  Intermediality in Macedonian theatre, which uses the play  Macedonian bloody wedding  by  Vojdan  Chernodrinski,  directed  by  Ljupco  Gorgievski,  as  an  example,  an attempt  is  made  at  representing  intermediality  in  theatrical  performance.  It  is  achieved through  a  ready-made  technique  in  which  a  significant  role  is  played  by  the  music  group Foltin and their performance. They use various props, which they turn into their instruments. This  leads  to  their  actualization  through  dedication  to  their  essence.  In  this  way,  the  old forms  and  elements  of  the traditional folk  culture  cross  the  bounds  of  time,  reading  the folklore signs in the style of the postmodern scene expressions. 
2
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Gazing at Eurydice: Authorship and Otherness in Bracha L. Ettinger

84%
Kisiel A.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2020
|
vol. 6
|
issue 1
7-17
EN
A historical photograph of women and children from the Mizocz ghetto taken in 1942 just before their execution constitutes one of the most recurring motifs in Bracha L. Ettinger’s visual art. By means of her artworks, Ettinger endeavours to retrieve these women’s dignity and work through their traumas at a point when they are unable to do it themselves. Yet, one cannot ignore a number of questions that arise in the context of this kind of aesthetic practice; after all, Ettinger uses an archival photograph, taken by an anonymous photographer, and her acts of altering and decontextualising this “ready-made” material are aimed at producing a certain artistic effect. The objective of this article is to reflect on the issue of authorship in Bracha L. Ettinger’s theory and art. Having introduced two Eurydicial artworks, I proceed to unravel the status of a matrixial artist-author. In order to do so, I analyse such notions as ready-made art, matrixial Otherness, trauma of the World, gaze, and appropriation.
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