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DVE ŠTÚDIE ADOLPHA APPIU RÉŽIA WAGNEROVSKEJ DRÁMY AKO ZREFORMOVAŤ NAŠU RÉŽIU

100%
Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
|
issue 4
397-426
EN
The publication of a Slovak translation (by Martin Brtko) of two studies by Adolphe Appia: La mise en scène du drame wagnérien [The Staging of the Wagnerian Drama, 1895] and Comment réformer notre mise en scène [How to Reform Our Theatre Directing, 1904] with an introduction by Miloš Mistrík. This edition of Slovak Theatre is part of a project in which Appia´s book L´Oeuvre d´art vivant [The Work of Living Art, 1921] has already been published, Bratislava: VEDA, 2020, and the Slovak translation of the book Die Musik und die Inszenierung [Music and Staging, 1899] is under preparation.
2

NIKLAVS STRUNKE (Niklavs Strunke)

75%
Silins J.
Materiali Latvijas makslas vesturei
|
2001
|
vol. 2
142-171
EN
Both the subject of this article, the artist Niklavs Strunke (1894-1966), and the author of the piece, art historian Janis Silins (1896-1991), are of importance in the history of Latvian art. Silins was one of the most active authors in the field of art criticism in the 1920s and 1930s. After World War II he lived in the United States and wrote a several volume treatise, 'Latvian Art', which was published in Stockholm in the 1980s. This previously unpublished article about Niklavs Strunke was written by Silins in 1942 on the basis of a commission from artist Ludolfs Liberts, who at that time was working as the director of the National Securities Printing Bureau. Because of the war, the paper was never published. In this version Silins' text has been preserved exactly as written, although, judging from the handwriting on the manuscript, his wife Elza Silina did some corrections on the work. In the first part of the article the author reviews Niklavs Strunke's biography, looking at the lives of his parents, his childhood and his education. The story ends at the time when the article was written - the early 1 940s. Silins reports various humorous incidents from Strunke's career, as well as facts about the artist's life which had not been known publicly before then. Silins has said that he had planned to end the article with just this first part, but Liberts insisted that a second part be written so that Silins could review Strunke as an artist. In the second section, which is subtitled 'The Shapes of Art', Silins points to Strunke's special, 'non-academic' place in Latvian art, discussing the artist's emphasis on stylization, symbolism and archaic elements. The author points out Strunke's 'motor-like perception' and 'rhythmic, mimicking composition' as peculiar features of the artist's work The article also discusses Strunke's great love for Italian art, but because it does not, of course, cover the artist's life after the war, readers of this piece alone will not know that Strunke emigrated to Sweden, but continued to consider Italy as his 'second motherland'. After his death in 1966, he was buried in Rome.
3
Content available remote

RETHINKING DRAMA IN THE CRISIS OF DELIBERATIVE COMMUNICATION: THE RADICAL THEORY OF MARTIN BUBER AND GUSTAV LANDAUER

63%
Motal J.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
|
issue 3
290 – 306
EN
The article presents the basic elements of Gustav Landauer’s and Martin Buber’s thinking on theatre and drama. It shows they are rooted in the late 19th-century critique of language (Sprachkritik), trying to overcome the representational function of language. The author searches for shared elements in both thinkers’ philosophies: an integral idea of human personality (inner necessity), spirituality as a super-personal unity tending towards a communitarian vision of the people, and so on. While Buber emphasizes the unity of opposites, or the union of the characters in the drama while preserving their differences, Landauer focuses on achieving unity with the ancestors and the cosmos through an inner immersion. Both direct their theory of drama towards political meaning. This paper proposes that their concept of drama can be used to rethink communication, transcending the post-politics of consensus, as it preserves difference in unity.
4

THE UNKNOWN SUTA. AN INSIGHT INTO THE WORK OF ROMANS SUTA IN APPLIED ART (Nezinamais Suta. Ieskats Romana Sutas darbiba dekorativi lietiskas makslas joma)

51%
Suste M.
Makslas Vesture un Teorija
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2010
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vol. 13
52-62
EN
Romans Suta (1896-1944) represents Latvian Classical Modernism and was active not only in fine art but also in applied art, in what these days we might call design. This article examines Suta's activities in the decorative and applied arts - vessel forms and paintings and various types of interior and graphic design. In the 1920s and 1930s, the fascination with design and aesthetic improvement of the surrounding environment was widespread in Europe and many artists also turned to the applied arts. In Latvia there was no education available in the field of design in the contemporary sense and artists who tried to widen their scope of activity and introduce up-to-date trends in applied arts were largely self-taught. Suta was influenced by the ideas of Le Corbusier and Amedee Ozenfant for a new, international art style. An example was on view in the pavilion of the Purists' magazine 'L'Esprit Nouveau' at the Exposition Internationale des Arts Decoratifs et Industriels Modernes from April to October 1925. It inspired Suta to create a national version of the constructive style, envisaging a unified, modern Latvian environment and bringing together Constructivism and forms of Latvian ethnographic architecture and ornament. The example of Russian propaganda porcelain with the aim of influencing people, inspired Suta to found the 'Baltars' Porcelain Painting Studio in 1924. From the mid-1920s on, Suta was employed as a visiting stage designer at various theatres throughout Latvia. Stage design provided good opportunities to express his talent and wish to impress wide audiences with this kind of work. Stage design and interior decoration was closely intertwined in Suta's art and it is often hard to tell the difference between sketches intended for the stage and those for a living environment.
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