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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    devotion to her finch which she wants to take along with her as baggage Strongly opposed to this idea Jean kills the bird The concept of our show centres on how we are determined by our sense of inevitability The

    Original URL path: http://www.muzeum.si/julija/julija.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    Antonin Artaud wrote what is today still the most lucid vision of modern performative art The texts collected in his book The Theatre and Its Double are like a source which enables us to refresh our view and free our thought Every now and then it is necessary to return to sources so we do not forget from where we come and to where we are headed Artaud repeatedly says that the stage is a concrete physical place which asks to be filled and to be given its own concrete language to speak We abolish the stage and the auditorium he says and replace them by a single site without partition or barrier of any kind which will become the theater of the action A direct communication will be re established between the spectator and the spectacle between the actor and the spectator from the fact that the spectator placed in the middle of the action is engulfed and physically affected by it From this fundamental vision all endeavours of performative and performing arts of the second half of the 19th century appeared and apparently as the only form corresponding to them they sprout also in the 21st century Artaud advocates attacking the spectator s sensibility on all sides therefore in a performance a revolving spectacle which instead of making the stage and auditorium two closed worlds without possible communication spreads its visual and sonorous outbursts over the entire mass of the spectators I say that this concrete language claims Artaud again intended for the senses and independent of speech has first to satisfy the senses He speaks of metaphysical fear of the sediments of dreams of the discarding of masks and of nearing And over and beyond the music s broad overpowering rhythm there is another extremely fragile hesitant and sustained music in which it seems the most precious metals are being pulverized where springs of water are bubbling up as in the state of nature and long processions of insects file through the plants with a sound like that of light itself in which the noises of deep solitudes seem to be distilled into showers of crystals etc Even now the radicalness of his statements seems more than blasphemous to many Do the sentences like the one about the place of the psychological in theatre art not still have the power to cause an actual war It must be said that the domain of the theater is not psychological but plastic and physical Masterpieces of the past are good for the past they are not good for us We have the right to say what has been said and even what has not been said in a way that belongs to us And when we reach the descriptions of his perceptions of the Balinese theatre floating bodies from another time very similar to the romantic vision of a ballet dancer appear before us Artaud speaks of the play of muscles which is a part of thoughtful mathematics of

    Original URL path: http://www.muzeum.si/33obratov/33obratov.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    the mirror of vision for the creation of the dance Isadora Duncan ABOUT THE CREATIVE PROCESS excerpt The question of the origin of dance of a dancer s relation to the world and life that Milan Tomášik is interested in and can be discerned in the quotations he selected is an existential ontological question It is asked from the viewpoint of a dancing body which through the bodily rhythms of breathing and the heartbeat sees rhythmicity as the primary segmentation of time and life wherein both dance and music originate If I consider Baroque music and dance as a possible point of origin I would describe it above all as a time in which the dancing of dance and the watching of dance separated and I think this performance captures both aspects This is probably why Off beat has always struck me as a performance on the membrane between the inner and the outer world between the dancer s improvisation in a particular moment and his confrontation with the audience between the audience experiencing the performance and the audience watching and being watched Dramaturge ABOUT BAROQUE MUSIC excerpt One of the composers of dance music for theatre in Early Baroque was of Slovenian descent Janez Krstnik Dolar Kamnik ca 1620 Vienna 1673 He was a member of the Jesuit order which typically used music and theatre in education and the public manifestation of their faith It is possible that his three preserved dance suites i e balletti with the sequence of French dance movements were originally composed for dance inserts in Jesuit school plays in which the pupils danced Baroque dances led by a dancing master The dance movements in Dolar s three preserved suites provide an interesting insight into the existence of Early Baroque suite and the possibility of

    Original URL path: http://www.muzeum.si/off-beat/off-beat.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    IPP Escola Superior de Música e das Artes do Espectáculo do Porto Portugal FIFF IRIS Festival International de Films deFemmes de Créteil France FRD Fondazione Rinascimento Digitale Italy IKP The Institute of Polish Culture University of Warsaw Poland ITB Museu de les Arts Esceniques Institut del TeaŹtre de Barcelona Spain BELLONE La Bellone House of Performing Arts Belgium MUZEUM Institute of Art Production Mediation and Publishing Slovenia NTUA National Technical University of Athens Greece OSZMI Hungarian Theatre Institute Hungary UCAM Museum of Archaeology Anthropology University of Cambridge UK UCLM Universidad de Castilla La Mancha Spain UG History of Art Department at the University of Glasgow UK UNIROMA Centro Teatro Ateneo Department of Performing Arts University of Rome La Sapienza Italy UVA Department of Theatre Studies University of Amsterdam The Netherlands UPCOMING ECLAP 2013 2nd International Conference on Information Technologies for Performing Arts Media Access and Entertainment 8 10 April 2013 ESMAE Teatro Helena Sá e Costa Porto Portugal more ECLAP FOURTH ECLAP EVENT 2012 Performing Arts Digital Collections ECLAP Connecting Stages Best Practice Network Stage Heritage at your fingertips 14 November 2012 9am to 3pm at the National Theatre Museum of Slovenia Mestni trg 17 1000 Ljubljana Slovenia Registration form INTRODUCTION ECLAP the European Collected Library of Artistic Performance is the new online archive for all performing arts in Europe co funded through the ICT Policy Support Programme of the European Commission For the first time the collections of the most important European performing arts institutions and archives are available online through the ECLAP Portal as well as through Europeana the European digital library ECLAP also provides innovative and unique solutions and tools to help performing arts institutions manage and make their collections accessible The workshop Performing Arts Digital Collections ECLAP Connecting Stages Best Practice Network Stage heritage at your

    Original URL path: http://www.muzeum.si/eclap/eclap.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    embedded into the context of theatre language which questions its being in the diversity of senses physical theatre dance theatre visual theatre Source Image the first part of the platform reflects the source in relation to the image and the

    Original URL path: http://www.muzeum.si/sourceimage/sourceimage.htm (2016-02-18)
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  • MUZEUM, Institute for Art Production, Distribution and Publishing
    links memory w hole MEMORY W HOLE selection touring Continental Breakfast Skopje Muzej sodobne umetnosti Skopje Exhibition 12 april 30 april 2006 Performans conference 12 14 april 2006 http www

    Original URL path: http://www.muzeum.si/continental/cbskopje.htm (2016-02-18)
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  • MUZEUM, Institute for Art Production, Distribution and Publishing
    contact press support links memory w hole MEMORY W HOLE selection touring Continental Breakfast Banja Luka Museum of Contemporary Art Banja Luka Exhibition 10 Avgust 10 September 2006 Performans conference

    Original URL path: http://www.muzeum.si/continental/cb-banja.htm (2016-02-18)
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  • MUZEUM, Institute for Art Production, Distribution and Publishing
    a three dimensional space in ideographic forms and it expresses the three different times of where it comes from where you are and where you will be Maps fascinate me I have rather a good collection of them of various origins The ones that fascinate me most are those I cannot understand Chinese maps for instance which become for me not so much the description of a landscape but rather an object in their own right His started making films at a later date Windows which he indicates as the beginning of his cinema career dates back to 1975 whereas The Draughtsman s Contract his first film to achieve international fame came out in 1982 The Relationship between Painting and Cinema In Greenaway s production there is a constant exchange between the making of paintings and that of films paintings belong in an itinerary that leads to the films whereas many paintings are integral components of the films etc The paintings collages drawings and photographs in this exhibition represent a small portion of speculative research which in my opinion develops within a wider working context together with the making of films operas and novels Peter Greenaway text for the Lindau catalogue Thus for instance the series of paintings A Walk Trough H and The Draughtsman s Contract precede the similarly titled films the first of which is centred on a picture gallery while the second revolves around the figure of the draughtsman himself Pictorial references and influences Greenaway s oeuvre is pervaded by pictorial references The director himself has often quoted Vermeer as an inspiration for his own vision of landscape the study of light and the ability to fix the extreme intensity of a single moment Also significant is the work of the English painter and photographer Edward Muybridge who based his research on movement and anticipated the cinematic use of the freeze frame effect Greenaway s approach to landscape a central feature in his paintings and films originates from his own knowledge of and fascination with the classical English landscape painters and from his later encounter with those contemporary artistic currents that have attempted to develop a new language to represent landscape My fascination with landscape began when I was about fourteen or fifteen Painting meant landscape to me The classical English landscape painters Wilson Constable Gainsborough Turner Palmer were my main interest Most of my earliest attempts are a paltry imitation of their works As soon as you get to art school you realize that England has been painted drawn and photographed perhaps more than any other place in the history of the world Then you realize that the lexicon has been exhausted How can you paint the landscape without imitating those who have come before The artistic movement of the 60s seemed to offer a way of doing it and it was a movement which might be associated with my love of maps plans and aerial views A great many of the works in this exhibition

    Original URL path: http://www.muzeum.si/city-projects/PGbiography.htm (2016-02-18)
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