The opera is a horror fantasy about the tortured and violent marriage of the callow Prince Sternenhoch to the lowly waitress Helga, who may be a witch. The effect was a constant but ever-shifting propulsion that kept the audience on edge. Providing further discombobulation was the score, which was sung in the constructed international auxiliary language of Esperanto —a choice made to keep the focus on the music rather than the text.
A mix of documentary and game, the audience is divided into teams who will navigate the lives of three Budapest homeless characters. Afterwards, we received a list of recommendations on how to help, many of which were simple acts. Giving a few dollars and leaving food or clothing may not get homeless people off the streets, but will give them a dose of the physical, mental, and spiritual nourishment needed to keep going and make it through another day—or hour.
The last of the three international plays I attended was teatr. The Moscow company is known for its stark, simple production values and a documentary-driven approach to creating work. A Man from Podolsk was the final production directed by founder Michail Ugarov, who died in The production involved the audience by acknowledging their existence with sly winks, breaks of the fourth wall, and occasional use of the theatre aisles as a playing space.
In a Moscow police station, three officers question Nikolay about his morning absolutions, his job as a newspaper editor, his love life, and his feelings about his hometown of Podolsk. These particular police are educated, cultured, and invested in Nikolay appreciating his environment and living his best life—to not do so would be unpatriotic.
Or is it an attack on an authoritarian police state set on violating the rights of individuals and invading all aspects of their lives? It can be viewed either way or both. Catch by Joseph Heller. Watching this tiny marionette surrounded by adult humans emphasized its vulnerability and fragility, inspiring in me an urge to protect it—though not with walls but with an embrace.
Games and play drove the spirit of the production; chess pieces hung from the ceiling, guns were colorful plastic tubes, and the ensemble projected a frenetic, childlike energy. Renowned Slovak director Ratislav Ballek was represented with two productions, both of which offered innovative and iconoclastic takes on classical texts. Accompanied by the Slovak Chamber Orchestra , actor and visual artist Juraj Kukura read excerpts that included Genesis, Exodus, the crucifixion, and others.
Throughout the performance, Kukura threw paint against a canvas, getting as much if not more on his pristine white suit. His empathetic and passionate readings highlighted the sacrifice, heartbreak, and humor in these stories, making the Bible feel fundamentally human. However, by grounding this text in human frailty, the production risks profaning the Bible for its religious audience members, some of whom expressed their disagreement at the post-show discussion.
In a cabbage field a young man stands in a crucifixion stance, spouts racist vitriol, and insinuates that he has done even greater damage to others. And what is truth? Honey and Dust is an artistic collective that blends theatre, fine art, dance, and music.
Its projects are generally the brainchildren of director and musician Andrej Kalinka, who brings together an assortment of interdisciplinary artists to create them, often having them work outside of their fields i. This is fitting for eu. As the artists create work—be it music, dance, or sculpture— in front of the audience, they relate it to their own family histories.
The audience, sitting on the stage of the Great Hall of the Andrej Bagar Theatre, which is now a live atelier, is invited to enter the playing space and explore the art before and after the performance. Though there is no linear narrative to the text, there is a clear structure and series of cumulative events.
It is a story told in bodies and relationships. The collage-like nature of these events and actions happening simultaneously at times encourages the audience to choose where they focus. Erlend Loe. After returning to Nitra, she was teaching, again, the Slovak language at the Constantine the Philosopher University in Nitra and as an Erasmus coordinator she helped students to travel abroad.
Participatory projects in the field of working with young people and vulnerable groups have grown close to her heart. She is raising two sons. In , she became a project manager for the independent cultural centre Hidepark Nitra, where she has been working as a volunteer since Today, her responsibilities within Hidepark include dramaturgy, coordination of volunteers and financial management for more than 60 events per year.
In addition, she works at the Nitra Volunteer Centre, where she helps with the organization of Volunteer Week and Srdce na dlani volunteer recognition ceremony , helps with creative writing courses for children and organizes various events in the city, such as the Night of Literature and PechaKucha Night Nitra.
During her doctoral studies, she focused on the topic of cultural events, monitoring their socio-cultural effects and links with cultural heritage. She is responsible for the preparation and implementation of the international participatory project Be SpectACTive! He was a producer and literary manager at Studio He also works as a librarian at the Andrej Bagar Theater. She focuses on local and regional development, public policies, participatory strategic planning and community development, public sector economics, spatial statistics and research methodology.
In her dissertation she dealt with cultural and creative spheres, in research she deals with spatial disparities, human and social capital and the institutional environment and community networks. She collaborated on the creation of strategic documents of municipalities, regional self-government and local action groups.
In her work she focuses on conceptual installations and often interactive objects, using public spaces as a means of communication. In , her projects became a part of the Asking Architecture exhibition at Venice Biennale of Architecture.
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