ArteActa 2022, 7
ArteActa 2022, 7:7-26 | DOI: 10.62804/aa.2022.001
The study aims to present independent theatre in Croatia during the 1990s while focusing on the examples from the leading scene of Croatian capital Zagreb. It provides a recent history of the field, from the precedents to the formation of the somewhat fragile continuity in the second half of the 20th century. It explains specific political, social and cultural circumstances that influenced the development of the independent theatre in the 1990s, in particular the Croatian War of Independence (1991-1995) and the postwar cultural policy of the new state which privileged cultural institutions. The aesthetics, the development and the most important works...
ArteActa 2022, 7:27-41 | DOI: 10.62804/aa.2022.002
Hungarian performing arts are represented today almost solely by independent artists and companies. My study aims to uncover the historical reasons for this phenomenon, going back to the 1990s. After discussing the variations of the term "independent", the study gives a historical context of the Hungarian performing arts system after World War II. The prominent figures of independent performing groups of the 1990s had connections with theatre-making at universities. Despite their peripheral position, these were the groups that first represented Hungarian theatre abroad. Due to the insecurity in financing in Hungary, the independents always tried to...
ArteActa 2022, 7:59-78 | DOI: 10.62804/aa.2022.004
What is the place of theatre in the lives of its audience? Do they give it as much time as they want, or does something prevent them from visiting more often? The subject of the study is an analysis of the answers to the open question "Is there on a general level something that would make you visit the theatre more often? ", which was asked within the ASSET project to the audience of four Prague theatres - the National Theatre, Studio DVA, Jatka 78 and Švandovo Theatre.This study subjects the answers to this question to a deeper analysis. It sorts the answers into the most frequently represented categories, but also works with specific quotes of...
ArteActa 2022, 7:79-98 | DOI: 10.62804/aa.2022.005
The case of the school film The Uninvited Guest and the fate of its director Vlastimil Venclík, who was expelled from FAMU just before graduating in 1971 because of this film, is a relatively well-known example of political persecution during the period of the emerging normalisation. The film was made in 1969 as a studio exercise of the third year. The subject had been written in 1967, but the work was updated after the entry of Warsaw Pact troops into Czechoslovakia in August 1968 to create a clearly legible metaphor of occupation and adjustment.Among other things, the research reveals the broader background of the decision to expel the...
ArteActa 2022, 7:43-57 | DOI: 10.62804/aa.2022.003
The Roma ethnicity has been appearing in Slovak cinematography either as a major or minor theme since the year 1950. These film images not only mirror the approach of specific authors towards their movies' Roma heroines and heroes, but they also reflect general attitudes of the whole society towards the Roma ethnicity. Paternalistic and assimilatory tendencies of Socialist governments gave ground to the renewal process of the second half of the 1960s, then they resurfaced in the times of the so-called "normalisation" after the occupation of Czechoslovakia in 1968. The November revolution of 1989 extinguished the era of Communist totality and established...
ArteActa 2022, 7:121-124
ArteActa 2022, 7:125-132
ArteActa 2022, 7:99-119
ArteActa 2022, 7:133-144 | DOI: 10.62804/aa.2022.009
Paul Davies is a film sound designer based in the UK. His artistic journey started in Cardiff, where he ran a small music studio in the mid-1980s dedicated to experimental and electronic music. This led him to the local filmmaking scene as a sound recordist and motivated him to enrol in the UK's National Film and Television School in 1988. After graduation, he worked as a location sound recordist, editor, and re-recording mixer until he joined Videosonics (1995, London). In this studio, he first worked with Lynne Ramsay (Ratcatcher, 1999) in a collaboration that has lasted till today. With her, he has designed his most known works (Morvern...
