S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

scholarly journals Five preludes of Mykola Roslavets in the reflection of academic and avant-garde trends of his time

2021 ◽  
pp. 179-187
Author(s):  
Pavlo Minhalov
Keyword(s):  
Piano Music ◽  
Compositional Style ◽  
Compositional Techniques ◽  
Xxth Century ◽  
Avant Garde ◽  
Piano Works ◽  
Intellectual System ◽  
Mature Period ◽  
History Of ◽  
Further Development

The article considers a set of problems related to the study of piano art of the early XXth century and, in particular, the piano work of Mykola Roslavets. It provides the characteristic of the main vectors of piano miniature development, its genre and construction diversity. It emphasizes the composers' creative search in the early XXth century, the desire to embody new, not yet tested compositional techniques. The article notes the influence of traditional and avant-garde trends on the compositional style of that time and their synthesis in a single author's style. It describes five preludes for piano by Mykola Roslavets as one of the most significant achievements of the mature period of the artist's work, which fully reveals the key features of the composer's sense and desire for syntheticity and a new, intellectual, system of sound organization. The five preludes are stated to not have an accidental cycle structure reflecting the influence of many styles and compositional techniques, accumulating the achievements of previous musical epochs and sprouts of the latest, quite important musical trends in piano music. The author notes undoubted influence of Mykola Roslavets' work on the further development of musical art, its relevance and modernity. The proposed analysis should contribute to a more complete understanding of the history of piano music of the first third of the XXth century, elucidate the origins of innovative composers, undeservedly overlooked by musicologists, performers and listeners, and replenish the performing repertoire with piano works by Mykola Roslavets.

scholarly journals Understanding with Water: Hydro-art in Osieki (1973)

2021 ◽  
pp. 356-374
Author(s):  
Karolina Majewska-Güde
Keyword(s):  
Art History ◽  
Land Art ◽  
Environmental Humanities ◽  
Active Participant ◽  
Avant Garde ◽  
Art Practices ◽  
New Materialisms ◽  
Water Surfaces ◽  
History Of ◽  
Feminist New Materialisms

The paper is located at the intersection of the art history of the Polish neo-avant-garde and the environmental humanities informed by feminist new materialisms. It proposes an interpretation of performative works in which artists used aqueous matter as an object of interaction, a source of artistic transcription, and as an active participant in artistic scenarios. It concentrates on works that were realized during the open-air art meetings in socialist Poland and in particular at the Osieki meeting in 1973 with the title The Art of Water Surfaces [Plastyka obszarów wodnych]. Based on the analyzed works, it offers a speculative reflection on Hydroart, which is defined as region-specific development parallel to land art practices.

scholarly journals THE IMPORTANCE OF 1959-1967 PERIOD IN JAZZ HISTORY

2021 ◽  
Vol 10 (86) ◽  
Keyword(s):  
First Century ◽  
Free Jazz ◽  
Third Stream ◽  
Avant Garde ◽  
Jazz Music ◽  
Jazz History ◽  
History Of ◽  
Hard Bop ◽  
The 1950S ◽  
Musical Understanding

The focus of this study is on the history of jazz music between 1959 and 1967. The 1950s was a period of intense creativity in jazz, defined by emerging styles such as third stream, cool jazz and hard bop. The end of that decade, 1959, is considered to be a watershed year in which some of jazz’s most influential recordings were made and also effected the free jazz movement, which dominated until 1967, known as the "year that jazz music died". Therefore, 1959 becomes a bridge between the stylistic homogeneity of first half of the century and an outpouring of creativity in the second half. The echoes of the pre-fusion period 1959-1967 are still influential on the musical output of jazz in the twenty first century. This study aims to convey the variety of jazz styles between 1950 and 1967 by looking at the foundational elements that create the musical understanding of these styles by means of a descriptive methodology. Keywords: Jazz, Free Jazz, Hard Bop, 1959, Third Stream, Cool Jazz, Avant-Garde

The Sitwells and Sitwellism

2017 ◽  
Author(s):  
Deborah Longworth
Keyword(s):  
Art History ◽  
Literary Modernism ◽  
Popular Imagination ◽  
Avant Garde ◽  
Experimental Art ◽  
History Of ◽  
Aesthetic Standard ◽  
Post War

Few figures have been so renowned and yet so critically dismissed within the history of literary modernism as Edith, Osbert and Sacheverell Sitwell. For a time in the early 1920s they were the leading personalities of London’s immediately post-war modernist haut bohemia, and the embodiment of the modernist avant-garde as it was perceived in the popular imagination. One of the reasons for their disappearance from histories of the emergence of English modernism, is perhaps that the Sitwellian brand of avant-gardism was so distinct from the classicist aesthetic standard by which modernism would subsequently come to be defined. This chapter examines a cult of “ornamental modernism” in the 1920s, of which the Sitwells were the figureheads; an impulse that we find in works that embrace the extravagant, the theatrical, or the eccentric; that turn to the decadent, baroque, and rococo rather than the classical for their models, that foreground artistic celebrity rather than impersonality, and in which performance and façades dominate rather than formalist clean lines or the direct articulation of subjective consciousness. It is an alternative trend in experimental art that overtly positions itself in antagonism with the conservative artistic and cultural tendencies of the period, but that also sits awkwardly in relation to the standard and revisionary histories of avant-garde and modernist experiment, exemplifying instead an ornamental aesthetic that has been all but obliterated from subsequent literary and art history.

Mexican Philosophy in the 20th Century

2017 ◽  
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Mexican Revolution ◽  
National Character ◽  
Philosophical Question ◽  
Wide Range ◽  
Mexican Philosophy ◽  
History Of ◽  
The 1950S ◽  
Philosophical Questions

Sánchez and Sanchez have selected, edited, translated, and written an introduction to some of the most influential texts in 20th century Mexican philosophy. Together, these texts reveal and give shape to a unique and robust tradition that will certainly challenge and complicate traditional conceptions of philosophy. The texts collected here are organized chronologically and represent a period of Mexican thought and culture that emerges out of the Mexican Revolution of 1910 and cultimates in la filosofía de lo mexicano (the philosophy of Mexicanness), which reached its peak in the 1950s. Though the selections respond to a variety of philosophical questions and themes and will be of interest to a wide range of readers, they represent a tendency to take seriously the question of Mexican national identity as a philosophical question—an issue that is complicated by Mexico’s indigenous and European ancestries, its history of colonialism, and its growing dependency on foreign money and culture. More than an attempt simply to describe the national character, however, the texts gathered here represent an optimistic period in Mexican philosophy that aimed to affirm Mexican philosophy as a valuable, if not urgent, contribution to universal thought and culture.

The Two Expanded Cinemas

2020 ◽  
pp. 41-99
Author(s):  
Jonathan Walley
Keyword(s):  
Perceived Threat ◽  
Traditional Art ◽  
Avant Garde ◽  
Art Form ◽  
Wide Range ◽  
Expanded Cinema ◽  
Key Factor ◽  
History Of ◽  
Two Phases

This chapter, one of two that make up Part I of the book, provides a revised history of expanded cinema from the mid-1960s to the late 1970s. It divides this period into two phases or waves of expanded cinema. During the first phase, the term was more or less synonymous with “intermedia,” connoting hybridity, the dissolution of artistic boundaries, and the questioning of traditional art forms. But the liberatory rhetoric of this phase was countered by concerns that the expansion of cinema threatened to dilute and destabilize the art form that generations of filmmakers and film critics had worked to establish. It was within avant-garde film that the perceived threat to cinema’s identity caused the most anxiety, as that mode of film practice had always been the most preoccupied with the nature of cinema. Within a few years, the term “expanded cinema” was reclaimed by filmmakers whose work extended avant-garde cinema’s longstanding tradition of specifying the cinematic into a wide range of new, “expanded” forms. This phase of expanded cinema lasted through the 1970s into the first few years of the 1980s. Chapter 1 also introduces two other major themes: a historical process of negotiation between cinema’s specificity and its connections to the other arts, which works of expanded cinema enact, and the interplay between two conceptions of cinema—as a physical material and an ephemeral experience. This reciprocal movement between the material and ephemeral is a key factor in expanded cinema’s formal mutability.

Cycles of Cathay

Transfers ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 95-120 ◽  
Author(s):  
Edward J.M. Rhoads
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Back Seat ◽  
Wide Range ◽  
Primary Means ◽  
History Of ◽  
Late Nineteenth ◽  
The 1950S ◽  
Personal Transportation ◽  
The City

Introduced into China in the late nineteenth century, the bicycle had to compete with a variety of alternative modes of personal transportation that for a number of years limited its appeal and utility. Thus, during the 1920s and 1930s it took a back seat to the hand-pulled rickshaw and during the 1940s to the pedicab (cycle rickshaw). It was only in the 1950s that the bicycle became the primary means of transportation for most urban Chinese. For the next four decades, as its use spread from the city to the countryside, China was the iconic “bicycle kingdom.“ Since the 1990s, however, the pedal-powered bicycle has been overtaken by the automobile (and motorcycle). Nevertheless, with the recent appearance and growing popularity of the e-bike, the bicycle may yet play an important role in China's transport modal mix. This overview history of the bicycle in China is based on a wide range of textual sources in English and Chinese as well as pictorial images.

scholarly journals List, który zaginął

2018 ◽  
pp. 273-278
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Emotional Response ◽  
Public Domain ◽  
Avant Garde ◽  
The Public ◽  
History Of ◽  
History Of The University ◽  
The University ◽  
Anxiety And Fear

A Letter That Was Lost Summary The paper presents the history of a letter by Tadeusz Kantor of 1981 that was long lost. Kantor responds in it to a proposal from the Institute of Art History of the University of Poznań to have a series of lectures on the avant-garde. Writing that he had not time for it, he explains in some detail his detachment from the institutional study of the avant-garde at the university, stressing his involvement in the avant-garde activity through his art, in particular the Cricot theater. Kantor insists that the avant-garde does not belong to the public domain, but is a result of the artist’s private experience of anxiety and fear in confrontation with the audience and their emotional response to engaged art.

scholarly journals Traditions of the Soviet Academy of Art History in the theses of the Chinese students of I. E. Repin Institute of Painting, Sculpture and Architecture at the turn of the 1950s – 1960s (based on the archival materials)

2021 ◽  
pp. 82-93
Author(s):  
Shujing Wang
Keyword(s):  
Art Education ◽  
Art History ◽  
Chinese Students ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
State Institute ◽  
Republic Of China ◽  
Soviet Academy ◽  
History Of ◽  
The 1950S

This article is dedicated to the relevant problem of art history, and determines the degree of impact of the traditions of the Soviet Academy of Art History upon the art education of the People's Republic of China. The fundamental role in this process is assigned to the Chinese students who studied in I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture of the USSR Academy of Arts during the 1950s – 1960s, as well as their pedagogues and academic advisors. The article analyzes the stenographic materials of state attestation of the four Chinese students of the faculty of Theory and History of Art, who defended their theses in 1959 and 1960. The novelty of this research lies in the fact that the the materials of the Scientific Archive of the Russian Academy of Arts that were not previously used in scientific discourse, namely work with the stenographic materials of state attestation of the selected students, reveal certain peculiarities of art history and art education of the People's Republic of China, description of the tradition of the Soviet Academy of Art History and its impact upon the Chinese education at the turn of the 1950s – 1960s. The Chinese graduates of I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture have later continued the traditions of the Soviet Academy of Art History, and laid the foundation for education of the future generations of specialists in the field of art. The conducted research determines several relevant trends of the Soviet School that influenced the development of Chinese art history.

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