This text briefly summerises the Cuban relationship to the film art and the way it is represented in Hollywood films. Researching political appearance of Cuba on film from 1897 when film crews started to work there until today, including mentioning local Cuban film masterpieces such as “I Am Cuba” and Cuba’s prominent presentation in famous American blockbusters like “Godfather Part II” and 007 films. From Cuban most popular cartoon hero (also a revolutionary) to Oliver Stone’s screenplay for “Scareface” and his interview with Fidel Castro are individual examples of many interesting fascettes of well traced propagandic ways to be seen of film use from both confronted sides of the cold war curtain concerning this hot island. Western uderstanding of Cuba as untaming exotic island out of our time is compared here with the western admiration of Japanese culture in the similar way because of it’s great diversity from the American culture and often historical-political dissagreeaments with the USA. For the coda the imaginary 3-d world of a far, far away planet Pandora from the newest James Cameron blockbuster film “Avatar” is used here to stress the profound meaning of a lone island in the (space) sea that raises it’s head and it’s arms against repressive corporative system. Looking how much guerilla troops that defeat the USA marines have similarity to Che-Guevara and his commerads we can only conclude that po(p)litical obsession with Cuba and it’s imaginary echoes is far away from Hollywood and nowdays even more highly raised on meta physical level of 3-d science fiction.
The presentation of a common project of the artist Nenad Racković and art historian Olivera Erić, depicts the Belgrade clubbing scene. Racković’s clubbing transformance is a critique of clubbing, but also a set of ideas for its different understanding. Attributing equal importance to video and DJ-ing, a new view of clubbing makes enjoyment in the game of situation creating possible.
The article is focused on rock concerts and music events of popular music in general. It was inspired by the need to express thoughts and doubts arising from author’s personal experiences and reading of the available literature. It takes into consideration all the most important aspects of the topic: today’s importance and the role of rock concerts, issue of authenticity in rock performance, problems of audience-performer communication, similarities to the events in theater before and after the emergence of rock music…
With the emergence of the first operas more than four hundred years ago, and their first stagings, has emerged the problem of finding the most adequate staging solutions deriving both from the opera works themselves, and from the style and taste of the epoch, ever since the baroque largely influenced by the audience too. The 20th century introduced significant, even revolutionary changes into opera staging: the interventions of directors ranged from cutting, adaptation, time transposition, to social actualization and innovative visual dimension of opera performances. So, the improvement of opera direction has, on the one hand, instigated the rise of opera stars and performances appealing to the audience, while on the other has been a search for a new, more modern expression, sometimes getting close to the theatre of absurd, static performances or even opera without libretto. More than ever the 20th century opera became accessible to everybody everywhere in the form of live performance as well as a live broadcast of opera spectacles or their filming, that significantly enlarged the number of opera admirers around the world. Two basic claims follow from the mentioned:
a) That since a certain exhaustion, evident since 1960s, overwhelms opera authors, opera classics have been adapted to the new audiences;
b) That the opera directors have been more and more inclined to a syncretic expression using all available means on the stage (among others: film, video, PC) thus becoming complete authors of a musical-stage spectacle far away from classic opera expression.
The text analyses those events and features that indicate a specific carnevalesque character of the Yugoslav New Wave scene. Methodologically, the work relies on the Bakhtin’s interpretation of carneval literature, holidays and grotesque, and his systematization of its most important characteristics. Bakhtin’s statements were practically applied to some of the phenomena which introduced New Wave, and especially festivals, “Greetings from Zagreb” and “Greetings from Belgrade”. These festivals were promotion of both – some of the basic characteristics of the New Wave movement, as well as of the arts that will be positioned at the top of the movement (rock music and photography), as the most influential arts.
These specific characteristics of carneval art were presented with “Greetings”. The first is the actual reality, in which only current news, tendencies and thoughts of contemporary and popular culture are something worth artistic attention. Second is the fact that the New Wave art rely on its own, althought begginer’s experience, improvisation and free fantasy, and not on historical legacy. The third feature is the use of speaking dialects and jargon (newspaper’s clips, news from the daily press, parody of the serious genres, parodic life and art citations).
New Wave with its strong presence of music and games, becomes close to the visual performances and especially theatrical-presentational forms that belong to urban, street culture. New Wave, though temporary, becomes, like a carneval, form of life itself.
Festivals have always been present in the social life, their rhythm being periodical or cyclic. By anthropological inertion, each mass public performance becomes a pattern or reflection of a social order, or rather its expression, reflection, creation and transformation. The performative character of culture is one of the basis of spectacle studies. The spectacle turns permanence of festival into a situation by means of attaining effects of wholeness and edited visualization.
The ancient and medieval comic culture which implies a grotesque mix of fantastic and real ties original mythology (ritual) to high literature. Menipea has always been one of the major bearers and transmitters of the carneval feeling of the world in literature. Scenes of scandals and various breaches of the usual course of events characterize Menipean literary tradition, especially in Dostoevski. Elements of carneval representation are to be fund in the works of Rablais, Cervantes, Shakespeare, Dostoevski. The very emergence of contemporary cultural manifestations is inseparable from festivals, i.e. ancient archaic mythological tradition. The festival was a time break connected to the sphere of sacral. From the very beginning it influenced the emergence and development of art and esthetic consciousness.In the context of everyday life culture, festivals have been essentially transformed at the expense of their ritual elements.
From the syncretic art of prehistory, through the religious and political spectacle of history, to modern alienation, the human individual has not been significantly changed. At the very beginning man was directly involved in magical rites, then he lost this status becoming a passive observer of events, which has led to engaging in virtual reality today, due to the latest fast development of high technology. Through direct participation in live interactive spectacle of classical music concert contemporary man returns to his magical roots. While playing part in the live recreation of music ritual on the stage he becomes an active factor in the creation of art work, creator of his own life.
The topic in focus encompasses the spaces in which the gatherings of tango dancers occur and where people of different nationalities and identities practice this dance, using Argentina as a powerful referent point, but at the same time constituting various tango expressions. New information technologies, changes in mass media, increased mobility and flow of people, changing practices of subjectivity together with intensive and occasionally confronted life “cultural poetics”– all become part of what makes possible the formation of authentic tango social practice. What are the possibilities in the given situation for the movement and the speed of the tango dancers’ bodies in the most intimate space they share, expressed through a particular notion of the embrace as well as of the walk / the steps? What are the circumstances and environments in which the embrace is being actualized? How does the public expression of the embrace open the space for the semi-private embodiment of the embrace in the social arena? This paper is about to research the transnational “dynamics” of tango as well as the ontological dimensions of this dance.
This text re-questions possible effects of Augusto Boal’s Theatre of the Oppressed within the context of the disciplinary legacy and the contemporary conditions of cultural production. Starting from the assumption that this practice has not been fully de-coded, that is, included into the body of the discipline, but that there are certain points of its (soft) resistance to the mechanisms of total translation immanent to the operative logic of culture of the spectacle, my attempt is to direct the experiences and the thought of the Theatre of the Oppressed towards the establishment of a platform that would enable development of radical strategies of resistance, within the dominant matrix of generating new-media reality. Thus, the critical potential of the Theatre of the Oppressed is, with its simultaneous activity within more then one register, left without a possibility of their synthesis or reduction. Through a constant movement while gazed at, the critical potential is taking shape of a fictional presumption, that is the jump of faith towards im/possible society of the equal.
The spectacular exhibition Body Worlds (advertised by the slogan “Phenomenal look at the human-body phenomenon”, which the German anatomist Gunther von Hagens used to commercialize his invention of plastination – process for preserving dead bodies which he ‘sculpted’ by coating them with plastic), is the paradigm for the understanding of objective reality, manifested in the spectacle of placing human corpses in the world of entertainment and show business.
Body Worlds is a concretized inversion of life, and the last consequence of Guy Debord’s Society of the Spectacle. This exhibition renders visible the ambitions of industrial bio-technology to reduce human specimens to the state that can not endanger the existing order. Body Worlds, materialized in the exhibited plastic, zombified forms, might reveal the truth about the anthropological destiny of the western man, in a ritual that ‘liberates’ the human body whose death is preserved and celebrated, by the means of the same perverted science that elsewhere, even more profitably, works to destroy life.