Apertúra Film-Vizualitás-Elmélet
Summer, 2010 | Nyomtatás |

 Performance Studies 

Ágnes Matuska: Feigning or making? Performance studies and the possibilities of revising reality

Framed within the exception of theatre Austin makes in his study on performative utterances, the article outlines the institutional formation and the main scope of interest of performance studies, touching upon the tension between the broad definition of performance offered by performance theorists on the one hand, and their critique of what is regarded as classic Western theater on the other. Relying on early modern and contemporary versions of the play/theater metaphor, the argument illustrates various attitudes and extremes of different takes on the idea of the world's theatricality, and tries to locate the significance of the discipline within this context.
Full text in Hungarian 

Anikó Oroszlán: Social performance and theatrical responsibility. The performance debate and the new Krétakör Theater Company

The paper has a double aim. On the one hand, it briefly summarizes the theoretical debate between theater and performance studies as academic disciplines, and on the other hand, it argues that in contemporary (Hungarian) theater practice the division between, as well as contrasting theater and performance-related issues are of minor importance.
Full text in Hungarian 

Tibor Várszegi: Data on "A Universal History of Chance". The Josef Nadj Troupe and "Wind in the Sack"

The title-page of the programme of Lausanne's Théâtre Vidy was almost completely blank. On it was merely the title of the performance and the name of the troupe, written in minute, scarcely legible letters, and a number, which could be easily made out from afar, denoting the serial number given by the theatre to performances that season. Josef Nadj's diptychon entitled "Wind in the Sack", the first part of which bears the title "Anteroom", was given the serial number 9 in the 1997/98 season, although this number could serve just as well as the title of the work, which is based on texts by Dante and Beckett. Naturally, it could be attributed merely to chance that the number featuring on the programme brochure and the number representing the deepest layers of the performance were the same. But those who have long followed the works of Josef Nadj and his troupe would have noticed similar chance occurrences in their earlier works as well. And not just one. Hence, after a time such observers are prone to think that these events are really not chance occurrences after all, although neither the director, nor the troupe ever meant to do anything to create such coincidences.
Full text in English 

Brian Sutton-Smith: The ambiguity of play. Rhetorics of fate

Brian Sutton-Smith approaches the notion of play both from the perspective of classical and of modern rhetorics, as well as the difference between western and eastern philosophies. The argument is based on the assumption that all rhetorics, including classical and modern, are based on different forms of play. The argument supports an attitude that may be seen as the rehabilitation of play, stressing that play serves as a model in various scopes of life, and introduces diverse theories of play, in order to come to a general understanding according to which dreams can be understood as play, as well language games or academic work.
Full text in Hungarian 

Jill Lane: Reverend Billy. Preaching, protest and post-industrial flânerie

Jill Lane's study concentrates on the persona of Bill Talen, Reverend Billy, whose performances offer a leftist critique of consumer society and of the alienation typical of modern city life. The author (similarly to Talen himself) takes Benjamin's storytelling as a model to reveal the characteristics of this comic service, as well as the nature of irony present in it. The spaces of the city play an important role in the argument as sites where the appropriation of community culture is most prominent. Quotes from Talen's performances support the idea that the ambiguity of Bill Talen's persona, hovering between the real and the fictitious reverend enable Talen to changes his roles successfully. The author also draws attention to the threats of the persona becoming solely dominant over the performer.
Full text in Hungarian 

Imre Mátyus: Stages, bedrooms, and channels - Representation of identity on YouTube

The primary objective of this article is to point out how YouTube can be utilized as means of representation of identity. The article claims that users' acts of symbolic creativity are based on their individual media literacy - patterns, topics and narrative strategies used in user generated content are introduced by "traditional" electronic media. The text focuses mainly on original contents of personal video channels and video blogs (vlogs) rather than remixed or redistributed material (e.g. movie segments or music videos).
Full text in Hungarian 

Ervin Török: Melodrama, satire. The Mikszáth-paradigm (Adaptation and tradition)

The article examines a specific type of adaptation through comparing Kálmán Mikszáth's novel Beszterce ostroma [The Siege of Beszterce] with Márton Keleti's eponymous film. The novel and the film belong to different lines of tradition. Mikszáth's novel continues the heritage of Jókai and Dickens, while Keleti takes up the thread that characterizes Hungarian comic films of the 1930s, and brings this genre to its culmination. The study examines the way Keleti's film recreates Mikszáth's novel within this context. The analysis of narrative segmentation and narrative distance reveals how Mikszáth's novel can be told in the language of comedic film on the one hand, and how, on the other hand, such an adaptation opens the possibility for the self-reflection of the cinematic language of the 1930s. The creative reworking of Mikszáth's text reveals its ambiguities and which shows the novel to be its own pre-reflexive satire. Its double structure in calling for distancing from and identification with the text at the same time allow for both nostalgic-tragic interpretations (e.g. Márton Keleti) as well as readings in the mode of liberation and playfulness.
Full text in Hungarian 

Hódosy Annamária: Mary Poppins or the Winged Word

Mary Poppins or the Winged Word discusses the differences between Travers' and Disney's Mary Poppins. Disney turns the fiction into a Buildungsroman for contemporary parents encouraging fathers to take part in family life, while denouncing feminism as a threat and - on a more hidden ideological level - promoting consumerism, while Travers's novel is composed of episodes serving as textual initiation rites that try to guide the young characters (and readers) passing from the oral, women-dominated culture of early childhood into the written, "official" universe of adults.
Full text in Hungarian  


Attila Kiss: Marriage of body and theatre (P. Müller Péter: Test és teatralitás) 

This review essay highlights the most important elements in Péter P. Müller's new book in light of the postsemiotic theories that gained momentum after the visual and corporal turn. The volume contains a wide-ranging historical and theoretical overview as well as original interpretations, and it expands the spectrum of critical investigation beyond the traditional confines of the actor - theater relationship in order to incorporate the interaction between human body and theatricality, which is operational in every scene of the social network. P. Müller attempts to establish a new definition of theatricality by understanding it as an agency that mediates social relationalities.
Full text in Hungarian 

Students' Workshop 

Levente Pax: Werner Herzog's Documentaries

Werner Herzog's documentaries and feature films have similar characteristics and deal with comparable topics. After pointing out the difficulty in differentiating between documentaries vis-á-vis feature films, the study examines Herzog's work in the light of a traditional definition of documentaries by John Grierson, and shows through specific examples the characteristics of Herzog's documentaries and discusses the way they deviate from Grierson's theory.
Full text in Hungarian 

Katica Babarczi: Exploited Heterotopias  

The essay studies the relationship between space and role. The function of a given space also suggests the role we are supposed to take when we enter a territory. In the cinema, for example, we are expected to be spectators, while in a shop we are consumers of certain products. Is it possible, however, to find spaces which do not require any kind of specific behavior or perfomative acts, and are rather empty and suspend the roles of the individual? Although the main example, public transportation, is simple and ordinary, it is capable of examining whether such spaces exist at all, and how are they used or even exploited.
Full text in English