Art Space Research Articles

B. BRECHT: PROBLEMS OF TRANSFORMING A LITERARY TEXT IN THE SPACE OF PERFORMING ART

The article is devoted to the problem of transformation of Bertolt Brecht's drama into the stage space, technical and ideological accents of his work and analysis of the key problems of artistic interpretation of the text of plays. The problem of reproducing Brecht's works is closely related to the peculiarities of the "epic theatre" and the concepts introduced by the playwright. The article identifies the peculiarities of the created theatre, defines the accents that are important in the process of staging plays, in particular: preserving Brechtian conflict in translation, introducing the necessary artistic elements (scenery, music, costumes, etc.), understanding the technique of "alienation", etc. The effect of "alienation" is a key requirement of epic theatre and aims to portray a familiar phenomenon from an unexpected perspective. In addition, the actor becomes a part of the conventional world, does not transform into his character. In this case, the viewer becomes an actor himself, tries on the role of each character and is able to draw independent conclusions, not those dictated by the author and the plot.
 "The Threepenny Opera" is the most famous of the artist's other works. It is a synthesis of Brechtian innovations and complex interweaving of social themes that complement each other. When recreating this play on stage and on screen, directors must take into account the social and historical contexts, as well as the appropriateness of depicting theatrical scenes. A striking example of a misunderstanding of Brecht's work is the film by H. Pabst, in which the director pays more attention to artistic elements that shift the emphasis to visual rather than intellectual perception of the play.

Decolonizing African (hi)stories through visual arts: African contemporary art as a way of looking back and moving ahead

AbstractConsidered for a long time by the art world as “primitive,” African art has always been used by Africans as a way of telling the story of their time, of establishing a connection between the visible and the invisible, the here and the hereafter. With colonization and then Independence, the notion and forms of African art have evolved through complex and diverse encounters with modernity to a contemporary art form that reflects the multiple identities of the continent and its diasporas. While the notion of modern art was initially strongly influenced by the West, as evidenced by the first schools of arts established on the continent, it gradually asserted its place and identity as both universal and specific to the continent and its history. This (r)evolution is taking place through two parallel movements, both within and outside Africa, supported by the organization of major international and regional events and the establishment of dedicated art spaces in Africa and globally.

Категория видимого / невидимого в цикле Д. А. Емца «ШНыр»

Introduction. In Christian fantasy, the visible/invisible dichotomy is closely related to such a religious and philosophical concept as knowledge and corresponds to the Christian concept of the universe. The purpose of our article is the need to analyze the features of the perception of Christian doctrine, implemented within the framework of the above category on the example of fantasy prose. The choice of the Russian writer Dmitry Alexandrovich Yemts as the material of the “SHNyr” cycle is justified by the presence of Christian aesthetics and philosophy in his novels, as well as their relative lack of study. Results and conclusions. The article concludes that the category of the visible / invisible in the D. Yemts cycle “Shnyr” is associated with such a religious and philosophical concept as knowledge, and corresponds to the Christian concept of the universe. The visible/invisible dichotomy defines the specifics of an artistic space composed of three worlds: superdense, material and subtle. In the center of the superdense dvushka (two-room apartment) there is God, the only invisible one in the true sense of the word. All other characters and things belonging to other worlds can only be considered conditionally invisible. The category of the visible / invisible in the “SHNyr” cycle, first of all, is not related to the object of vision, but to how perfect the subject of action is, i.e. how perfect the one who sees them is. Above all, the absolute is God, then His likeness are the people with varying degrees of perfection/ holiness, and below all fallen beings are the Elbs. The categories under study are closely linked to the idea of the cycle — the desire of people to know (see) the divine grain in each other and in everything around them.

REVISITING THE MECHANISMS OF FUNCTIONING OF THE ARTISTIC SPACE OF AN OLD EGYPTIAN PRIVATE TOMB

This paper examines the mechanism of functioning of the artistic space of the Egyptian noble tomb of the Old Kingdom period as a system of pictorial and architectural components. The purpose of the burial and the mechanism of functioning of the system to a great extent determined the themes and content of the plots, which contributes a special relevance to the study. A systematic analysis of reliefs from more than a hundred burials of the necropolises of Giza and Saqqara is used, with a focus on the design of the large tombs of Yasen and Chi. The paper emphasizes the fact that the universal mechanism for the functioning of the level system “a large image of the owner – a nearby scene” is a stable correlation between the elements of the attribute set of the nobleman and the content of the plots. Moreover, a large image of the nobleman is valuable not only as an image itself, but also as a set of necessary attributes that allow one to engage in “contemplating” on the images corresponding to these attributes. A new unusual variant of correlation has been identified by depicting a nobleman without the required attribute, however in a certain pose in which this attribute is usually present. Thus, the combination of the necessary insignia, combined with the pose of the depicted nobleman, endowed the large image of the owner with additional functions, allowing it to correlate with several plots and scenes of different content.

LITERARY WAYS OF CYCLISATION IN MODERN ROCK POETRY (based on the album “Creativity in the Void” by the “DDT”)

This article is intended to concretise the methods of cyclisation in the album “Creativity in the Voidˮ of the “DDTˮ, the presence of which indicates the integrity of the musical collection of it. The real goal dictates the solution of several research tasks, including the theoretical substantiation of cyclisation as a scientific problem in the study of rock poetry, the identification of the characteristic features of cyclisation inherent in the poetry of rock performers, and the analysis of the logic of building the album “Creativity in the Voidˮ of the rock band “DDT”. When performing the work, analytical methods of research, synthesis and comparison were applied, sociocultural and some biographical factors were considered, which makes it possible to reveal the philosophical and aesthetic meanings inherent in the single artistic space of the collection as a “product” of cyclisation. The author of this article concludes that the phenomenon of cyclisation is inherent in the work of the rock band “DDT”. The non-randomness of the arrangement of texts in the structure of the album has an impact on the interpretation of the picture of the world of the poet Yuri Shevchuk, which is artistically explicated in the musical works included in the framework of a separate album. The conclusions of the study make a certain contribution to the development of ideas about the artistic originality of the named musical band, expand the understanding of the phenomenon of cyclisation, including metacyclisation, in the work of rock performers in general.

An analysis of spatial designs produced through mid-journey in relation to creativity standards

The purpose of this study is to comprehend how the artistic spaces developed by designer Hassan Ragab using Midjourney, one of the artificial intelligence technologies whose significance is growing every day, fit into the intersection of architecture and art. Using the random sampling method, six space modellings with three distinct forms and functions were selected for the study from the artistic spaces made by Hassan Ragab via Midjourney. People who have received or are undergoing design training were surveyed to analyze their perception of creative design principles in selected works. A total of 200 participants from two distinct design sub-professional groups were subjected to the research. According to the study, artificial intelligence offers a way for people without artistic ability to access art. Midjourney is an AI research lab with its own program and online platform that generates artwork from provided text. By using Midjourney, architectural designs can be turned into artistic works. Experts have found that most spatial designers have yet to try Midjourney and that the program has a significant impact on creative design principles like fluency, flexibility, elaboration, originality and freedom.

Biblical foundations of the Russian national model. Book review: Kovalenko, A.G., Porol, O.A., & Porol, P.V. (2022). The artistic space of Russian poetry in the first third of the 20th century (biblical discourse): Monograph. Moscow: Yurist Publ. (In Russ.)

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Exploration of the Makeup Design Art of Animal Stage Makeup

This paper focuses on the art of makeup design about animal stage makeup, including its relationship with stage performance, design conception and production program and practical application research. It is found that the design of animal stage makeup not only requires artistry and innovation, but also precise realization techniques and methods. At the same time, mastering the design conception and makeup modeling production methods is crucial for stage makeup design. In addition, the development of modern makeup materials and techniques provides a broader creative space for makeup artists, and the education and inheritance of animal stage makeup cannot be ignored.

MONUMENTAL PLASTIC OF SACRED ART OF THE XXI CENTURY IN THE WORKS OF ROMAN VILHUSHYNSKY

The article examines the trends of modern Ukrainian sacred art through the prism of stone sculpture in the works of Roman Vilhushinsky. Modern concepts of visual organization of sacred space with the help of monumental works, preservation and restoration of elements of architectural monuments are highlighted. Methods and conditions of the creation of modern sacred sculpture based on existing canons and traditions are analyzed.The subject of research is the sacred sculptures of the XXI century in the modern art space. The purpose of this work is to highlight the main directions of the development of modern religious art through the prism of the creative achievements of Ternopil sculptor Roman Vilgushinsky.The methodological basis of the study is a set of general scientific methods: description, interviews, comparisons, observations, as well as special methods: art analysis, field surveys, historical and comparative analysis.Examining the creative contribution of Roman Vilhushinsky to the development of modern religious sculpture in the Ternopil region, we can note the diversity of ideas, images, styles and techniques used in creating sacred works, which is an important form of fine art in modern cultural space. Overcoming the period of religious oblivion of the Soviet times, when the sculpture of temples did not actually develop, the artist revives and in a new way solves the principles of creating works on religious themes.Keywords: sacred art, sculpture, national traditions, restoration, monument

Construction of Immersive Art Space Using Mirror Display and Its Preliminary Evaluation

Construction of Immersive Art Space Using Mirror Display and Its Preliminary Evaluation

Gurney, Kim: Panya Routes: Independent Art Spaces in Africa. Berlin, Lausanne (Motto Books) 2022

Gurney, Kim: Panya Routes: Independent Art Spaces in Africa. Berlin, Lausanne (Motto Books) 2022

VERBAL MEANS OF CREATING ARTIFICIAL SPACE IN THE LITERATURE OF THE FANTASY GENRE (BASED ON THE MATERIAL OF THE NARRATIVE ABOUT HARRY POTTER BY JK ROWLING «HARRY POTTER AND THE GOBLE OF FIRE»)

The article is devoted to the analysis of verbal means of creating artistic space in modern fantasy literature. The issue of literary geography and mapping of the narrative text is considered on the example of the fourth part of the septol- ogy of Harry Potter adventures “Harry Potter and the Goblet of Fire” by JK Row- ling. Special attention is paid to the means of transition from the magical world of the story to the muggle world of the main character. The verbal means of creating the artistic space of this narrative are also highlighted and analyzed based on the book material of the original text of the British author and the Ukrainian translation by V. Morozov and S. Andruhovych. The translation analysis of this work was carried out; extralinguistic and linguistic factors of the narrative about the little sorcerer are highlighted. A statistical analysis of selected verbal means of translation of the artistic space was carried out and translation operations were singled out. The toponymic names of the fantasy narrative were separately ana- lyzed and the means of their translation from English to Ukrainian were high- lighted. The results of the study show that Ukrainian translators chose the strategy of communicative-equivalent translation, which is the closest to the text, using adaptive means of translation. Thanks to this, the Ukrainian translation is con- sidered one of the best translations for the Ukrainian recipient.

Interpretation of the symbols of "snow painting" in Chinese art as a reflection of the process of changes in national religious, philosophical and aesthetic concepts

The article examines the symbolism of "snow painting" in the context of the development of a range of motifs and means of artistic expression, techniques of execution, which artists have chosen since the inception of this type of landscape genre to the modern situation. This analysis is implemented in the context of changes in the reception and reflection of elements of winter species caused by transformations in the worldview of people of a particular era occurring in the socio-cultural sphere. The object of research is the winter landscape in Chinese painting of the III – late XX century. The subject of the study is the symbolic system in the construction of artistic space in the winter landscape in Chinese painting of the specified period. The purpose of the study is to determine the features of spatial worldview in the "snow painting" of China in the context of national aesthetic and philosophical ideas. The research methodology is interdisciplinary and includes the study of the organization of space and the interpretation of its symbolic content in the paintings of Chinese landscape painters who turned to the image of winter and the motif of snow at different historical stages. When considering and analyzing works of Chinese painting, the iconographic method and stylistic analysis are used. The novelty of the study lies in the fact that it clarifies the concept of "snow painting" in the context of the development of Chinese fine art, identifies the circle of authors who addressed it, establishes a certain continuity in the artistic, stylistic and compositional techniques used by them, as well as the philosophical and aesthetic concepts behind them. The latter are directly related to the specifics of creating such works, as well as the means of modeling space by artists, which is revealed in the conclusions of the study. Within the framework of the analysis, the range of frequently used motifs and images is determined, their interpretation of the symbolic meanings associated with them are proposed. Snow in such painting is considered as a symbol of beauty, loyalty, nobility, as well as part of the "emptiness" in the artistic space of the painting.

광주 원도심 주요 문화예술공간의 흐름과 변화 (1900년대 초~1970년대까지)

This study aims to explore the evolution of cultural and artistic spaces in the old city center of Gwangju, specifically along Chungjang-ro and Geumnam-ro, from the early 1900s to the 1970s. The evolution of these spaces, along with political and economic shifts, was categorized into; 1) the Japanese colonial era; 2) the US military regime and after; 3) the expansion of Geumnam-ro in the late 1960s, and 4) the 1970s. The research was based on literature and newspaper articles, and departed from existing studies that focused on physical changes in the city or the historical significance of a space, approaching them from a multifaceted perspective. The findings revealed that cultural and artistic spaces underwent dynamic changes amidst the rapid transformation of the cityscape: 1) Heunghakgwan, theaters, the Gwangju Theater, dabangs, and schools, 2) the Gwangju USIS, 3) media offices and key spaces in Geumnam-ro, and 4) the dabangs, the Student Hall, the Civic Hall, and art museums. The analysis shows how these spaces served various cultural purposes, offering a nuanced historical map of cultural and artistic spaces.

아트테이너 현상 연구

The purpose of this paper is to examine the changing characteristics of the art world and popular culture in the 21st century by tracking entertainers who are also active in the arts, also known as “arttainers”. The results of this study showed that most “arttainers” are young singers or actors with no academic art background, while 24% are art majors from prestigious universities. They are mainly active in commercial venues such as art fairs and galleries in Seoul and the Seoul metropolitan area, as well as in art auctions, NFTs, and home shopping. Their works are highly popular in the market and command high prices. Most of them participate in “group art exhibitions,” which are a kind of casual art event, but some celebrities consistently introduce their works at famous galleries and well-known art spaces. In addition, celebrities declare themselves to be “artists” without having participated in any specific art activities in their their public career. On the other hand, “arttainers” also present their works in spaces with a strong artistic character, such as art museums, art centers, and biennials, and are active in various charitable activities. In addition, a significant number of established artists present their works together with celebrities, forming an intersection between the art world and the entertainment world. In this way, this paper is significant in that it examines the characteristics of the 21st century art world and popular culture by analyzing “arttainers”.

Two worlds of choral dramaturgy of G. Meyerbeer’s “Robert le Diable”

Statement of the problem. Recognized as a masterpiece of romantic art, G. Meyerbeer’s five-act ”grand” opera, due to its genre specificity, demonstrates brilliant examples of the use of choral scenes, which carry an important mean and emotional load in the opera. We can talk about the presence of choral dramaturgy in the work, which vividly embodies the idea of romantic “two-worldliness” expressed in the confrontation between Good and evil, real, human, and unreal, otherworldly ones. Objectives, methods and novelty of the research. The purpose of this study is to reveal the essence of the conflict between the real and the unreal in the choral drama of G. Meyerbeer’s opera “Robert le Diable”. The systematic approach to the study of the choral layer of the opera conditioned the application of genre, intonation-dramaturgical, structural-functional, and contextual types of analysis. The genre affiliation of G. Meyerber’s opera, its connections with lyrical tragedy and romantic drama attracted the attention of researchers (Everist, 1994; Sakalo, 2017; De Van, 1996, and other), as well as the symbolic richness of the opera (Pendle, 1979; Zolotariova, 2018, etc.) associated with its legendary a medieval plot adapted to the opera stage by the best librettists of the 19th century, however, the choral component of the opera in chosen aspect has not been studied in detail. For the first time in domestic musicology, the choral scenes of G. Meyerbeer’s opera were examined with the determination of the dramatic functions of the choir and focusing attention on the embodiment of two opposite “worlds” through the peculiarities of the choral dramaturgy. Research results and conclusion. According to the results of the analysis, it was found that the “two worlds” of the choral dramaturgy of G. Meyerbeer’s opera “Robert the Devil” visualize the main conflict of the work – the opposition of the Divine and demonic principles, and the use of “nvisible” (located behind the scenes) choirs emphasizes the two dimensionality of the artistic space of the opera and allows not stop stage action in choral scenes. Choirs bear a significant dramaturgical load at each stage of the development of the opera action and convincingly embody the most important feature of the plot of the opera – multiple intersections of the real and the unreal relying on the combination of the principles of contrast, suiteness, symphonism in the unfolding of opera and choral drama. The choral component in G. Meyerbeer’s opera “Robert the Devil” is represented in almost all its functional diversity and richness of gradations, from effectiveness to contemplation, and is an active carrier of the ideological and plot content of the opera.

Arctic cinema: from horror through dramas and thrillers To Actiоn movies and fiction (Part II)

The article examines Arctic thrillers, action films and fantasy films. Presented kaleidoscope of horror, drama, thriller, science fiction and action films, with all its plot differences, is united by almost a single location, the Arctic north. Against his background, all maginable and unimaginable events occur. It enhances or weakens the role of what is happening with its whiteness, making the viewer’s screen even whiter. This is an artistic space in which characters are placed and actions, are performed. The silence of the Arctic is its action. The films reviewed are extremely different, responding to the spirit of the time when they were filmed. Their placement about genres is conditional since they all have a cinematic hybridity. Each tape combines all kinds of genres under consideration. We tried to correlate a number of films with temporary political-social processes.

Interpretation of «Khutir’s philosophy» in the novel Liuko Dashvar «RAI. center»

At the beginning of the 21st century, a specific category of the artistic model of «peasantry», which is rooted in a peculiarly Ukrainian «philosophy of the heart» (cordocentrism), gets a new life and moves away from religious interpretation, turning towards national, spiritual, anthropological components. In the metaphilosophical sense and interpretation, Ukrainian cordocentrism is a national philosophy, which in artistic images and theoretical concepts expresses the awareness of human integrity and the understanding of the inseparable unity of man with God, spiritual reality, the transcendent. The study of changes and features of the transformation of this worldview in the work of domestic writers, in particular, Liuko Dashvar, would contribute to the continuity of artistic models traditional for Ukrainian literature. Therefore, there is a need for a thorough study of the features of the artistic interpretation of «khutir’s philosophy» as a specific worldview system in modern Ukrainian literature with taking into account its genre and style trends. Thus, in our study, through the prism of «khutir’s philosophy», an analysis of modern youth and the urban rich was carried out with emphasis on two spaces — the city and the small town. The system of characters is built according to two lines: images from the first,«people from the people» (carriers of true spiritual values), opposed to the immoral world of the city, in particular, those in power (the embodiment of social vices). Accordingly, the space of a district center, a town, a village is opposed to a metropolis as a center of decency and humanity to a space of greed and moral degradation. In the novel, the main worldview modes of the «khutir’s philosophy» are correlated with the system of character images and the organization of the artistic space. It was concluded that in Ukrainian literature, the «khutir’s philosophy» retains its significance as a holistic worldview which is manifested in the problematic of the works, the author’s principles of organization of the characters’ system and the chronotope.

The Role of Lexical Repetition in the Text Organization When the Mountains Fall (The Eternal Bride) Novel by Ch. Aitmatov

The author uses various means of language to deeply reveal the images of the characters in his works, to talk about their relationships, way of life, to describe beautiful pictures of nature. Among the units used as pictorial and expressive means in the artistic space of many writers, lexical repetition occupies a great place. This article is devoted to the study of lexical repetition, clarification of its functional characteristics, specificity and meaning in the space of the literary text on the material When the Mountains Fall (The Eternal Bride) literary work by Ch. Aitmatov. The relevance of the study is conditioned by the fact that repetition is considered as a category of the text, providing its structural coherence, semantic organization, reflecting the picture of the world of the writer and the character. In modern linguistics, repetition is rightly considered a multidimensional, multifunctional and complex phenomenon. The use of this means in different language styles is still insufficiently studied. The purpose of the article is not only to identify the types of repetition and determine the functions, but also to characterize the peculiarities of their use in Chyngyz Aitmatov.

Problemzone Ostdeutschland

Abstract By analyzing Lukas Rietzschel’s novel Mit der Faust in die Welt schlagen (2018) and Nino (f.k.a. Paula) Bulling’s Comic Im Land der Frühaufsteher (2012), this article explores contemporary portrayals of “East German rural space” against the backdrop of current discourses on Germany’s postmigrant condition. Marginalized on a political, economic and symbolic level and construed as the “Other” of German majority society in mainstream media, the “rural East” has recently been discovered by artists as a medium to reflect on urbanormative and (post-)colonial structures of representation that shape the debate and discursive construction process of postmigrant realities. In order to further illuminate this unique position and potential of East German rural space in art and postmigrant discourse, this paper will explore issues of migration, belonging, and (East German) identity in the abovementioned works through the lens of postcolonial theory.