Man Of Vision Research Articles

The transformation of the director's vision in relation to the structure of virtual space in cinema

The subject of research in this article is the process of creative design by the director, which undergoes changes when transitioning from traditional cinematographic space to the world of virtual reality. A significant role is given to the technical component of VR cinema. The importance of this topic is undeniable, as it touches the foundations of cinematographic art and is of interest to a wide range of specialists in the field of film and virtual reality. It raises issues of creative freedom, technological capabilities, and new forms of interaction between the author and the audience. The aim of the work is to consider how the role of the director changes in the context of creating virtual worlds, and how new opportunities provided by technical innovations affect the structure and perception of cinematographic works. Based on comparative analysis methods, the work attempts to understand the transformation of the director's creative design in the context of virtual space. The novelty of the work is determined by the fact that it carries out a comparative analysis of traditional and virtual approaches in cinema, as well as provides a tentative forecast for the development of VR cinema, describes the role of artificial intelligence and machine learning in the narrative component of cinema. Since virtual reality carries the potential for radical changes in direction, the work touches on aspects such as narrative and stylistics in classical and VR cinema, the role of the viewer, control of viewer perception by the director, the emotional impact of VR and classical cinema, visualization features, as well as psychological aspects that distinguish classical and innovative approaches. The future of virtual cinema promises an expansion of the boundaries of what is possible in storytelling.

Artistic image in animated cinema as an integrative multilevel dynamic phenomenon

This article discusses the specific features of the artistic image, the artistic form of the screen, including animated works. The artistic image in animation is a complex and multilevel phenomenon that takes the expressive and visual form of the director's vision and conveys the content through the artistic form. The aim of the work is to attempt to define the "artistic image" in animated cinema. The object of the study is the form of an animated work as the integrity of its artistic concept, combining various audiovisual elements, involving a laborious technological embodiment on the screen, combining the expressive and visual form of the director's vision, his creative interpretation of the chosen plot. The author of the article suggests considering the animated image as an artistic phenomenon as one of the most important aspects characterizing the integrity of an animated film. The novelty of the work lies in an attempt to define such a concept as "the image of an animated film". The new empirical material presupposes the updating of the terminology of art criticism, including the film-making tools in the process of theoretical analysis of screen culture. In this perspective, it is necessary to clarify, expand and update the traditional terminology (in particular, the definition of an artistic image in animation) used in the artistic and aesthetic analysis of screen works. The results of the study can have both scientific and theoretical, and creative and practical application. The materials and conclusions of this article can be used as a conceptual and methodological basis for further scientific research.

Daizō Sakurai's Trans-Asian Tent Theater, Picun, and the Reenchantment of Urban Space

Abstract This article discusses the 2010 Picun performance of Crow2Topia, the first play by the Beijing division of Daizō Sakurai's tent theater. Sakurai had previously participated in grassroots theater activities in Japan and Asia: in 2007 members of the mainland independent theater scene introduced him to the labor NGO and community cultural center Migrant Workers Home in the urban village Picun in Beijing. Sakurai's collaborators suggested that the suburban village-in-the-city, populated by rural migrant workers, would be a performance venue that fit the Japanese director's vision of theater as being located on the margins of society. The article delineates the trajectory of Sakurai's tent theater, analyzing the play Crow2Topia and pointing to intertextual references to premodern theater traditions and modern texts. Drawing on similarities between the play, which portrays a contemporary Chinese city from the perspective of the inhabitants of a garbage dump, and the precarious position of the actual tenants of Picun, it argues that the tent theater and the Migrant Workers Home can both be described as unstable “shared spaces” with permeable borders. In these spaces, social roles and personal identities are in constant flux. The closing part of the article expands the notion of “shared space,” first introduced by Dai Jinhua in her discussion of the emerging popular culture in mainland China in the 1990s, beyond the borders of the local cultural scene and embeds it into transregional networks of grassroots cultural activism.

Harold B. Lee: Life and Thought

Harold B. Lee: Life and Thought

상상력과 사랑

This paper reads P. B. Shelley’s unfinished poem The Triumph of Life (1822), which recounts the poet’s visionary experience of beholding the triumphal procession of Life, in relation to his claims about imagination and love in A Defence of Poetry (1821). For Shelley, imaginative faculty forms the basis of a feeling of sympathy for others, which develops into love. This notion of sympathetic imagination appears to be the key to understanding the poem, especially the significance of Rousseau who guides the narrator through the apocalyptic vision. The principal purpose of this article is to elucidate the role of Rousseau in the Triumph, whom Shelley considers to be essentially a poet, i.e. a man of imagination. To Shelley’s way of thinking, Rosseau is proven highly imaginative in developing radical political ideas which had their roots in his fervent desire to remedy the ills of the world, and which profoundly impacted the outbreak of the French Revolution. However, Rousseau’s encounter with the vision of the “shape all light,” a malevolent spirit who offers him the cup of nepenthe, blots out his memories of the past, hence trampling the spark of imagination in his mind. For his ability to imagine ideal conditions for human existence is based upon his criticism of the harsh realities of the world—criticism being an act of remembering the past. However, Rousseau’s liberation from the chariot of Life is attained by his unswerving loyalty to democratic ideals, which holds true for Shelley.

Мюзикл «Милая Чарити» и «формула стиля» хореографа Роберта Фосси

The article explores the possibility of deriving the “formula of style” of the American choreographer, dancer, director and actor Robert Louis Fosse, better known in the national cultural tradition as Bob Fosse. The musical “Sweet Charity” was chosen as the main material. Its premiere took place in 1966 on Broadway and the film version was released in 1969. The author believes that not only the choreography, but also the artist’s stage presence, and way of constructing the mise-en-scène through the scenery, light, costume, greasepaint, as well as the transformation of musical material by superimposing additional sounds produced by dancers on the existing melody, so as to change the rhythmic pattern (and in cinematographic works — also the director's vision of not only the finished film, but also the frame itself) were all components of a single style. Without understanding the unity of the above listed elements, it is impossible to grasp the essence of the artistic method of R. Fosse and reproduce his work in practice. A detailed analysis of each element leads to the conclusion that the choreographic text conveys the choreographer's concepts through a codified message that changes its meaning depending on intonation. The musical material presented by the composer and processed by the dancers with additional sounds determines the nature of the stage story. The internal fullness of the performers, as well as mise-enscène, costume, greasepaint, and light add hidden meaning and subtext to the original story. If it were possible to deduce Robert Louis Fosse's “formula of style,” then it would be achieved from a synthesis of all the above listed elements, that have been studied within the body of all his works.

Reconception of the Buffon Style in Gioacchino Rossini’s Opera "Barber of Seville" in the Director's Design of the Project

The prospects of turning to the opera-comedy genre in times of great socio-political cataclysms are considered. The relevance of reseach is outlined and the source base is analyzed. The main components of the play's design through the prism of the director's vision of the author of the creative art project are defined. The differences between the decorative and effective scenographic solution of the performance were revealed. The danger of the directors' excessive fascination with the latest art technologies is outlined, and their influence on classical opera is clarified. The director's concept and director's approaches in creating an artistic project of a creative graduate student based on J. Rossini's opera "The Barber of Seville" were revealed. The basic components of the director's idea of the play are substantiated: its scenographic solution, mise-en-scène drawing, director's characterization of actors and supertasks. The defined elements are reinterpreted through the personality of the director-producer, which contributes to the motivation of the theater's creative and production teams, so that the play takes a worthy place in its repertoire. It was found that, in contrast to the decorative design of the performance, scenography is always dynamic, full of action, and the scenographer together with the director create the ideological and semantic layer of the spectacle. It is proven that the visualization of a modern opera production is carried out at the expense of the "here and now" presented cultural subject and the content of material and virtual reality, which is constantly changing. The dynamics of changing opera scenes in the process of transforming them into a "screen" is described, which does not reflect the events of the opera's plot, but represents fragments of modern reality that have nothing to do with the classical art project. Prospects for further scientific exploration of the chosen problem and reinterpretation of classical opera masterpieces, such as "The Barber of Seville" by G. Rossini due to the enrichment and renewal of directorial approaches in the construction of a complete and original performance, are predicted.

Acting and Race in Night of the Living Dead (1968)

Acting and Race in <i>Night of the Living Dead</i> (1968)

Stage design as a directing decision tool

The aim of the article is to identify the features of stage design as a tool for representing the director's vision of the play in historical retrospect and at the present stage. Research methodology. The system method was used (for the study of scenographic design as a holistic and developed system); functional-typological method (to clarify the functions of stage design in the context of the specifics of design and directing); historical and cultural method (to consider this issue in the development of stage design), etc. Scientific novelty. Stage design as a unique tool for representing the director's vision of production is studied; the peculiarities of the conceptual and material sequence of the process of creating a visual image of the play are analyzed (according to D. Payne); the influence of the New Stagecraft movement on the formation of the modern concept of stage design was revealed; the specifics of stage design in traditional and non-traditional space are considered. Conclusions. Over the centuries, the artistic solution of stage production has undergone many different transformations, according to a specific period of historical development of theatrical art, recreating the environment in detail, minimizing to virtually free of scenery and props stage space, representing innovative technologies and others. At the present stage, theatrical art in general and directing in particular, continues the search for a new form of production. Under the influence of intensification of integration processes, which technologically and informationally combine various means of communication and information, as well as in accordance with the development of a specific culture of creating and showing theatrical performances, an important part of stage design of the XXI century. became audiovisual media - television, cinema, video and multimedia. The study found that in the process of historical development of the theater, the focus of the set designer has shifted from the interpretation of the text on a given stage space to the deconstruction of the found space in a critical context. However, stage design remains a powerful expressive force in the work of the playwright and director, strengthening them as a visual imprint, organically integrated into the semantic universe of the play. The stage design of a theatrical performance is the result of logical, figurative thinking and intuitive feeling expressed through an idea or a central theme. The original organization of space, drama, functionality of scenery and costumes, multimedia, lighting solution embody in a plastic solution the idea of ​​the play, staged by the director. Remaining the most important figure in the theater, the director finds visual support in the scenographic rhetoric of forms, volumes and chromatics in the process of creating an ideal sphere, with a single homogeneous content. Key words: stage design, artist, director, performance, visual-symbolic interpretation, scenery.

A Man of Vision and Faithful Sentinel of Catholic Theology: Fr. Francisco Marin-Sola, O.P.

On the occasion of the 500th year of the commemoration of Christianity’s coming to the Philippines, the Filipino people profoundly remember how God bestowed abundant graces to them. Proofs to this remembrance are the external and internal manifestation of gratefulness among the Filipino people. The milestones reached by the Church in the Philippines are not an invitation to blow the horns of triumphalism but a call to profound introspection and humility. Thus, remembering how God has sustained us for half a millennium leads us back to people whom God used as conduits of His overflowing mercy. In this paper, I focus on Fr. Francisco Marin-Sola, O.P., who has contributed significantly to Catholic theology. Fr. Marin, as he is fondly called, had ties with the University of Santo Tomas in Manila. It was in this institution that he was able to hone his virtues and skills as a student, teacher, and writer. This Dominican’s natural talent blended well with St. Thomas Aquinas’ framework that led to the production of works reflecting the latter’s genius. Fr. Marin’s most notable work is titled, The Homogeneous Evolution of the Catholic Dogma, a compilation of articles published in La Ciencia Tomista during the early 1900s. In this work, he used the term “evolution” to investigate the Catholic doctrine’s homogeneous growth, which at that time, many viewed as provocative and a deviation from tradition. Criticized at first, his docility and vigilance earned him respect from his contemporaries. This paper also explored Fr. Marin’s significant contribution to Catholic theology counting him as one of the greatest Dominicans who graced UST with his meaningful presence.

Director's Modeling of Art Project Based on Jacques Offenbach's Opereta "The Key on the Pavement"

The author considered the modern trends in the development of the operetta theater under the influence of a change in its paradigm. The main elements of the play's design are analyzed from the point of view of the director's vision of a creative graduate student. The content of the director's expansion of the libretto of Jacques Offenbach's operetta "The Key on the Pavement" is clarified, which consists in adding inserted episodes in order to modernize the work and so to dynamize it by finding new colors, namely: the prologue - an interactive scene of the meeting of the audience by mimance artists in the hall of the theater for direct involving the audience in the theatrical action and the dance-pantomime scene during the overture with the greeting of the newlyweds and the handing over of wedding gifts. The director's means of expression, the nature of their synthesis in an artistic project are outlined. The director's model of the artistic project based on J. Offenbach's operetta "The Key on the Pavement" in the author's vision of a creative graduate student has been determined. The content of the director's expansion of the libretto of J. Offenbach's operetta "The Key on the Pavement" is clarified, which consists in adding some episodes this innovation gives the operetta a modern structure that attracts the contemporary audience. The main elements of the director's idea of the play were revealed: scenographic solution, mise-en-scène drawing, director's characterization of the personages with the development of their psychological portraits, supertasks and artistic images of the characters of the play. The director's idea of the project was formed in the context of the composer's conceptual vision for a harmonious combination of form and content. It has been proven that the most vivid directorial means of expressiveness of contemporary theater art is the use of multimedia and the latest art technologies. Emphasis is placed on their compliance with the requirements of the time, on special attention to the balance and expediency of their use, harmony with the original work. The vectors of further scientific research in the context of modernization of operetta performances, which are caused by the change of the theater paradigm and the search for modern directorial means of expression to increase the impact on the audience, are predicted.

THE STRUCTURAL CONSTRUCTION OF THE ELEMENTS OF EXPRESSION IN REALISTIC FILMS (JAAFAR ALI) AS A MODEL

The problem of the current research was crystallized by raising the following question: What are the cinematic tools and elements that director Jaafar Ali employed in addressing reality during his films? Therefore, the aim of the research seeks to reveal the structural structure of the elements of expression in realistic films, Jaafar Ali as a model. To verify the objective of the research, the researchers chose an intentional sample of the films of the director (Jaafar Ali) represented by the movie (The Curve, 1975), as the justifications for choosing this model as it deals with one of the real issues of Iraqi society was analyzed according to a tool prepared for this purpose, and the researchers came out with a group of The most important results are: The director's vision is linked to the awareness and culture of director Jaafar Ali in his dealings with the visual and audio elements in the film. Keywords: Structural Construction, Elements of Film Expression, Realism.

The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms

The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.

Development of Psychology Based on Online with Edward Personality Preference Schedule and High Level Indonesian Collective Intelligence Test

Online psychotic are developed to keep up with current technological advancements. Application of Psychotest Development Based on Online with Edward Personality Preference Schedule and High-level Indonesian Collective Intelligence Test, developed for the benefit of the Soegijapranata Center for Applied Psychology. Making the application "Psychotest Development Based on Online with Type of EPPS and High TIKI" is motivated by the director's vision to be able to advance PPT Soegijapranata. In the process of creating an application design, sources were obtained from the director of the Center for Applied Psychology at Uneg Soegijapranata, the design obtained was the number of users, application flow, and mockup design. The goal to be achieved is to change the manual process to use technology. When testing 30 respondents, it was found that the Psychotest Development Application Based Online with EPPS and TIKI Types was quite helpful and made the test process simple.

In Memoriam: José Baselga's Journey in Cancer Medicine.

In Memoriam: José Baselga's Journey in Cancer Medicine.

WITHDRAWN: Web log analysis using Spark with solution recommendation

The robustness required by the web server that operates behind those giant service providers must be taken into account in today's world, where any service is accessible on the internet in the form of large sites or exceptional web applications. The businesses spend a great deal of money on maintaining these servers so that they work always at their highest level. The amount of data that is transacted and the intricacies involved in the Internet every microsecond is beyond man's imagination. The server needs to run 24X7 to make it easier for their demanding clients. Incidents, however, have contributed to millions of dollars losses for the organization due to a malfunction of a company server and it merely emphasizes the value of a stable server. Each server contains details about the requests that it has previously handled, called web server logs, and it is extremely valuable because it gives us information about the potential reasons for the server failure. For a certain period, famine attacks (DDOS attacks) and many others may be overloaded. The web server's audit logs include details about the response code it generates and should the error codes involved be well examined, the reasons for a server failure might probably be identified. We aim to review the error code documents to gain their information and evaluate web server logs using a solution-recommendation framework that informs the server administrator of the potential reasons for any previous server breakdowns and how it can be prevented. For analysis, we will be using Apache Spark keeping in mind its in-memory processing of data, making it a lot faster than Map Reduce of the Hadoop ecosystem which goes for batch processing.

New Record Store Superheroes

New Record Store Superheroes Elizabeth Currans (bio) Heavy Vinyl: Y2K-O! Carly Usdin and Nina Vakueva BOOM Box! https://shop.boom-studios.com/graphicnovels/detail/10026/heavy-vinyl-tp-vol-02-y2k-o 112 Pages; Printr, $14.99 At a time when the everyday violence against black people is both accelerating and getting long overdue national attention and an uprising in response to that violence is in full swing, the importance of empowerment narratives is particularly apparent. Such narratives can take many forms including documentary stories of leadership and liberation and fictional stories that help imagine new worlds. As Sheena C. Howard and Ronald L. Jackson II explain in Black Comics: Politics of Race and Representation (2013), "Every political campaign is based on it. Every adolescent's life begins with it. … imagining what is possible". Graphic narratives engage our imagination in using a combination of visual imagery and text, making them an important site for articulating new worlds. Writing girls into our collective understanding of power is vitally important. Documentation of teen girls organizing local demonstrations asserting the importance of black lives are an important part of this. Pairing these with fictional accounts helps expand the ways that girls can imagine themselves and the rest of us can imagine girls. Comics like Heavy Vinyl, therefore, can play a crucial role in shifting our collective imagination of what leadership and justice look like. Like many academics, I have found that my life-long love of fiction has shifted to accommodate the reading I do for work. When my days are filled with reading reports, academic research, and email messages, my desire for imaginative narrative has increasingly been fulfilled by graphic novels and comic books. As a feminist, I am particularly invested in finding texts that feature women or girl protagonists and include at least one woman on the creative team. Anyone familiar with comic books and graphic novels and memoirs knows that the latter is all too rare even if a plethora of texts feature both women and girls. Hillary Chute (author of Why Comics?: From Underground to Everywhere [2017]) explains that in comics and graphic novels, "girls are the new superheroes." Many of the texts that feature these girls emerge from the imagination of men. While many of these are complex, empowering narratives featuring girls (such as Love and Rockets, Ghost World, and Papergirls), the world of comic writers and artists remains both white-and male-dominated. The girls and women at the center of these narratives are increasingly racially diverse (for example, the Pakistani-American teen protagonist in the latest incarnation of Ms. Marvel and the heroine of Moon Girl and Devil Dinosaur), yet as Deborah Elizabeth Whaley notes in Black Women in Sequence: Re-Inking Comics, Graphic Novels, and Anime (2015), black women remain primarily as "sidekicks or one-dimensional" in comics. Heavy Vinyl is notable for providing a fictional narrative of empowerment featuring a racially diverse, queer-girl dominated cast and for it's almost all woman creative team, featuring writer Carly Usdin, penciler Nina Vakueva, inker Irene Flores (with Kieran Quigley and Walter Baiamonte [Vol. 1] and Lea Caballero [Vol. 2]), colorers Rebecca Nalty (Vol. 1) and Natalia Nesterenko (Vol. 2), and letterer Jim Campbell. Vikueva's realistic drawings capture the characters' emotions and interactions beautifully. Her subtle yet bold style effectively captures facial expression and body language. The bright colors Nalty and Nesterenko use fuel the quick narrative pace. Despite these kudos, the representation of black characters is uneven, granting a black girl agency and power akin to other characters while leaving a young black woman in a supporting role. Thus, just like the world we live in, the fictional New Jersey town where Heavy Vinyl takes place is imperfect. Liberation is possible but the way it's imagined needs to expand. The plot centers on Chris, a seventeen-year-old white tomboy who has landed her dream job at Vinyl Destination, a local record shop that—unlike any record shop I've ever visited—is staffed entirely by teenage girls and young women. Over the course of volume 1 (released in 2018), we meet her co-workers, Maggie, a seventeen-year old...

КУЛЬТУРА СКВОЗЬ ПРИЗМУ ЭКСПРЕССИОНИСТСКИХ ТРАДИЦИЙ В КИНОИСКУССТВЕ ХХ-ХХI ВЕКОВ (ОБРАЗ ГОЛЕМА)

In this article, the author comes to the conclusion that the expressionist tradition in cinema quite adequately reflects the laws of the cultural development of society: creative figures throughout the twentieth and first 20 years of the twentyfirst century. periodically return to the Golem theme; his image remains relevant, since it embodies the idea of sometimes the only defense (from the outside) of a person helpless before the collisions of the surrounding world, which means that this latent fear of the world cannot be considered exclusively the property of the modernist worldview of the early twentieth century. Unshakable to this day, however, remains the moral law: in every film product, the Golem is subject to destruction as a godless substance, as an unsuccessful attempt by a person to stand on the same level with the Creator. At the same time, the image of the Golem in the history of cinematography is influenced by the historical situation and the constantly changing spiritual and aesthetic demands of the viewer associated with it. Mythological Golem in the XXXXI centuries. ceases to be slow and clumsy, and for its revival, neither an ecstatic mystical experience, nor a righteous man, nor a whole group of such (obviously, because in modern reality it is very problematic to find them): for more than 100 years in cinema, the mythical Golem from an earthen image, thanks to the director's vision, she gradually follows the path of her increasing "incarnation" and eventually turns into a fragile girl, now into an unhappy child.

"Stand still": Delta Wedding and the Perils of Perception

"Stand still":Delta Wedding and the Perils of Perception Ryan Sinni [A]s soon as the least of us stands still, that is the moment something extraordinary is seen to be going on in the world. —Welty, "Place in Fiction" 787 [H]e had seen the bird most purely at its moment of death. —Welty, "A Still Moment" 239 You couldn't stop me. —Welty, Delta Wedding 159 Eudora Welty's One Time, One Place: Mississippi in the Depression contains an unassuming photo entitled "Town in a store window" (56). At first glance, this photo might seem to offer a simple depiction of items, such as clocks and lanterns, that are for sale in a local store. Upon closer examination, however, "Welty's diminutive silhouette can be seen slightly hunched over in the act of snapping the picture" (Wright 65). This image is a reminder that every photo, no matter how objective it may seem, is the product of a human perceiver. Although Welty may have been alerted to this reality through her photography, she explores it in detail in her fiction. The role of the human perceiver is an especially prominent theme in Welty's 1946 novel Delta Wedding. In this work, Welty's engagement with the theme of human perception is funneled through the concept of stillness. This concept is especially important to one of the story's most important characters, Ellen Fairchild, for whom the phrase "stand still" is a habitual command (158). Despite its prominence in Delta Wedding, the theme of stillness has not received sustained treatment in the scholarship on the novel, although some critics have addressed related themes. Louise Hutchings Westling and Allison Deming Goeller both read Delta Wedding as working with the pastoral genre; Kelly Cannon comes closest to focusing on stillness in her [End Page 243] article "The Power of Silence in Delta Wedding." But none of these critics offer a detailed analysis of the way Welty engages with the concept of stillness. In this essay, I will provide such an analysis by reading Welty's novel in light of her essay "Place in Fiction" and her short story "A Still Moment." Each of these works reveals a different angle on Welty's use of the phrase "stand still." In "Place in Fiction," standing still is the posture in which one perceives mystery. "A Still Moment" does not contradict this claim but rather complicates it. Like "Place in Fiction," "A Still Moment" portrays stillness as an appropriate posture for the perceiving subject, but it also warns against imposing such a posture on the perceived object. I argue that the ambivalence toward stillness that characterizes "A Still Moment" also characterizes Delta Wedding. In both of these fictions, a receptive posture allows one to perceive an object of perception, whereas an active posture allows the object of perception to slip through one's grasp. In "Place in Fiction," Welty points to primeval religious experience to illustrate the connection between place and feeling: "From the dawn of man's imagination, place has enshrined the spirit: as soon as man stopped wandering and stood still and looked about him, he found a god in that place; and from then on, that was where the god abided and spoke from if ever he spoke" (787). What is important to note here is the relationship between standing still and perceiving the supernatural. The phrase "as soon as" indicates that this perception immediately followed upon standing still. The god is portrayed as already present, simply waiting for an attentive human perceiver to arrive. A few paragraphs later, Welty links standing still with the perception of the "extraordinary" ("Place" 787). Welty wonders about the connection between place and perception: "It may be that place can focus the gigantic, voracious eye of genius and bring its gaze to a point" (787). Welty defines this "focus" as "awareness, discernment, order, clarity, insight" (787). She then claims that focusing has both intrinsic and extrinsic value: "The act of focusing itself has beauty and meaning; it is the act that, continued in, turns into meditation, into poetry" (787). In the context of this "act of focusing," Welty again employs our key phrase: "Indeed, as...

Director's intention as the main component of the artistic creative process of developing a holistic stage work

Purpose of Article. The reason of creating a director’s intention as the conceptual component of the artistic and creative process developing a stage form that requires the synthesis of special exercises and accents and a complex of methods in ideological and emotional expressiveness. The methodology consists in the application of artistic, functional, analytical, systematic methods of research interpretative concept of the formation of intention as a concrete understanding and awareness of reality, which defines a clear citizenship position, emotional feeling, as well as the plastic-spatial and tonal solution of the performance in a single stylistic and genre key-way. The scientific novelty of the study is on a sequential analysis of the director’s intention to create an intent stage work, as well as the phased structuring of his paradigm as a component of professional activity at this period of time. Conclusions. As a result of the study, we can conclude that first of all, each director sought and today continues to seek to create his own theater in accordance with their horizons and perceptions in order to form personal creative workshop, find unique, original and actual solutions for the stage production in the successful directorial intention. Secondly, the main goal of the artistic and creative process in developing a director’s intention is the reality of individual metaphor which must always remain. It could be creative, new, friendly, any kind, but grandiose and comprehensive. Last, but not least, despite all its versatility, originality, and certainty as an independent art directing in its base there is an interpretation of a literary work of director's vision which gives its' visual life in the stage through the spatio-temporal dimension.