History of Modern and Contemporay Architecture, Visual arts, Theater

This work analyzes the diffusion and appreciation of the Japanese dry garden, called karesansui, in the contemporary world.
Este trabajo analiza la difusión y apreciación del jardín seco japonés, llamado karesansui, en el mundo contemporáneo.

L'articolo è il maggiore approfondimento sul periodo Neometafisico (1968-1978) di Giorgio de Chirico. Il pittore nei suoi ultimi anni di vita riprende infatti i temi della sua pittura tra anni Dieci, Venti e Trenta rielaborandoli con uno sguardo felice e luminoso in opere spesso legate al tema nietzscheano del ritorno. L'articolo collegando strettamente la pittura e i testi di de Chirico chiarisce così i nessi simbolici di opere come "Il Figliol Prodigo", "Il ritorno al castello avito", "Il ritorno di Ulisse", "Orfeo Trovatore stanco" e del ciclo di opere legate alla figura di Oreste, in cui si evidenzia il tema neometafisico della consolazione e che si chiarisce nelle sue allusioni grazie all'influenza di Thomas de Quincey, scrittore amato e citato molto spesso da de Chirico.

The site selection of the buildings in the city and the architectural design of their exterior give us information about the social, cultural and political role of the theatre buildings in the urban context. Thus, this paper aims to discuss the change in social, political and cultural meanings of the architectural design of theatre buildings in urban landscape of Istanbul in the last 50 years. In this regard, I will try to point out to the changing definition of theatre buildings in Istanbul by examining their design, their appearance, the nature of their surrounding and their location in the city.
To be able to examine the relationship between public urban space and monumental theatre buildings in Istanbul, the meanings this relationship bear and how they changed in the course of time, firstly we have to look at the history of theatre buildings in Western culture, where the art of theatre was born. I’ll mainly draw the framework of the overview on Marvin Carlson’s (1989) approach. It will provide me with some background information to observe more clearly the changes in the meaning of theatre buildings in Istanbul. As the case study I’ll concentrate on three monumental theatre buildings in Istanbul which represent the theatre-centered cultural life of the city in different decades through the last 50 years.

This paper is part of the lodging of investigation on theater architecture and entertainment places for deeper changes and developments that occurred between the nineteenth and twentieth centuries. In the years of transition between the two centuries the theatrical life, characterized by great intellectual vigor, causes profound changes not only in setting architectural and construction of such buildings, but also in the reorganization of the city and in the planning of expansion areas.Many urban areas shall have buildings for theatrical performances, which become collective symbol of the building in the service of society; it is an architectural design which is still in legacies of the past, but stimulated by different influences - political, social and language - centered in the definition of proposals that are an expression of a new urban and social identity. In Italy, where almost all urban areas have a theater, with the National Units develops a renewed fervor; particularly, in Rome, when it becomes the capital of the new nation, there is a frantic building activity aimed at reshaping the urban fabric to adapt to new political and administrative tasks. This process of transformation becomes an opportunity to define new leisure facilities, buildings constructed almost entirely to private enterprise initiative and placed, for the most part, in the different areas of expansion of the city where they become the ‘strong signs’ and aggregation elements.
L’articolo s’inserisce nel filone d’indagine sulle architetture dei teatri e dei luoghi dello svago, per approfondirne trasformazioni e sviluppi tra Ottocento e Novecento. Negli anni di passaggio tra i due secoli la vita teatrale, caratterizzata da grande vivacità intellettuale, determina profondi mutamenti sono solo nell’impostazione architettonica e costruttiva di tali strutture, ma anche nella riorganizzazione della città e nella pianificazione delle aree di espansione. Molti centri urbani si dotano di complessi per lo spettacolo, ormai simbolo dell’edificio collettivo a servizio della società; si tratta di una progettazione caratterizzata ancora da retaggi del passato, ma stimolata da influenze diverse - politiche, sociali e linguistiche - incentrate nella definizione di proposte espressione di una nuova identità urbana e sociale. In Italia, dove quasi tutti i centri urbani hanno un teatro, con l’Unità nazionale si assiste a un rinnovato fervore; nello specifico, a Roma, dopo il trasferimento della Capitale, si verifica una frenetica attività edilizia volta a ridisegnare il tessuto urbano per adattarlo a nuovi compiti politici e amministrativi. Tale processo di trasformazione diviene occasione per definire nuove strutture per lo svago, organismi questi sorti quasi interamente per iniziativa dell’imprenditoria privata e localizzati, per lo più, nelle diverse aree di espansione della città dove diventano i ‘segni forti’ ed elementi di aggregazione.

ΤΟΥ ΚΩΝΣΤΑΝΤΙΝΟΥ ΚΥΡΙΑΚΟΥ MARIE-NOËLLE SEMET-HAVIARAS, Les plasticiens au défi de la scène (2000-2015) [Οι εικαστικοί καλλιτέχνες και η πρόκληση της σκηνής], L' Harmattan (σειρά Univers Théâtral), Paris, 2017 Ειδικά σήμερα καθώς, παρακολουθώντας το πλήθος των παραστάσεων που φιλοξενούνται στο «Φεστιβάλ Αθηνών και Επιδαύρου», καλούμαστε να κατανοήσουμε, να αποκρυπτογραφήσουμε και να απολαύσουμε το έργο καλλιτεχνών της Εσπερίας (ή και ελλήνων δημιουργών) που εκφράζει μια νέα εκφραστική γλώσσα, είναι ευπρόσδεκτη όσο και σπάνια μια μελέτη όπου ο συγγραφέας είναι ταυτόχρονα καλλιτέχνης και θεωρητικός του θεάτρου, ικανός, μάλιστα, να προβεί σε διεπιστημονικές προσεγγίσεις. Για όσους, λοιπόν, επιθυμούν να συνδυάσουν τη γνώση με την απόλαυση του θεατή θα προτείναμε ένα βιβλίο συναρπαστικό στην ανάγνωσή του και συγχρόνως κατατοπιστικό για όσα συμβαίνουν στην ευρωπαϊκή σκηνή κατά τον 21ο αιώνα. Πρόκειται για την πρόσφατα εκδοθείσα στο Παρίσι, από τις εκδόσεις L' Harmattan (σειρά Univers Théâtral), μελέτη της Μarie-Noëlle Semet-Haviaras, Les plasticiens au défi de la scène (2000-2015) [Οι εικαστικοί καλλιτέχνες και η πρόκληση της σκηνής], η οποία πραγματεύεται τις πολυσχιδείς σχέσεις των εικαστικών τεχνών με το θέατρο. Με αφετηρία την εντυπωσιακή αύξηση των σκηνογραφιών για το θέατρο, το χορό και την όπερα που έχουν φιλοτεχνήσει, σε κλασσικές σκηνές, καταξιωμένοι εικαστικοί καλλιτέχνες, η συγγραφέας επιχειρεί έναν ορισμό της σύγχρονης σκηνογραφίας μέσα από την ανάλυση αυτού του «φαινομένου επικαιρότητας». Οι επιλογές της αποδεικνύουν την ώριμη ματιά μιας Καθηγήτριας με πλούσιο ερευνητικό και διδακτικό έργο (στο πανεπιστήμιο Paris 1, Panthéon-Sorbonne) και μαρτυρούν την έμπειρη γνώση μιας σκηνογράφου με παρουσία και στο ελληνικό θέατρο (πάνω από δεκαπέντε συνεργασίες με τον Βασίλη Παπαβασιλείου και την Έλλη Παπακωνσταντίνου). Με χαρακτηριστική σεμνότητα η συγγραφέας δεν αναφέρεται στο προσωπικό της καλλιτεχνικό έργο αλλά επιλέγει μία εικοσάδα σκηνογραφιών ως αντικείμενο διεξοδικής μελέτης των δημιουργιών γνωστών ζωγράφων, γλυπτών, βιντεοκαλλιτεχνών, περφόρμερς και αρχιτεκτόνων όπως η Μαρίνα Αμπράμοβιτς, ο Μπιλ Βιολά, ο Ανίς Καπούρ, ο Ανσέλμ Κίφερ, ο Όλεγκ Κουλίκ, ο Πιερρίκ Σορέν, ο Ντανιέλ Μπυρέν, ο Γιαν Πάπελμπαουμ και άλλοι.

This paper teaches readers about types of people who are addicted to many aspects, not just drugs, gambling, and internet gaming, web gambling, heavy drink addicts, and other activities bringing a person into disruption in his life. This paper does not hurt people who are regarded as drug traffickers, this paper focuses on the causes and disadvantages of people who are harmful to the purpose of the task and does not mean to send others to his environment.