Between the Acts

Broj 1 - Godina 7 - 12/2016

Uvodnik

The papers collected within this entr'acte issue use different perspectives and standpoints to explore what happens between the acts – regardless of whether these are acts of a play, acts of speech or some other kind of social intercourse, or – broadly speaking – various acts/actions/activities that pertain to fictional worlds. It could arguably be expected that between the acts there is nothing of significance – utter silence and empty rows of seats in a theatre hall – or some form of light entertainment at best. These spatiotemporal lacunae, vacancies left gaping for however short a time, still possess the power, as all the papers in this issue seem to indicate, to construct and project new meanings of their own, or at the very least create potential for re-interpreting the adjacent ideas and contents, as well as exploring the problems of context, causality and sequence. ..

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Izdvojeno

Otvori oči, pa po običaju najprije baci pogled na sat na zapešću... Tek je pola sedam. No učas ih čvrsto zaklopi, iščekujući škriput kreveta i glas: „Ustaješ?“ Ali tišina potraja, pa otvori oči i uvidi, sama je u krevetu. Pa da, Rađan je noćas otišao u Delhi. Zaboravila je. Hm, sad nema razloga za žurbu. Udahne, duboko i polako, pa se s izdahom zakotrlja po cijelom krevetu. Dok je ležala na drugom rubu, s rukom preko lica, u ušima joj jače odjekne tika-taka njezina sata. Osmjehne se. Navikla je spavati sa satom na zapešću. Rađan se stalno nervira: „Zašto da ti sat cijelu noć kucka kraj uha. Hajde, skini ga.“ Makne ruku s lica, namjesti jastuk pod trbuh i opruži se, raskriljenih ruku, po cijelome krevetu. Ah, kakav je užitak spavati dokasno. Kad je Rađan kod kuće, već se oko šest, pola sedam sve ustrči. Priprema čaja, doručka, usto i ručka, a u osam Rađan odlazi u ured. Bog zna otkud Rađanu ta loša navika ranog ustajanja. Kako god, ona je danas slobodna. Može što poželi. Stoga opusti tijelo spremna da još malo odrijema....

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This December it will be ninety years since Agatha Christie disappeared for eleven days and despite the fact that there are many biographical books about her life and work, nobody knows for sure what provoked her to vanish, sending shockwaves in British society in 1926. Whatever the cause may be, this disappearance has remained a mystery and inspired French authors Anne Martinetti and Guillaume Lebeau, along with the illustrator Alexandre Franc, to create a graphic novel: Agatha: The Real Life of Agatha Christie. Marinetti has also written a cookbook inspired by Agatha Christie, entitled Creams and Punishments, while together with Lebeau, she has co-authored the encyclopedia Agatha Christie from A to Z.Agatha: The Real Life of Agatha Christie was originally released in 2014 as a French-language Kindle edition and was first published in English in May, 2016 by the UK press SelfMadeHero, which specializes in graphic novels and manga adaptations of classic literature, like those of Shakespeare, Poe and Kafka. The story is told through 112 illustrated pages and concludes with a thorough timeline of key events in Agatha Christie’s life, as well as a complete bibliography. It is noticeable that novels and story collections featuring Hercule Poirot take up the greater part of her bibliography. The authors of this biography assume a similar approach in showing the significance of this fictional character in Christie's career (and life), representing Poirot throughout the text as her companion and advisor without using any graphic techniques to stress the fictionality of his character. The authors make strong attempts to convey the close relationship that Christie built with her most prominent character, one who always seems to appear in this biography during her moments of extreme loneliness, and one to whom Christie owed a great deal – as she admited herself when she decided to buy the Greenway House in December 1938 (Martinetti, Lebeau, and Franc 80). ...

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The paper aims to emphasize and display the importance of the pedagogical, explorative and theoretical work of Stanislavsky in the fields of the pedagogy and ethics of the art of acting and how these influenced the development of features and the establishment of the basic principles of Grotowsky's director/pedagogical work in his various artistic and researching periods. As well as essential historic-biographic correlation, the points of contact and the links in their work are established with particular emphasis on the crucial link manifested in the researched importance and in the development of the so-called method of physical actions which Grotowsky assumed from Stanislavsky but further developed in his own direction. By contrasting the basic principles of their work in the field of the method of physical actions, the crucial theoretical and practical differences between the two authors emerge. These differences are primarily evident in the apprehension of the basic preferences of the actor’s/performer’s art-making: apprehension of organical behavior and the work on (or with) impulses and in the context of determining the function and the meaning of the role....

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Not just another dictionary in the well-known Rowman & Littlefield “Historical Dictionaries” series – South American Cinema is a special kind of book for anyone delving into the broad field of national and regional cinema encompassed by the term South American. Author Peter H. Rist is a professor at Concordia University in Montreal and his PhD thesis dealt with the early films of John Ford. Rist is better known within film circles as the author of several papers on experimental Japanese cinema, so his solo venture into South American cinema is quite unexpected. It is even more surprising that he has produced a 701 page book of this stature on his own – definitely a huge task.What is quite different about this book is evident right from the title – South American – not Latin American, Hispano-American, or any other expected paradigm based on the language or the hyper-cultural context. Rist, as he notes in the preface, tried to envision a book bordered by the notion of the whole continent of South America. This rather unusual approach (where almost all other titles on the subject focus on Latin or Hispanic) broadens the horizon with an exotic array that includes Surinamese, French Guianese, and Guyanese cinema. Rarely are these nations even noted in serious books, so entries with their names, brief as they are, make a difference. This is also discussion on the cinema of small Hispanic nations such as Ecuador and Paraguay. On another level, the South American context includes French, English and Dutch language cinema alongside prevailing Spanish and Portuguese, albeit the output of these films is negligible in comparison with the bigger and traditionally more important films of Brazil or Argentina. ...

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