This article presents an analysis of Natália Barros' book, titled Ensaios do corpo no lugar de morar (2021). The book deals with a theoretical, practical, and collaborative research within the realms of architecture, dance, scenography, performance design, and digital tools. Numerous artists from across the globe have come together, catalysing performative experiments that challenge conventional notions of dwelling. The aim of this article is to provoke reflections on the bodily experience within the home amid the global backdrop of the pandemic, based on a digital performative experiment that appears to blend an expanded conception of scenography with certain elements of domestic life.

This study analyses the differences and commonalities of acting in traditional radio production and audiobooks. Using the examples of two adaptations of Mikhail Bulgakov’s novel The Master and Margarita, a radio dramatisation directed by Jiří Horčička (1987) and an audiobook by Natália Deáková (2021), it deals with the differences between the two audio treatments, noting the ways in which the literary subject is creatively concretised through the audio medium and the relationship between the literary text and its vocal interpretation. The aim of the study is to define the specificities and name the typical practices of actor-interpretation within radio and audiobook production. Methodologically, the analysis is based on the structural semiotics of acting, as proposed by Jiří Veltruský for the context of drama acting.

This article argues for an analogy between the early talkies and the video telephony software-based theatre productions that have proliferated since the outbreak of the COVID-19 pandemic: both the crude sound equipment employed for the late 1920s films and the static streaming and recording devices used to make online theatre/theatre online productions require the performer's close proximity to the microphone. The latter kind of artwork's 'user interface stage' is the site of a paradox, simultaneously fragmenting the spacetime of a written scene and reconstituting the fragments in alternately theatrical and cinematic fashions. I use Mint Theatre's The Gin Chronicles in New York (2020) as a source of examples of this innate contradiction's potential to transcend the notion of medium specificity (and its 'betrayal') that surrounded the emergence of the talkie and to help forge a new model for the Foucauldian heterotopia.

The article explores artistic initiatives giving shape to the multiple relations between the (theatre) avantgarde and the post-war crisis of identity in Slovene and Central European art and culture. It closely examines manifestative thoughts on Europe in crisis by Sreko Kosovel, the leading Slovene avant-garde poet, and Ljubomir Mici, the leader of the Serbian avant-garde movement Zenitism; Ferdo Delak and August ernigoj's manifestos of New Slovene Stage; and the concept of an expressionist play by Slavko Grum. The aim of the study is to show how the aesthetic revolutions of the historical avant-gardes of the region from the Adriatic Sea to the Western Balkan, were the artistic and human responses of the avant-garde artists to the newly developed crisis in Europe after 1918.

This interview is a part of the project 'Transkulturelle Körperidentitäten in zeitgenössischem Tanz und Performance' [Transcultural Body Identities in Contemporary Dance and Performance], supported and funded by Alexander von Humboldt Foundation in the framework of the programme Forschungsstipendium für erfahrene Wissenschaftler*innen [Research Fellowship for Experienced Researchers].

The article is devoted to developing Alexandra Exter's system of decorations on the stages of Ukrainian theatres. The principles of stage design, discovered by Exter in the Moscow productions of Famira Kifared (1916), Salome (1917), and others, were viewed and shared as a specific methodology among Kyiv and Odesa artists in the Ukrainian Soviet Republic. The article focuses on scenographic projects of the Ukrainian theatrical avant-garde paradigmatic figures -Vadym Meller, Anatol Petrytsky, and Oleksandr Khvostenko-Khvostov. The early Isaac Rabinovich and Vadym Meller were in the circle of Ukrainian adherents, too. Mykhailo Andriienko-Nechytailo, Mykola Sokolov, and many others considered themselves students and followers of Exter in Kyiv. Their stage experience at the turn of the 1910s -1920s marked the decisive transition of Ukrainian scenography to volumetric-plastic spatial structures that reflected, supported, and contributed to the development of stage action.