beautifuland pronounced magic Sculpture

“Országalma” by Kárpáti Péter is an absurd play that loosely uses characteristic elements and twists of Roma folk tales. It is Commedia dell’arte (Italian comedy), social criticism and morality about the life’s “big questions” in one, and does all these with strident and acid humor. According to the writer’s instructions, it is recommended to use puppets and personified objects, while the text may be freely changed. Thus, the play provides an opportunity to experiment and to broaden the limits of dramatic expression. Within the play, I was interested in exploring the character of Csulánó (an unsophisticated Roma man with “self identity”), Mátyás (a fugitive), the Devil, Mariska (a pure woman) and Beatrix (a spectacular woman, who however doesn’t understand anything), and related to all these, the escape (gallop in the night), estrangement, seclusion (“hard winters came...”) and revenge (“the king in disguise runs on dark streets…”. After leaving the traditional theater, the sight is not limited by the task of filling out the theater stage (Guckkasten), and thus, the shapes may be of any size or proportion. Furthermore, these can also be moved as an inherited stage element. Movements, no matter how small, are absolutely necessary as part of the chronology and rhythm. If the shapes do not move, this may occur only as a still image of the drama, stopped for a moment. The basis for the first ideas was given by mobile street theater performances which still include elements of the set or puppet-like elements. By further reducing these elements, the figures and situations started to work as separate “images”, and later as spatial mobiles. Based on the methods used in implementation and set manufacturing, metal frames and several materials may usually be used. Movement is ensured employing motors with accumulators, wind energy or the audience. An important part of making these shapes is to paint and make the surface which may invest the materials used with a new quality. Conclusions Mobile devices and sculptures were known to ancient cultures; later there was the famous mechanical lion of Leonardo, while nowadays kinetic art is having a real renaissance. The work of H. R. Giger, Stephane Halleux or Theo Jansen show how many interpretations these mobile sculptures have. However, the stages changing in time and completed with mobile lights and sound effects were known far longer than the kinetic sculptures (as stage set), although as “applied genre” they had a more strict and schematic role until the age of the avant-garde innovations. Therefore, due to stage techniques, the stage set means a kind of kinetic artwork. Furthermore, moving objects are related to scenic art in another way too: “As a basic concept, it may be said that we (people) are also “self-moving” objects: we gesture with our hands, roll our eyes, move our toes, walk around, have rhythmic heart beats, we breath, chew, sip and cough, feel the pangs of hunger, our pancreas produce insulin, water flows through our kidneys (...). We are in constant movement for as long as we live.”1 As Edward Gordon Craig shows in his “Übermarionett” theory that if these constant rhythmic and pulsating movements become conscious, the body of a person (in this case, an actor or actress) may be considered a mobile sculpture, the rhythmic movement of whom reveals his or her character, state and frame of mind. From a technical point of view, theater and fine arts are increasingly overlapping. The difference between theater and fine arts is given primarily by the process of creation, which, in the case of theater, involves mainly the exploration and establishment of relationships and synaesthesic connections between different branches of art through the interpretation of a specific work. The information received through different channels may be vocal, musical, artistic, literary or kinetic. The different branches of art can express the same content using different means and in different forms. The information obtained can be connected in an associative manner and are expressed in the form of different symbols. Furthermore, the mobility between these genres also allows changing the means of expression. It entails the processing of the same theme and motive in different genres (dance, music or fine art) and the representation in different media which, although they use different means of expression, still have the synaesthesic connections based on which they are interchangeable. Therefore, the attempts to connect different genres and branches of art indicate that art may be interpreted as theater, and theater as art, respectively. The kinetic spatial forms created on a dramatic basis ensure a direct relationship and mobility between literature, theater and arts. The forms obtained are versions of literary and musical works created in a visual media by means of synaesthesia. Keywords: puppet-show, interdisciplinary work, funny, kinetic sculpture, assemblage

Sculpture:Ceramic on Aluminium

Original:One-of-a-kind Artwork

Size:12 W x 60 H x 16 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.