Kunstficir – Wikipedia Wikipedia

Posted on by

This article or subsequent section is not sufficiently equipped with supports (e.g. individual notices). Information without sufficient evidence could soon be removed. Please help Wikipedia by researching the information and Insert good evidence.

One Art figure is a fictional figure or person who can own almost all attributes of a living person. The art figure is often characterized by the fact that it is thought to be a real person by its environment.

Art figures in the theater [ Edit | Edit the source text ]

An artificial figure is not only created from its mere assignment to the area of ​​art. According to Werner Esser, she must also be a reality at a certain distance, i.e. reflect on it in any way. [first] In the “systematic and historical status, the artificial figure only has the task of marking the point of truth particles in the mere seemingly apparent manner of art, but without naming them.” [2] The “Commedia dell’Arte”, “Commedia All’Improviso” or “Commedia Maschere”, hereinafter summarized under the term comedy style, describes the professional craft of the clerk from the 16th to the 18th century, which originated in Italy and quickly spread throughout Central Europe. [3]

In a comedy style, the art figure in combination with the player serves to manufacture and simultaneously infiltrate the fiction level. The fiction is to be distinguished from reality, but both to reality (“in the sense of: really is everything that works” [4] ) belong. In the theater, these realities can be seen as a so -called “double place”, which is composed of the reality level, in which the audience and actors come together, and the fiction level in which “design appear, are shown or presented.” [5] According to Gerda Baumbach, the fictional level is created in a comedy style through the “theatrical representation” and is “understood in the form of playful ritual actions”. [6] In this way, the art figure can enter the reality level, but also the actor as a civilian. The playing field of the comedy style is created by the jumping back and forth of the actor and art figure between reality and fiction and the associated, so intended, non-proportionality of the two levels. As a result, “only (the roles)” only temporarily and virtually “. [7] The artificial figure, Mask (Italian “mask”) or Leib mask is neither the actor as a civilian nor a role he embodies. It is more of a basis that the player can use to slip into different roles. The fact that a distinction can still be made between the civilian, the art figure and the role is “the basis of playing”. [8] That is why the roles’ costumes are mostly made in such a way that the art figure remains recognizable underneath. [9] Hats, clothes or certain attributes belonging to the role are used. The art figure itself is characterized by an abnormality that remains visible in every costume. [ten] This detail can manifest itself in the form of a mask, face painting or another recurring stylistic device. With Harlekin it would be the black mask that the art figure always keeps in mind, or with the figure of the tramp in the films Charlie Chaplin with his schnauzer, a stick and the melon on the head.
Art figures often also have a reference to real events and personalities, for example nobles or deities [11] . So mocking criticism could also be practiced. In addition, can Mask Like the Harlekin also take roles of different genders [twelfth] .

There is often a mythical figure in the art figure, for example a demon. This becomes clear with the trickster. [13] So the art figure “comes from a different reality, from then and there. The artificial figure and her ancestor are really, but not realistic. ” [14]

Theater roles are also accepted by art figures. [15] Our perception of different theater roles has been shaped so much by clichéd over the years that it is a simple for the art figure to literally “change like his socks”. So the artificial figure can be a tragic hero with uniform and swords at a moment and next to throw himself in a pompous baroque dress and mime a lovers. The first thing that influences our perception here is logically the costume and the props that are used for this. However, the posture and the way the art figure moves and gives are much more important.
Baumbach also differentiates between artificial figure and art person. The art person is the actor as an artist and not as a civilian. [14] If the actor wears an artist name, for example, his double identity (actor and art figure) becomes a triple (actor, artist, artificial figure). Even if the actor appears under his civil name in public, this new identity can arise-such as in today’s Hollywood stars, which are not only defined in their acting, but also on their appearance or clothing style. Nevertheless, this is not an artificial figure because this identity does not exist for the stage or the film set, but for the media and the public.

Over the centuries, many art figures were found in the field of theater and also the film. This sometimes includes the clown grot, the figure of Tramp Charlie Chaplin, Kasperle or Totò.

Mr. Ellar to Harlequin, 1822/30

One of the best -known art figures in the theater is Harlekin. “The Harlekin, under whatever name and in whatever context it appears, is always an artificial and an artistic figure that has the function of making human reason in the polyvalence of existence.” [16] He gives people the ability to deal with the world ironically, satirical and humorous and to gain life -supporting superiority. [17] Through it, people can laugh about everyday or critical issues and thus look at them from a new perspective.

The figure of the Harlekins first appeared in the 12th century and was picked up again as a servant figure in the Commedia dell’arte of the Renaissance. It was sometimes most recognizable by his patch pattern and his black mask or the black face. Based on this, the Harlekin could slip into various roles with the help of props, other costumes and its acting technology and are still perceived as the figure of Harlekin.

The representation of Harlekin also changed with modernity.
“He no longer had the quickness of his ancestors from the Renaissance. His grimaces were distorted by darkness and his jumps had lost the cute. The music he had made not sounded funny: it was as if the strings were dismissed, but Nobody noticed it because the pounding of the rhythm drowned everything, this stamping, which was also barbaric and machine -like. The jokes were looking for the grotesque. Wherever wisdom had mixed into the jokes, the absurd from suddenly torn up holes grinned. ..) This is how the nonsense was made profound, and the hardly born laugh died on the lips. Nevertheless: laughter has not gone out. The desire to have fun has only changed its expression. ” [18]

Cabaret art figures [ Edit | Edit the source text ]

In contrast to the actor in the theater, the art figure can act not only on stage, but in all aspects of life. So it has its own name, an age, a biography, etc. It is part of the standard program of many cabaret artists to present different figures, which mostly exceed representatives of a certain group of people and caricati. If these figures are not only part of the cabaret program, but also act publicly, as in the case of Atze Schröder or Horst Schlämmer, one can speak of an art figure. Actor Christian Ulmen also likes to test his environment with various art figures, the best known of them are nerd Uwe Wöllner and pop singer Knut Hansen.

When these art figures appear on television, the entertainment value is often that the television viewers know the artificial character of the figure, while the filmed audience is fooled. At the same time, the art figure can demask social behavior and prejudices of the audience, as Sacha Baron Cohen with his art figures, such as the anti -Semitic Kazakh Borat or the gay Austrian Brüno, repeatedly demonstrated.

Media art figures [ Edit | Edit the source text ]

Plate at the house of Sherlock Holmes in 221b Baker Street, London

Comic figures, superheroes and computer game figures such as Lara Croft also become art figures when they grow beyond their original medium. These art figures remain virtually, but can achieve the same degree of credibility and awareness through media presence as other figures of pop culture, especially if this type of culture is conveyed through secondary experience. Examples are computer-animated pop stars such as Kyoto Date and T-Babe, but also comic figures like the band Gorillaz. They have their own fan clubs, give interviews and have biographies, just like real figures in pop music. A well -known artificial figure from the literature is Sherlock Holmes, who was thought to be a real fellow citizen at the time of its creation of many people.

Use in companies [ Edit | Edit the source text ]

Companies often use art figures as an advertising figure. They appear both in time-limited campaigns (e.g. Robert T-Online 2000-03 for Deutsche Telekom), as well as very long-term, such as since 1972 Lord (Günter) Emperor For the Hamburg-Mannheimer, which has become part of the corporate identity after decades of use. They are also used to personalize anonymous company processes. For example, in the mass correspondence to customers of some companies, the loveless final formula “This letter was created and is also valid without signature by signing a fictional employee (e.g. Susanne Goldmann Premiere at the Pay TV channel).

Self -presentation [ Edit | Edit the source text ]

Many pop stars stage themselves as an artificial figure that completely put them off in private life. German rappers like Sido and Bushido like to serve the gangster myth known from the American rap scene, but live privately a bourgeois life as a fathers. Also internet stars like lonelygirl15 [19] Or Alemuel came out as a art figure after she had already gained great fame and had been questioned her authenticity. The cause of the transformation into an artificial figure can be marketing reasons, but also the need of the artist for privacy.

copyright [ Edit | Edit the source text ]

Since an artificial figure is a thought -out person, she does not enjoy the same legal protection as ordinary people. However, it is subject to copyright as a creative creation. [20] This can lead to problems if an artificial figure has several spiritual parents, such as in the case of Pumuckl, where an intensive legal dispute between his graphic and literary mother broke out whether Pumuckl was a sexual being and whether he could have a friend. In the judgment, the freedom of expression of the graphic artist Barbara von Johnson was given priority over the author’s copyright of the author Ellis Kaut. [21]

Fan-art [ Edit | Edit the source text ]

In the area of ​​tension between copyright and freedom of expression, fan fiction also takes place, which is usually about media art figures.
Even with costumes that fans have certain art figures at a convention, there can be a violation of copyright or trademark law, even if it is usually not punished. The use of art figures on websites, such as Pumuckl on an unofficial fan page, [22] Already resulted in expensive warnings.

Personality rights [ Edit | Edit the source text ]

The personal rights of the actor of an artificial figure can include the right to anonymity. The actor of the art figure Atze Schröder sued the Weser courier because of the naming of his bourgeois name and got right. [23] However, he withdrew a corresponding lawsuit against Wikipedia, where his bourgeois name also appeared temporarily in 2007. [24]

  1. ↑ Werner Esser: The physiognomy of the art figure or reflection. Forms of self -reflection in modern drama. Carl Winter University Loss Heidelberg, 1983, p. 11.
  2. ↑ ESSER 1983, S. 12.
  3. ↑ See David Esrig: Commedia dell’Arte. A picture of the art of the spectacle. Delphi, Nördlingen 1985, p. 19.
  4. ↑ Baumbach, Gerda: actor. Historical anthropology of the actor. Vol. 1. Schauspiel styles. Leipzig: Universitätsverlag, 2012. p. 238
  5. ↑ Baumbach 2012, S. 200
  6. ↑ Baumbach 2012. S. 246
  7. ↑ Baumbach 2012. S. 256
  8. ↑ Baumbach 2012. S. 215
  9. ↑ Baumbach 2012. S. 216.
  10. ↑ Baumbach 2012. Abb. 95
  11. ↑ Baumbach 2012. S. 218 f.
  12. ↑ Baumbach 2012. S. 220
  13. ↑ Baumbach 2012. S. 251
  14. ↑ a b Baumbach 2012. S. 257
  15. ↑ Baumbach 2012. S. 224
  16. ↑ Ränsch-Trill, Barbara: Harlekin. On the aesthetics of laughing reason. Hildesheim: Georg Olms Verlag, 1993. p. 9.
  17. ↑ REDSCH-Trill S. 16
  18. ↑ Melchinger, Siegfried; Jäggi, Willy (ed.): Harlekin. Picture book The fun maker. Basel: Basilius Presse, 1959, p. 154
  19. ↑ Süddeutsche Zeitung (September 14, 2006): Good bye, lonelygirl15 , accessed on June 20, 2013.
  20. ↑ See. Copyright protection for art figures – from Odysseus to Lara Croft ( Memento of the Originals from May 27, 2005 in Internet Archive ) Info: The archive link has been used automatically and not yet checked. Please check original and archive link according to the instructions and then remove this note. @first @2 Template: Webachiv/Iabot/www.eurolawyer.at
  21. ↑ “Pumuckl’s girlfriend”: Author is also subject to the main proceedings
  22. ↑ Warned pumuckl fan page ( Memento of the Originals from March 26, 2005 in Internet Archive ) Info: The archive link has been used automatically and not yet checked. Please check original and archive link according to the instructions and then remove this note. @first @2 Template: Webachiv/Iabot/www.schwenkworld.de
  23. ↑ District Court: Zeitungslag may only report on the comedian “Atze Schröder” under his pseudonym
  24. ↑ Atce Schrönder wikipedia