Teatrologia na rozdrożach
Theater at crossroads
Contributor(s): Adriana Świątek (Editor), Piotr Tenczyk (Editor)
Subject(s): Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
Published by: Wydawnictwo Uniwersytetu Śląskiego
Series: Kultura, Sztuka, Muzyka
- E-ISBN-13: 978-83-8012-859-0
- Print-ISBN-13: 978-83-8012-858-3
- Page Count: 208
- Publication Year: 2017
- Language: Polish
Noty o autorach
Noty o autorach
(About the authors)
- Author(s):Not Specified Author
- Language:Polish
- Subject(s):Fine Arts / Performing Arts
- Page Range:201-206
- No. of Pages:6
Widz w teatralnym laboratorium. Performatywne praktyki partycypacyjne w teatrach a badania nad publicznością
Widz w teatralnym laboratorium. Performatywne praktyki partycypacyjne w teatrach a badania nad publicznością
(A Spectator in a Theatre Laboratory. Performative Participatory Practices in Theatre and Audience Research)
- Author(s):Marzenna Wiśniewska
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:19-32
- No. of Pages:14
- Summary/Abstract:This article touches upon contemporary participatory projects and performative practices in Polish theatres provoking the redefinition of the place and the role of the spectator in the institution of the theatre. The first part of the text describes the results of the qualitative research presented in Badanie publiczności teatrów w stolicy. Raport, 2013 (Audience Research of the Theatres in the Capital. A Report) and the commentary. In the centre of the article, there are two areas of theatre practices, which may be identified as sui generis theatre laboratories in the forming of the “art of being a spectator” (Robert Demarcy). The first one is theatre pedagogy; it expands the standard theatre repertoire activity to performative artistic and educational strategies, which strengthen feedback in the stage—audience relation and pose a challenge to perform the theatrical event and the theatre itself. The examples of models of such actions are the programmes of the Zbigniew Raszewski Theatre Institute and the “Theatre in the Class” project by Teatr Powszechny of Zygmunt Hübner in Warsaw. The second area of the phenomenon of a theatre audience laboratory includes the realisation of the theatre as a participatory project; the examples are, among others, Chór Kobiet (The Choir of Women) and performative projects of the Polish Theatre in Bydgoszcz under the management of Paweł Łysak. The purpose of the article is to point to the places where the paradigm of the theatre as an institution producing shows is challenged in favour of a performative institution, which co-creates complexes of performances with spectators, making the theatre a real tool and a place of empowerment.
- Price: 4.50 €
Twórca skrojony na miarę… publiczności czy artystyczności?
Twórca skrojony na miarę… publiczności czy artystyczności?
(The Artist—Tailored for… the Audience or Art?)
- Author(s):Bartłomiej Juszczak
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:33-42
- No. of Pages:10
- Summary/Abstract:A contemporary theatre maker is often torn between the demands of the audience and his or her own artistic motives. The relationship between these two factors is being formed throughout the entire artistic process from the moment of creation to the performance itself. This article shows the importance of the role of the audience in the contemporary theatre by discussing examples from the lives of famous Polish theatre-makers—Helmut Kajzar, Tadeusz Kantor—and from the Polish public theatre life, such as the affair in the National Old Theatre in Cracow. Are outstanding theatre productions created only when the aforementioned factors intertwine? Can we afford to create a performance that does not take the viewer into account? Rapid changes in aesthetics and the transformation of the contemporary theatre are often opposed by the general public. Moreover, theatre makers must also come to terms with the growing practice of global productions, in which the locality is pushed into the background. Responsibility for the creation of meaning in the play has shifted from the director to the viewer; thus, the viewer is the most decisive and the third most important link in the show. Without the viewer there would be no performance.
- Price: 4.50 €
Co ma wspólnego artysta z ekonomiką kultury?
Co ma wspólnego artysta z ekonomiką kultury?
(What Links the Artist to Cultural Economics?)
- Author(s):Kama Pawlicka
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:43-51
- No. of Pages:9
- Summary/Abstract:In this article, the author’s discussion will focus on the cultural market in Poland after 1989 (especially the theatre), and relationships between the artist—the most important element in this market—and his or her possibilities of using tools adapted from marketing and management. The cultural market is characterised by the dynamics of change in economics and cultural economics. One of the most obvious and convincing theses confirming the inevitable linkage of economics and culture is the one formulated by an eminent expert in the field, David Throsby: “[…] the word of the industry in relation to culture and art draws attention to the economic processes of production, placing on the market, distribution and sale of cultural goods and services, regardless of the other, nobler aims of the artist.” From the perspective of economics, culture can be considered to be a system within which, as a result of deliberate human action, development can be shaped, created and directed. In other words, this system should have the task of preparing the conditions for cultural activities—especially the artistic activity—and to develop the methods and manner of their receipt by the widest possible audience. In the world of culture, more and more attention is paid to the rights of economics and entrepreneurship in cultural activities because of the need of practice. However, the professionalisation of management and marketing in culture can contribute to, inter alia, establishing such conditions for artists and creators in which they are not afraid to take up risky projects, for example with unlimited audience requirements or finances. The functioning of cultural institutions should, however, be grounded upon the elaboration of their own tools, used in the processes of management and marketing, and in consonance with the specificity of the market.
- Price: 4.50 €
Sztuki widowiskowe, czyli Teatrologia po wrocławsku (z dodatkami)
Sztuki widowiskowe, czyli Teatrologia po wrocławsku (z dodatkami)
(Spectacular Arts, or Theatrology in Wrocław Style (with Supplements))
- Author(s):Milan Lesiak, Piotr Rudzki
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:52-67
- No. of Pages:16
- Summary/Abstract:The article, divided into three main parts (and Intro plus Finale), delineates the way in which university theatre science has become the full-time “employee” at the local academy. The authors present theatre science as the platform which has been consequently growing at Wrocław University after the Second World War. The main point focuses on the historical researching of the department, their current workplace. With their co-partners, Milan Lesiak and Piotr Rudzki are building the present form of this university institution, where students can explore and fathom their practical and theoretical abilities. Discussions about the contemporary condition of the theatre are always inspiring and necessary. In a sense, they arrange the mental venue of the exchange of ideas between artists, scientists and mainly students. These discussions also make it possible to bring the theatre back to theatrology, performing arts and dramatics.
- Price: 4.50 €
Czytanie dramatu
Czytanie dramatu
(Reading Drama)
- Author(s):Beata Popczyk-Szczęsna
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:68-82
- No. of Pages:15
- Summary/Abstract:The article is a reflection on the currently popular practices of reading drama: public presentations of plays, which are artistic events on the verge of a linguistic performance and a theatrical play. The remarks presented in this text arise from observations of various forms of reading drama. The author points at its significant, processual dimension—it is simultaneously a performance of readers and an event-encounter of a group of people which aims at negotiating meanings of the text and exchanging experiences. The reading of a play initiates the double activity of the speech acts preserved in the text (in the communication schemes of reader—reader and reader—listener); therefore, they may be identified as performance. The simultaneity of the experience of reading and the experience of encounter leads to the creation of a mental and emotional interpretative community of the recipients. Reading drama is one of many examples of various performative practices related to the functioning of the contemporary theatre. These are events symptomatic for our culture, since contemporarily it is the creative process that plays a significant role and not merely the finished artefact. The public reading of a play is an occasion to participate in the spontaneous creation of meanings during the unplanned interpersonal interactions.
- Price: 4.50 €
Teatr terroru. Rekonesans
Teatr terroru. Rekonesans
(The Theatre of Terror. Reconnaissance)
- Author(s):Jacek Mikołajczyk
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:83-92
- No. of Pages:10
- Summary/Abstract:Terrorism is read as performance mainly from two perspectives. On the one hand, it is understood as a communication process in which the act of violence is not so much an ultimate aim of the terrorist’s activity as a statement, whose “spectacular frame” is to guarantee the effective appearance of the message in the media space. On the other hand, in terrorism one can emphasise the terror itself: the fear-that-cannot-be-overcome, described by some researchers as a proto-theatrical category in a wide cultural context. Both approaches meet in the moment of reflection on the spectacles of terror taking place in the media space. It can be clearly seen on the examples of the September 11 attacks on the World Trade Center and the Pentagon. The author distinguishes five moments—performative aspects which constitute an increasing sequence— in these attacks: from mini-performances staged in the hijacked planes, through the live transmission of the media play connoting a disaster film, private gruesome “performances” of the dying victims of the attacks, and the towers (the symbols of New York) collapsing before the eyes of millions of spectators, to the political campaign: the global performance of power, which is to retain faith of the community members in the effectiveness of its representatives.
- Price: 4.50 €
Huculski obrzęd weselny jako widowisko kultury ludowej. Między teatrologią a antropologią (kilka uwag poczynionych na marginesie szerszych rozważań)
Huculski obrzęd weselny jako widowisko kultury ludowej. Między teatrologią a antropologią (kilka uwag poczynionych na marginesie szerszych rozważań)
(Hutsul Wedding Ceremony as a Spectacle of Folk Culture. Between Theatrology and Anthropology (Some Notes Made in the Margins of Wider Reflections))
- Author(s):Adriana Świątek
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:93-111
- No. of Pages:19
- Summary/Abstract:This article presents a reflection of the anthropologist studying folk culture representations, trying to explore a question which—despite being age-old—demands reconsideration. The question is: what does it mean today to explore, experience and work through the performances staged in “the reality itself, in life itself.” This text is based on a field study of Hutsul wedding ceremony, conducted by the author in the territory of Western Ukraine for several years. The article is a meta-reflection of a researcher-pilgrim, working in the field of anthropology of experience, looking for the adequate language to describe the form of a spectacle of folk culture, and recognising its structure in verbal-iconic narration and expression. Emphasised in the article, the standpoint of the researcher working in the space of “inter-”—between cultural anthropology, ethnography, folkloristics, and theatre and performing arts studies—moves towards the postulate of multileveled, interdisciplinary dialogue grounded upon teamwork on specific questions from the wide field of cultural representations.
- Price: 4.50 €
„Ale skąd takie emocje?” Taniec – teatr – przegląd stylów
„Ale skąd takie emocje?” Taniec – teatr – przegląd stylów
(“But Where Do such Emotions Come from?” Dance—Theatre—Review of the Styles)
- Author(s):Anna Duda
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:112-120
- No. of Pages:9
- Summary/Abstract:The paper refers to one of the statements of Leszek Bzdyl, director, actor, choreographer, and founder of Dada von Bzdülöw Theatre, in which he called for the creation of “a new body language”—a type of narration which confirms the important role of working with body and movement in Polish theatres. It concerns the work done by choreographers and people who specialise in intense physical training, which is based on not only the techniques of acting, but also various forms of contemporary dance and improvisation. The deepening of the theoretical reflection on the theory of dance and movement in the theatre may not only provide answers to questions about the aesthetics of the contemporary theatre in Poland and provide a reason for increasing interdisciplinary research, but also eliminate or resist unfair stereotypes concerning the environmental image of dancers and choreographers.
- Price: 4.50 €
Gra z zanikaniem, czyli kłopoty ze scenografią
Gra z zanikaniem, czyli kłopoty ze scenografią
(The Play with Disappearance, or Scenography Trouble)
- Author(s):Ewa Dąbek-Derda
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:121-139
- No. of Pages:19
- Summary/Abstract:The part of a scene designer in the process of creating the theatre gradually disappears in both critical-theatrical and historical discourses. The chance to save the memory of it can be found in photography. Meanwhile, photographs— giving people power over the non-real past—are probably the most mysterious objects forming our perception of the world. Inconsistent, pictures are simultaneously objective recordings and personal, subjective testimonies. They are the proofs of not so much that which exists as that which the photographer sees; they record and evaluate the world. While compiling and working on the photographs to the volume entitled Zabawa w teatr (Playing the Theatre) presenting his work, Jerzy Juk Kowarski—a profound Polish scene designer – subjected them to imitation: a process whose aim was to show the recipient such a vision of his co-created mise-en-scènes that was as close as possible to the scene designer’s truth concerning the theatre created by him. Revealing the ideas of the created spaces involved numerous processes conducted on the photographic texts. While these processes sometimes discretely correct the photographic record, in many cases they have a distinct and ostentatious character. Kowarski’s photographic imitations have become a significant argument in the dialogue concerning scenography and photography that documents it.
- Price: 4.50 €
Miejsce teatrologii w szkole artystów teatru. Impresje nauczyciela
Miejsce teatrologii w szkole artystów teatru. Impresje nauczyciela
(The Project for the Curriculum of Science of Theatrical Matters. Some Reflections of the Teacher)
- Author(s):Włodzimierz Szturc
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:140-146
- No. of Pages:7
- Summary/Abstract:This article is an expression of theatrical reflections in the debate concerning the state of history of drama and theatre studies in the high level of acting schools. It contains some principal postulates, whose aim is to improve the situation of the curriculum of theatre studies, for example: 1) developing comparative studies concerning the representation of the same play prepared by different directors; 2) switching from inward transmission to outward transmission—translating drama into the language of performance; 3) creating an axiological and aesthetical reflection on theatricality as the language and form of new communication between young people, not only students of theatrical arts. The history of theatre and drama can be the platform of understanding:the bridge for reference to the parties concerned. The text is the postulate of practical theatrology that turns into comparative studies of spectacles. This reason involves the strategy of academic research development. The high position of performance in the theatre and in art. studies seems to be complementary to traditionally understood science of theatre.
- Price: 4.50 €
Wierność artysty wobec marzenia w procesie twórczym a rzeczywistość prawna i ograniczenia autonomii twórcy
Wierność artysty wobec marzenia w procesie twórczym a rzeczywistość prawna i ograniczenia autonomii twórcy
(Faithfulness to the Artist’s Dream in the Creative Process The Legal Reality and the Limits of the Autonomy of the Creator)
- Author(s):Krzysztof Popiołek
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:147-158
- No. of Pages:12
- Summary/Abstract:The text refers to the legal sources of creative freedom in the Polish legal system and tries to answer the following questions: Who owns the dream in the creative process? What privileges does it provoke? What is the nature of relations based on a contract for specific work (especially between the theatre director and the art director in the theatre)? Finally, what are the ways to protect the artist’s freedom? The reflections are made in several fields—law studies, theatre studies and theatrical practice—as the author is not only a theatre director, but also a law graduate as well. The essay contains a reference to the main legal acts in the field of copyright law in Poland and abroad, quotes from Krystian Lupa, one of the greatest Polish theatre directors, and private observations from within the creative process.
- Price: 4.50 €
Zbudować dom. O samoedukacji aktora Trzeciego Teatru
Zbudować dom. O samoedukacji aktora Trzeciego Teatru
(Building a Home. On the Self-education of the Actor of the Third Theatre)
- Author(s):Piotr Tenczyk
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:159-168
- No. of Pages:8
- Summary/Abstract:The author of the article makes an attempt at understanding the phenomenon of the Third Theatre and at formulating a personal response to the call for a private journey to be found in Eugenio Barba’s writings. He repeats the question of the famous Italian director—“What does the theatre mean to me?”—and, treating it as a starting point, he delineates three fields of interest for himself. The author begins his reflections with the notes on the actorly nature of human beings, their natural predispositions to play and create roles, and he draws practical conclusions concerning the acting practice and the attitude to reality that an artist should adopt. Further on, he convinces the readers that the identity of the actor of the Third Theatre ought to be developed in accordance with the awareness of one’s place in the world: of being—or not—rooted in a specific space. Finally, he touches upon the question of humility, which for the theatre actor may be the source of balance in the world built upon the constant fight of the opposites. The author does not formulate any general conclusions, or universal guidelines, but he turns to his own experience: he describes his own way, which may become an inspiration for similar artists and creators—the inhabitants of a big village called the Third Theatre.
- Price: 4.50 €
Epilog i Podziękowania
Epilog i Podziękowania
(Epilogue and Thanks)
- Author(s):Adriana Świątek, Piotr Tenczyk
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Visual Arts
- Page Range:169-189
- No. of Pages:20
- Price: 4.50 €
Opowieść z Grzybowszczyzny „Byli też i tacy, którym to było mało”
Opowieść z Grzybowszczyzny „Byli też i tacy, którym to było mało”
(A Tale from Grzybowszczyzna „Byli też i tacy, którym to było mało”)
- Author(s):Anna Duda
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Visual Arts
- Page Range:191-200
- No. of Pages:10
- Price: 4.50 €
