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The author describes the origin of the Slovak National Theatre (Slovenské národné divadlo) in Bratislava (1920), the grounds of which were composed of the theatre ensemble from Pardubice led by director Bedřich Jeřábek. The author writes about the quest for the identity of the Slovak professional theatre on the crossroad of different cultures – German, Hungarian, Czech and Slovak. The beginnings of the Slovak National Theatre were marked by the collisions between artistic ambitions (dramaturgy, dramatic art, direction, scenography, the creation of separate Slovak Drama Company of the Slovak National Theatre, 1932) and economic conditions / indicators (private or co-operative capital). Financial problems were seen in the taste and background of theatre-goers. During the first years of its existence, the activity of the Slovak National Theatre in Bratislava was strongly influenced by political and social circumstances which also continued later. Among those was a low interest of the theatre-goers for Slovak theatre performances which started to increase only after some time, especially after Slovak actors joined the ensemble (e.g. Hana Meličková, Ján Borodáč and Oľga Országhová-Borodáčová, Andrej Bagar), and repertoire of higher quality was seen. The last turning point of this era was the forced liquidation of the Czech Drama Company of the Slovak National Theatre in November 1938 which was directly linked to the formation of the Slovak Republic.
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In his plays Jean Anouilh often raised the issues of discrimination, intolerance and the dominance of certain social groups over others. Minorities, however, were commonly portrayed in a negative light, and their striving for equality was mocked. It is not surprising then, that the attitude of the author aroused some controversies.In several of the plays which were analysed in this article, Anouilh in an interesting manner reverses the dominance dynamics between the minority and the majority to reveal certain universal truths about humans. He shows in a satirical way what happens when minority groups neglect or intentionally violate the rights of others in their efforts to achieve equality. Once oppressed they become the oppressors. That leads to the vicious-circle effect and the lack of social order. It seems that Anouilh postulates compromise and mutual tolerance between minorities and the majority, because, according to him, only on the basis of these two values can social justice be built.
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A major figure in the Quebec Theater, Marcel Dubé belongs to the generation of the playwrights that introduces the francophone theater to French Canada. Born in 1930, contemporaneous with Michel Tremblay, Jean Barbeau, Antonine Maillet and Michel Garneau, becomes known to the public at large by his play Zone, written in 1953, in a period of a “great political and economic darkness”. Subsequently, Florence from 1957 and An ordinary soldier from 1958, depict a minority of young disadvantaged people; a francophone minority facing all powerful Anglophones. The main characters of these three plays as representatives of an entire generation in the history of Quebec, serve us as an example in order to show a certain reality of francophone Canada.
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The book is a new monographic study of Adam Didur’s (24.12.1873 – 7.01.1946) artistic, educational and organizational legacy – an opera singer who made a name for himself in the Polish musical culture at the end of the 19th and the first half of the 20th century and who succesfully performed on all major opera stages in Poland and all over the world, including The Metropolitan Opera and Teatro alla Scala. The monograph presents the current state of research concerning Didur and his disciples on the basic of studies, theatre criticism and archival documents made available, often for the first time, by Polish and foreign archives and institutions. A lot of space has been given to the texts that bring the latests results of research on the creation by Didur and the artists expatriated from Lviv of an opera theatre in Upper Silesia after World War II.
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Series: Media i Kultura (1), ISSN 2719-9789 The texts composed in the monograph, however different in assumptions, in the adopted methodology, in the choice of (sometimes point) material that has become the basis for the diagnoses, enter into mutual interactions, creating a space for the participation of cultural researches and and cultural practices. The articles collected in the first part of the volume present a variety of conceptualization of cultural texts, recognize moduses and effects of joining its heritage, point out aspects of its co-creation and use, exhibit and critically analyze the variety of ways of participating in culture. The second part of the volume was dominated by reflections on the situation (and transformation) of the subject, culture, its recipients, and finally: the entire humanities in contemporary media reality. The basic context of the phenomena discussed here by the authors is the digital revolution, the effects of which are still not fully perceptible to us. This situation not only forces researchers to develop new tools and methodologies, but also provokes to ask questions about the opportunities and threats posed by new technologies in building (post) human identity, modifying social communication principles and establishing relationships between high and low culture.
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Unfortunately, this year will see a complete different organization of the 23rd edition of the concert in Melpignano, Puglia; it will be held behind closed doors, due to the pandemic that has had a stark impact worldwide, precisely as it strongly affected most regions of Italy. Therefore, the concert will be broadcast on the Italian channel Rai 2 on Friday 28th August at 10.45 pm. The musical performance is a symbol of a tribute paid to the traditional music of Salento. The renowned composer Paolo Buonvino, along with, will bring joy to their viewers admiring the performance from home by including an emotional soundtrack, as the concert takes inspiration mainly from both various musical traditions and the current situation in Salento, thus the two musicians strive to encapsulate the image of people’s misfortunes over the past few months, during lockdown, as everyone seems to have forgotten how to smile lately. Moreover, the accompaniment will also cover a mixture of popular customs of the pizzica dance and the world of cinematography. Two notorious orchestras will be performing from the stage of Melpignano, namely the Orchestra Popolare “La Notte della Taranta” and the Orchestra Roma Sinfonietta. The decision to postpone the live performance of the festival was made in order to avoid further transmission of the COVID-19 virus. At the same time, the festival is dedicated to the lion-hearts who fight against the viral disease. The final concert will be held three years from now, in 2023.
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The article discusses the history of the creation and development of the Festival of Dialogue of Four Cultures, eight editions of which were held in Łódź in 2002–2009. The festival, initiated by Witold Knychalski, was devoted to the idea of reviving the image of Łódź as a multicultural city, which for many years was a meeting place for four cultures – Polish, Russian, Jewish and German. Many great artists from many countries of the world took part in the festival, presenting their works representing various fields of art in cultural institutions and historic spaces of Łódź.
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The "Meetings" festival, organized by the Łódź Theater Meetings Foundation, was held three times in Łódź. The Foundation put the main emphasis on the aspect of meeting and exchanging experiences between young independent theater and theaters with many years of experience. An important place was also discussed on new forms and the language of the theatrical alternative. The first edition, which took place in 2010, was to a large extent a manifestation of support for this formula of the festival - all theaters took part in the festival for free. The next two editions, carried out at the Szwalnia Theater in Łódź, were focused on activities on the border of art, often touching on social issues.
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The article aims to present the history of the Review od the Amateur Theaters called “ŁóPTA”. This project has been in existence for over 30 years. The event presents the latest projects of amateur and indepentdents theaters from Łódź and other regions of Poland. The review shows the presence of young acting groups, as well as those with large theatrical output that have been working in the country for many years. The next part of the article presents the figure of Marian Glinkowski – called a “human institution,” organizer of theatrical life, a very well-known and valued figure in the independent theater. Formerly director of the Łódź Cultural Center, co-founder of the Łódź Theater Meetings, coordinator of ŁÓPTA. The rest of the article focuses on the differences between amateur and professional theater. Performances and their diversity will be the main topic of the article. It will explain how the how the reality of Poles, our history and current political events shaped the subject matter of the presented and exhibited works. ŁóPTA is an event created on the threshold of great political and cultural changes in Poland, during all the years of its existence, carefully accompanying these changes.
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The article presents the history of the International Festival of Plays Pleasant and Unpleasant, held at the Powszechny Theatre in Łódź. The authors described the history and changes of Festival and presented its repertoire line and accompanying cultural events in the years 1994–2016.
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In the article author focuses on a problematic, not chronicle, description of the Festival of Theatre Schools, organized since 1983 by Film School in Lodz in cooperation with the most important Polish theatre schools. In spite of problematic approach to topic, author has pointed out the most important organizational and artistic elements of festival. Aim of the article is to critically analyze formula of this event as a celebration and competition. For the purpose of this article author made an interview with actress, in which the character and specificity of this festival is most intensely expressed.
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One of the most numerous groups in Poland, with almost a hundred thousand people, whose access to art has been difficult or limited over the years, are undoubtedly people with visual impairments. There is no need to convince anyone that participation in artistic events has an extraordinary power to connect people, develop their creativity and that it teaches openness to others. Similarly, there is no dispute about the beneficial influence of art to the process of rehabilitation and revalidation of people with disabilities. Nevertheless, blind people are still forced to stand up for equal rights in cultural institutions. Looking at this issue, we can easily see that people with poor eyesight and blind in Poland gained access to the world of theatre and film only at the beginning of the new century. In November 2006, the first Polish film screening with audio description delivered live by a voice-over was organized. A year later the first Polish theatre performance with audio description was held. The article is devoted to the blind in the world of spectacles, discussing the problem in the context of the project unique in Europe – The Reading Theatre for people with poor eyesight and blind, implemented for over a decade by Powszechny Theatre in Łódź. The textpresents the characteristics of the project, its original form, as well as a detailed description of sample premieres realized as part of the series, statements by the creators and its originator – director Ewa Pilawska.
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This comparative Polish-Italian study explores the comic potential of metafiction, and illustrates it with the examples drawn from drama works of Luigi Pirandello and Witold Gombrowicz. It is the first publication which juxtaposes this aspect of both writers’ works, and the theoretical model elaborated by the author allows reading works by other authors in this context.
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The publication presents particular and effective methods that can be applied in a wide range of target groups in socio-pedagogical context. The first chapter presents the context between social pedagogy and drama education. A brief overview focuses on basics, short history, target groups and training of social educators. In the following chapters are described selected methods and approaches of drama education. The methods are: structured drama, drama in education and storytelling. Every single method is presented in theoretical context and in practice. The text reflects the experience of authors with the application of drama education to the education of pedagogical staff and into practice. The conclusion of the publication presents the practical lessons made by Ukrainian students under the guidance of their teachers.
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The play launches an important debate about the roles and functions of teachers, about teaching practices and the need to update them to the digital era and its implications, about the integration of children with special education needs, about the increasingly problematic relationships between parents and teachers, about the ever-present bureaucracy, about the system. Education is seen as an ongoing struggle for authority. The play was developed following an elaborate research and documentation process. For several months, playwright Mihaela Michailov and theatre director Radu Apostol, interviewed dozens of teachers, education specialists, school inspectors, representatives from the Ministry of Education and theorists, to understand in depth the complexity of the problems they face and the solutions that can be activated.
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The Price of Gold is an emotional play-testimony about the coming of age of a child who grew up dreaming of becoming a sports dance champion. A child for whom the bodies of the dancers he watched represented both rigor, discipline, freedom and courage. "The Price of Gold" is a vulnerable confession in which memories from the dance hall, from trainings and camps become a subjective map of detachment from formative moments. Remembrance is a transformative act, which gives fragility the power to move forward.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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The project "EVERYTHING IS VERY NORMAL - DIALOGUE WITHOUT TABOOS." is organized by the Replika Cultural Association and co-financed by the National Cultural Fund Administration - AFCN.
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The collection contains the papers from the academic round table “The Post-1989 Transition in Contemporary Bulgarian Literature,” held at Sofia University “St. Kliment Ohridski” in November 2021.Three decades after the onset of the Transition, the articles collected here explore its dimensions in the mirror of literature. What images of the post-1989 era does literature create? How do the contemporary works interpret the recent socialist past? Does literature participate in the formation of the perceptions and the memory of the transition? The above issues are also examined in a broader interdisciplinary perspective, in relation to the media, theatre, cinema, and cultural anthropology.
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