Forgassunk Romániában pedofilfilmet!
Péter Zoltán Kovács's movie review of Ulrich Seidl: Sparta.
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Péter Zoltán Kovács's movie review of Ulrich Seidl: Sparta.
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Art review by János Szekernyés: "A sajátosság színei és formái".
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Z Michałem Buszewiczem, Martą Keil, Grzegorzem Reske, Anną Smolar, Weroniką Szczawińską, Piotrem Wawrem jr. z kolektywu InSzPer rozmawia Marta Bryś
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The second part of the article “Feedback: an attempt to map the phenomenon”. The first one, published in issue 174 of Didaskalia, is an attempt to systematize knowledge on the theory of feedback and to indicate it as a tool to support, organize and discipline the process of creative work and artistic education. In the second part published below, the author creates a feedback toolbox, discussing possible methods and structures of feedback developed by the business, artistic education and individual creative practices of people working both in Poland and in other European countries and in the United States of America. Mira Mańka puts her reflections on feedback in two contexts: interdisciplinary knowledge in the field of psychology, sociology, education, theory and practice of business, and lived knowledge resulting from going through the university and artistic path of education in Poland. Referring to her own work and the experiences of other creators, she constructs an author’s and open selection of reflections, recommendations and directions for the development of feedback, both in the perspectives of Polish theater pedagogy and individual artistic practice.
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Z zespołem Teatru 21 – Grzegorzem Brandtem, Mają Kowalczyk, Danielem Krajewskim, Aleksandrem Orlińskim, Aleksandrą Skotarek i Justyną Wielgus – oraz osobami aktorskimi współpracującymi z Teatrem 21 – Sebastianem Pawlakiem, Martyną Peszko i Heleną Urbańską rozmawia Monika Kwaśniewska
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Z Zoją Mikotovą i Veroniką Broulíkovą rozmawia Monika Kwaśniewska
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The article is a proposal to look at anorexics as performers and an interpretation of the spectacle they make of their own bodies in the context of homo necroperformance in which the subversive and affective causality of the liminal subject (half-living being) and emaciated bodies becomes important. The article places the problems of the representation of a certain kind of disorder in the field of cultural experience. The article is an excerpt from a master’s thesis written under the supervision of Professor Katarzyna Fazan.
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Akademia Teatralna im. Aleksandra Zelwerowicza w Warszawie Ból reżyseria: Kinga Chudobińska-Zdunik, teksty: W.N.P. Barbellion, Faustyna Kowalska, Aleksander Wat, Kaliber 44, scenografia teatralna: Sonia Skowronek, scenografia instalacyjna: Feliksa Żurawska, kostiumy: Barbara Niestrawska, oprawa muzyczna: Paweł Dudziak, ruch sceniczny: Helena Hajkowicz premiera: 28 kwietnia 2023
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The author of this article sheds light on the model of Spanish-language theatrical self-fiction proposed by Sergio Blanco, a Franco-Uruguayan playwright and director whose self-fictions are published in translations into many languages and staged all over the world. An essential part of the article is devoted to the artist’s theoretical considerations and the Decalogue of self-fiction formulated by him and showing its mechanisms of action based on specific works.
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Comic books are increasingly being used as a material for creating theatre plays. In Poland, first theatre adaptations of comics appeared in the mid-20th century, but on Broadway, comic strips have provided source material for theatre plays since its outsets in the late 1800s. In this paper I present a short history of the most important comic book adaptations for the theatre in Poland, with an emphasis on plays based on a Henryk Jerzy Chmielewski’s series Tytus, Romek i A’Tomek. I ponder upon the connotations between comic books and music, and bring into consideration many different forms that comic book adaptations can take. Above all, I analyse in details a few examples (Polish productions Staś i Zła Noga [Staś and the Bad Leg] by Bartłomiej Błaszczyński and Kajko i Kokosz by Marta Ogrodzińska, and an American production Spider-Man: Turn Off The Dark by Julie Taymor) for the purpose of discussing the strategies of putting the comic book stories onto the stage and the difficulties involved with the process.
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Z Anką Herbut, Oskarem Malinowskim, Hanną Raszewską-Kursą, Katarzyną Słobodą i Marią Stokłosą rozmawiają Piotr Morawski i Ida Ślęzak
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Fundacja Performa, partnerzy: Centrum Kultury w Lublinie, Teatr Łaźnia Nowa, Dom Utopii – Międzynarodowe Centrum Empatii, Instytut im. Jerzego Grotowskiego VALESKA VALESKA VALESKA VALESKA koncept, reżyseria, choreografia: Dominika Knapik, asystent choreografki: Dominik Więcek, kreacja i performans: Daniela Komędera-Miśkiewicz, Dominika Wiak, Dominik Więcek, Monika Witkowska, scenariusz i dramaturgia: Patrycja Kowańska, reżyseria światła, wideo: Wolfgang Macher, muzyka: Doministry Dominik Strycharski, kostiumy: Dominik Więcek, kierowniczka produkcji: Alicja Berejowska (Perform for change)premiera: 25 listopada 2022
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Komuna Warszawa Imperial choreografia i performans: Paweł Sakowicz, kreacja i performans: Agnieszka Kryst, Katarzyna Sikora, dramaturgia: Anka Herbut, sound design: Justyna Stasiowska; światło: Jacqueline Sobiszewski premiera: 27 kwietnia 2023
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Z Alicją Berejowską, Sonią Nieśpiałowską, Ulą Zerek i Karoliną Wycisk rozmawiają Zuzanna Berendt i Anna Majewska
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At the end of the 19th century, when both philosophers and artists began to be concerned about studying feelings, people's states of mind, exposing them in their own works, a new science emerged, called Psychoanalysis. If, in the field of philosophy and psychology, the road opener in the elaboration of the theories on the study of psychoanalysis was S. Freud, regarding the art of music, the feelings and mankind moods have already been presented in Baroque and Classicism, by innovators of new genres and musical concepts such as Vivaldi, Porpora, Haendel, J. S. Bach, Gluck, Haydn. These themes will be fructified and amplified in the stylistic and aesthetic eras that will follow: Romanticism, Postromanticism, Impressionism, Symbolism, Expressionism, 20th Century Music, along with the evolution of music, musical language, through the vast creation of famous composers such as Donizetti, R. Strauss, M. P. Musorgsky, Brahms, Mahler, Ceaikovski, Skriabin, Debussy, Ravel, Schonberg, Berg, Webern, Bartok. The relationship between the art of music and psychoanalysis as a science is based on several elements of real importance. The most eloquent ties are the means of artistic expression of music, more precisely its components and rhetorical formations).
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The modern educational field has two basic elements, participating equally in the success of the educational process. The teacher, as the trainer of the process, the student, object and subject of this, gaining autonomy and forming in the spirit of responsibility and civic culture. Permanent access to information through the evolution of technology, the use of a new discourse, the mobilization of students in the educational process, extracurricular activities, participation in interschool projects, exchange of experience programs, workshops, masterclasses and last but not least, participation in competitions are requests with a positive role in modern pedagogy. Within this chemistry and alchemy, family, society, physical, physiological, psychological, cultural factors, as well as the personality of the two subjects, components of the educational act, are elements that will equally influence the achievement of the desired goal - performance).
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On the 210th anniversary of the birth of the two great titans of the opera genre from the era of musical Romanticism: Richard Wagner and Giuseppe Verdi and 140 years since the death of the first of them, we opted for a presentation of some biographical aspects of the personalities and the creation of the two musicians from the perspective of the experiences that shapes their personality and professional path. Verdi was the canonical in this case, following both the lifestyle and the composition of the laws of time, composing an opera in wich, through its choruses, it reflects the spirit of society. Wagner, with his free, eccentric style, created beyond any legalities imposed, an opera that constitutes a separate, original genre known as Wagnerian musical drama. Joining the two biographies, we note the perceptible difference of the two creative identities and their results generated in a distinct, original, unmistakable manner.
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