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Hrvatska drama i kazalište na kraju 20. stoljeća

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Hrvatska drama i kazalište na kraju 20. stoljeća

Author(s): Ana Lederer / Language(s): Croatian Issue: 3-4/1999

Das Jahr 1990 dient als ein neuer Periodisierungspunkt in der kroatischen Dramatik: seit diesem Jahr erlebt das grundlegende dramatische Modell einen Wandel, es kommen neue Generationen von Dramatikern auf, versammelt um zwei bedeutende Institutionen (Teatar ITD und sein Projekt Mlada hrvatska drama – ’Junges kroatisches Drama’ sowie die Zeitschrift Plima – ’Die Flut’). Gleichzeitig bleiben auch die Dramenautoren der mittleren und älteren Generation aktiv. Im kroatischen Theater kommt es Anfang der neunziger Jahre ebenfalls zu Veränderungen: auf den Bühnen werden Themen aus der kroatischen Geschichte behandelt, das Theater öffnet sich zunehmend der einheimischen Dramenproduktion, das Theaterleben wird insbesondere durch unabhängige Texte und Inszenierungen in Bewegung gebracht.

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Settlement as a performative aspect of art and aesthetics (Zbiegniew Warpechowski’s creative attitude)

Author(s): Wioletta Kazimierska-Jerzyk / Language(s): English Issue: 13/2011

The article deals the problem of settlement in the output of the Polish performer Zbigniew Warpechowski. The term ‘home’ is so broad and common that it could be applied, in some context, to every artist and every kind of art. In Warpechowski’s case, I am not looking for the hidden contexts of homelessness/settlement, rather I ponder over something he expressed openly and on numerous occasions, i.e. the settlement of his art. Warpechowski does not refer to negative meanings of settlement explicitly, but while noticing ambiguous aspects of the settlement in his perspective, I present them as consequences of the creative attitude (aggression and ugliness).

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Csavar (Tarkovszkij Sztalkere a víz alatt)

Author(s): Ákos Czigány / Language(s): Hungarian Issue: 4/2010

Departing from the symbolic significance of the extraordinary circumstances in which Russian film director Andrei Tarkovsky's chef-d'oeuvre Stalker (1979) was produced, destroyed and re-shot, the essay attempts to interpret the film based on the primary importance the element of water has in both the film itself and in the director's theoretical views on image-time. Exploring a possiblme way film, photography and orhodox iconography are linked by the hermeneutics of testimony, the essay goes on to close reading of the visual unity and of some crucial parts of Stalker.

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Családrajz (A román új hullám filmjeirõl)

Author(s): Anikó Gorácz / Language(s): Hungarian Issue: 4/2010

While the Revolution of the 1989 brought about a great change in the political life of Romania, it took more than a decade for this change to reach the cinema. The genuine and straightforward style of the yound talents who appeared around 2000 restored a kind of realism that was strictly robidden in the previous political era. The creators of the Romanian New Wave, like Cristi Puiu, Cristian Mungiu, Corneliu Porumboisu, Radu Jude use this realism to tell us about the past and present of Romania. They explain the corruption of society through the weakening bonds in the family; hence most of their films focus on the relationship between parent and child.

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Iubirea maşinală a lui Don Perimplin

Author(s): Marina Constantinescu / Language(s): Romanian Issue: 17/2001

Comments on the recent productions of the Odeon Theatre (Machinal and Perimplin) as well as remarks about the scenography, music the actors' performance.

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W meandrach genealogii narodowych

Author(s): Monika Świerkosz / Language(s): Polish Issue: 115/116/2013

A review of the play A Pictorial Guide to the Polish Kings by Krzysztof Garbaczewski at the Stary Theater in Krakow (premiere: 23.03.2013). Świerkosz draws from the creation and later functioning of a series of kings' portraits by Jan Matejko, alluded to by the creators of the play. Describing the plot and form, the critic claims that A Pictorial Guide to the Polish Kings is more than another play about the "Polish soul." It more speaks of the obligation to create genealogical continuity, which legitimizes access to power. The performance, therefore, in the authors opinion, is a mocking dialogue with the tradition of how power is represented.

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Czegoś tu brakuje?

Author(s): Thomas Irmer / Language(s): Polish Issue: 115/116/2013

Irmer claims that the first dance performance by Gob Squad – Dancing About (Volksbühne am Rosa Luxemburg Platz in Berlin, premiere: 8.11.2012) – is actually a return to the group's earlier preoccupations. The author draws attention to the interesting function of the dead insect in the play, symbolizing the idea of the play: "There is something very expressive in the fact that tiny praying mantis appears – expanded to the size of a vast picture – […] as a symbolic animal who appears to speak, act, and even pray with the other performers.” Irmer ultimately opines, however, that "in a little under ninety minutes the performance has little more to offer than theatrical experiments that were fashionable fifteen years back in clubs."

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Teatr i ryzyko. Z Sarah Thom i Simonem Willem rozmawia Konrad Wojnowski

Author(s): Konrad Wojnowski / Language(s): Polish Issue: 115/116/2013

Gob Squad members Sarah Thom and Simon Will claim that the seven-person collective of performers makes projects concerning solitude. The process of creating the play is important, beginning with defining the framework and establishing the relationship between viewer and performer. The collective thus stresses the building of bonds, and a sense of community, which demands a great deal of exertion and involvement from the performers. In their most recent projects the performers try to exploit themselves less as actors, though they continue to explore similar situations. They have returned to site-specific performances, mixing and remixing other theatrical forms. As they themselves claim, failure is inscribed in their projects, which is a "part of the process, and as such, absolutely necessary.”

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Podróż z „roku, w którym się urodziłem” do „teraz, właśnie teraz”

Author(s): Natalia Jakubowa / Language(s): Polish Issue: 115/116/2013

The author critiques the categories into which the competing plays presented at the Gold Mask 2013 were divided. She proves the lack of a clear premise by describing the particular performances. In the "large forms” category was Untitled Play by Chekhov, directed by Yevgeni Marcelle, and The Year I Wasn't Born by Konstantin Bogomolov; in the "small forms" category, August: The Duchy Osage directed by Marat Gatzalov, Konstantin Bogomolov's King Lear: A Comedy, Idiots from the Country by Mikhail Bychkov, and Teatr.doc's Two in Your Home; while the "experimental" category featured Uzbek by Talgat Batalov as well as Story of a Soldier choreographed by Guy Weizman and Roni Haver.

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Barbara Wysocka – aktorskie odbicie fortepianiu. Studium scenicznego kaprysu Michała Zadary

Author(s): Katarzyna Fazan / Language(s): Polish Issue: 115/116/2013

A text on Michał Zadara's Chopin Minus the Piano project (GAP Arts Agency, premiere: 23.03.2013 at the J. Słowacki Theater in Krakow), in which the piano part in Chopin's e-minor op. 11 and f-minor op. 21 concerti is replaced by a text read by Barbara Wysocka. Fazan describes Wysocka's impressive, fine-tuned expression, and indicates the many layers of the script, in which a theoretical and musicological lecture is rooted in an experience. Through the introduction of subjects from Chopin's life, it also becomes a staged biography of the artist, contrasted with a national and cultural perspective. The play also includes aspects of a manifesto, seeking to debunk the popular reception of the Romantic artist.

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Grupo Corpo – ciało w stanie czystym

Author(s): Anna Bajor-Ciciliati / Language(s): Polish Issue: 115/116/2013

The author presents the genesis and development of the Brazilian dance theater Grupo Corpo founded by Rodrigo Pederneiras. Bajor-Ciciliati reviews all of the plays created by the group, situating them in the broader Brazilian context, indicating the innovation and radical formal strategies of their work. It is in their plays that, for the first time in the Brazilian history of dance, the classical style has been crossed with elements of pop culture, and the uniquely Brazilian erotic body language has been shifted to the foreground. The description of the performances shows us that all the elements of the Brazilian imaginarium can be found in the company's work, which is why the author believes that in making a national style the main source of his artistic expression, Pederneiras has defined the Brazilian identity in the context of contemporary dance.

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Praktyka porażki. Próby performatywności negatywnej

Author(s): Joanna Jopek / Language(s): Polish Issue: 115/116/2013

Jopek surveys the sphere of the negative that stretches beyond theories of performativity, drawing from the "low" theory of Judith Halberstam. Drawing from various artistic practices (Oskar Dawicki's untitled "performance," Hello by Joanna Rajkowska, Magic Cap by Cezary Bodzianowski) leads the author to define research perspectives known as negative performativity, in whose framework Jopek "reveals the site of the anti-political critical potential of failure.”

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Osobne powiązania

Author(s): Aleksandra Konopko / Language(s): Polish Issue: 115/116/2013

A report from the Monosituations series organized by the Jerzy Grotowski Institute in Wrocław between 1 February and 16 March. A pride of place was given to physical theater performances, including three productions by the Matejka Studio: Alexandra Kazazou's Charmpolypi, Gema Galiana's The Woman Decomposed, and Awkward Happiness or Everything I Don’ t Remember About Meeting You directed by Matej Matejka and Bryan Brown. On the opposite side of things was the multimedia play by Janek Turkowski, Margarete, which is described in detail by Konopko.

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Morrison post mortem

Author(s): Katarzyna Waligóra / Language(s): Polish Issue: 115/116/2013

A review of the play Morrison/Śmiercisyn directed by Paweł Passini (Opole Theater of Puppets and Actors, premiere: 23.02.2013). The play begins at the moment of Jim Morrison's death. There is no attempt to give viewers Morrison's biography, though allusions are constant. Apart from the real figures and events, numerous intertextual links are made. The main motif of this performance, which "oscillates around the protagonists' conflicting desires and fantasies," is excess. And although not all the aspects of the staging are equally successful, Waligóra writes that Passini's play does not leave the viewer indifferent.

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Oskar Dawicki – artysta bez zakresu

Author(s): Dorota Jarecka / Language(s): Polish Issue: 115/116/2013

Translating Leszek Kołakowski's distinction between extensive and functional philosophy into the sphere of art, Jarecka claims: "One cannot be an orthodox functionalist, but one can be a stubborn, an unrelenting, or even an unbearable functionalist. One such artist is Oskar Dawicki.” She supports her argument by listing the attributes of his work: "He is unpredictable in the range of topics he tackles, undefinable in terms of his method. Wherever he appears, all extension is undermined.” Next, Jarecka describes and analyzes performances, installations, notes, and films by Dawicki, indicating the main subjects of his work, such as community, disturbance, and the economic and ideological mechanisms that determine an artist's work.

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Zabawmy się

Author(s): Olga Katafiasz / Language(s): Polish Issue: 115/116/2013

A report on Berlin Day at the Counterpoint Festival. Katafiasz reviews two plays: Notizen aus der Küche by Rodrigo Garcia, rendered for stage by Patrick Wengenroth, and Sklaven. Einakter von Georges Courteline aus de Hölle der bürgerlichen Freiheit directed by Andreas Kriegenburg. The author takes a critical approach to the plays, claiming that although they appeal to "other viewing needs and viewers of various sensitivities, ultimately they fulfill a similar task: to provide elegant, bourgeois, and safe, conventional entertainment.”

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Dramaturgia muzyki

Author(s): Monika Pasiecznik / Language(s): Polish Issue: 115/116/2013

A review of a book by Łukasz Grabuś, Lethal Forms: A Few Dramaturgical Strategies in Contemporary Opera (Księgarnia Akademicka, Krakow 2012). Pasiecznik writes that the publication "provides a detailed outline of the context for the development of innovative musical and theatrical forms in the 20th century.” Grabuś also introduces the concept of the dramaturgy of music, unknown in Poland, which "embraces all the acoustic, visual, musical, rhetorical, and dynamic aspects of the play.” The lethal opera of the title pertains to the category of negativity, in whose framework the secret, marginalized, and imperceptible becomes of interest.

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Dobranoc, książę. Z Janem Klatą rozmawia Piotr Gruszczyński

Author(s): Piotr Gruszczyński / Language(s): Polish Issue: 115/116/2013

The most important stages in Klata's career – the beginning of his career as a theater director and his becoming head of the Stary Theater in Krakow – are tied to the staging of a Shakespearean drama: H. at the Gdańsk Shipyard and Hamlet at the Schauspielhaus Bochum. This interview held after the German premiere reflects on both productions and the beginnings of Klata's stint as director of the Stary Theater. Seemingly disparate subjects come together – they illuminate the new role Klata has taken in the theater. the conversation about the German play leads to Klata's artistic program planned for the upcoming five seasons in Krakow.

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