Po co nam ta choroba?

Author(s): Jakub Papuczys / Language(s): Polish Issue: 109/110/2012

In his review of Michał Borczuch’s newest play, Hans, Dora and the Wolf, performed at the Polski Theatre in Wrocław (premiere: 9.03.2012), Jakub Papuczys points out that the director has managed, in a subversive way, to “return to Freud.” The show’s creators, avoiding a detailed reconstruction of psychoanalytical theory, treat the three title cases as vivid and vital theatrical stories. By fragmenting these stories and stripping them of chronology and cause-and-effect logic, Borczuch presents material to the viewers which they must interpret for themselves.

Od rekonstrukcji do mistyfikacji i z powrotem

Author(s): Iga Gańczarczyk / Language(s): Polish Issue: 109/110/2012

Iga Gańczarczyk’s text hinges on is a consideration of Krystian Lupa’s play, Factory 2. The author presents and proves the thesis that “in Lupa’s quests […] we can see a new variant of documentary theatre founded on the gesture of constantly negotiating the arrangement of theatrical reality, balanced on the thin, shifting border between what is real and what is fictional.” Gańczarczyk observes, however, that this type of “documentary turn” is still treated with suspicion in Polish theatre. She calls upon a wide range of examples from visual art and literature (primarily the work of Zbigniew Libera and Aneta Grzeszykowska, the books of W.G. Sebald and Georges Perec, and the novels and photographic collages of Ewa Kuryluk), and draws upon a wide theoretical foundation in her analyses.

Przewartościowanie z ducha Wagnera. Z Mariuszem Trelińskim rozmawia Tomasz Cyz

Author(s): Tomasz Cyz / Language(s): Polish Issue: 109/110/2012

Tomasz Cyz talks with Mariusz Treliński about Richard Wagner in the context of his rendering of the Flying Dutchman. Cyz asks the director about grappling with Wagner the genius, with whom the artist has a fairly complex relationship. What seduces him in Wagner, and what he seeks in the composer, is the music of transgression and a new dimension of reality.

SARAJEVSKE UMJETNIČKE PRIREDBE U DRUGOJ POLOVINI OSAMDESETIH

Author(s): Ješa Denegri / Language(s): Bosnian Issue: 01/1998

Talianska operná tvorba na doskách SND (1920 – 1938)

Author(s): Pavel Unger / Language(s): Slovak Issue: 04/2010

Keď Košice boli Kassa a divadlo szinház (Divadelné dianie v medzičase 1938 – 1945)

Author(s): Tibor Ferko / Language(s): Slovak Issue: 04/2010

Mej Lan-fang a európska avantgarda

Author(s): Miloš Mistrík / Language(s): Slovak Issue: 04/2010

From the early 20th century onwards, the West became much more intrigued by oriental theatre cultures. In several instances they became a source of inspiration for avant garde stage directors. For the proponents of avant garde drama the theatre performances originating in Bali, China, Japan and India gave credence to their own artistic way. Among the theatre professionals having a profound impact upon the European avant garde was Mei Lan-Fang, one of the premiere performers of Beijing Opera. His guest performances in the USA (1930) and the Soviet Union (1935) were received with great enthusiasm by Stanislavsky, Meyerchold, Eisenstein, Brecht, Chaplin, and others. We have been left with their testimonies of appreciation of his art and mention of the profound impact it had upon heir own creation. In several cases, notably in Soviet Russia, Mei Lan-Fang‘s performances served as a model example of the existence of the metaphoric, sign and poetic theatre alongside the official socialist realism theatre.

Barytonista Bohuš Hanák v dokumentoch a spomienkach

Author(s): Terézia Ursínyová / Language(s): Slovak Issue: 04/2010

Varúj..! alebo prípad Ondrej Muranica

Author(s): Martin Palúch / Language(s): Slovak Issue: 04/2010

The purpose of the paper entitled Warn Him..!, or, the case of Ondrej Muranica is to analyse the poetics and aesthetics of the first largely Slovak feature film produced shortly after World War II., in 1946. It focuses on the characteristics of formal means of expression with overreaches in the contents and national principles, which are brought to prominence in this first Slovak feature film. Emphasis is placed on the analysis of the stage, acting, and direction characteristics which are attributed to the actor and film director Paľo Bielik, founder of the Slovak feature film production. The feature film Warn Him..! is among the fundamental pillars of Slovak cinematography, which is markedly reflected in the construing of schemes and stereotypes typical of Bielik’s feature film production and which are also to be found in the production of other Slovak film directors that followed suit.

Slovenský film Hranica a problém konštruovania kolektívnej identity

Author(s): Jana Dudková / Language(s): Slovak Issue: 04/2010

The text deals with a documentary film directed by Jaroslav Vojtek and released in 2009, The Border. It itself is conceived as a group portrait of the residents of the village Slemence and raises several questions about constructing collective identities in areas divided by state borders. The village is currently divided between Slovakia and Ukraine. The split occurred in 1946 and remains actual. The absurdity of the Slemence case is emphasized by many factors. The inhabitants, suddenly divided between two Slavic states, are mostly of Hungarian nationality. Further, the closely guarded border didn’t divide two geopolitical blocs, but the Soviet Union and an other socialistic state. Last but not least, the border remains in place today. Although in 2005 it was opened for the use of cyclists and pedestrians, in 2008 it became the border of the Schengen zone and is now once again surveyed at least as closely as it was in 1949. The introduction of visa requirements for Ukrainians – and the Ukraine’s reciprocal response – once again makes crossing the border a lengthy process, involving a journey to the nearest district town which often takes several hours. The text analyses all af these factors as well as some specifically filmic means of metaphoric crossing the border.

Autorsko-herecká poetika Daria Foa v stredoeurópskom kontexte (Dario Fo a jeho Malý manuál herca v kontexte jeho divadla)

Author(s): Dagmar Sabolová-Princic / Language(s): Slovak Issue: 04/2010

The paper is a continuation of Prečo je Dario Fo nositeľom Nobelovej ceny? (What Makes Dario Fo the Nobel Prize Winner?), published in Slovak Theatre No. 4/2009. This time, the author-and-actor poetics of Dario Fo is in the centre of attention; it is analysed and recreated against the backdrop of the comparisons with theatre theoreticians, such as Konstantin Stanislavsky, Bertoldt Brecht, Luca Ronconi, and also Jerzy Grotowski. What one finds in Dario Fo is Stanislavsky’s identification with the character, however, without the mystic element, Brecht’s educated actor, however, without the effect of alienation, the simplicity of costumes and the stage typical of the poor theatre. This blend, or collage if you will, of several well-known 20th century theatre techniques, enriched with internalisation and currentness and the updating of the joculator theatre technique, add a flair of originality to Fo’s author-and-actor poetics.

Wprowadzenie do dramatu bizantyjskiego,

Author(s): Iosif Vivilakis / Language(s): Polish Issue: 02/2007

This lecture starts with a reference to the Byzantine dramatic tradition. The Byzantium, and in particular the church, did not encourage the growth of religious theatre and this is mainly due to theological reasons. During the 15th century, a few years before the end of the Byzantine Empire, the religious theatre of the catholics was characterized as “sect” and “innovation”. They are terms which ostensibly show a theatrophobia, but which are comprehended in the context of the liturgical art of the church and by the study of another view of the world where the catalytic presence of the holy dominates. It is distinctive that only one Byzantine manuscript that emanates from Cyprus gives elements for a theatrical performance of the Passion of the Christ. Nevertheless, some of the researchers tried to apply the conclusions for the religious theatre of the catholic west in the Byzantine culture, attributing to phenomena irrelevant to the stage, the terms “theatre” and “drama”. This study examines the role of theatre in the Byzantium (through the comparison of theatrical experience between west and east) and it negotiates texts and practices that can be considered as belonging to the religious drama, with the literal importance of term: a text with instructions, which is intended to be presented on a stage in front of a crowd.

Schola Teatru Węgajty

Author(s): Monika Paśnik-Petryczenko / Language(s): Polish Issue: 02/2007

The Schola of the Węgajty Theatre, an international company of artists active since 1994, deals with the reconstruction of medieval liturgical drama, research into the tradition of sacral songs and tracing the traditional cultures of assorted regions of Poland and Europe. The author discusses the prime programme premises, repertoire, history, work and composition of the company.

Poszukiwania Gestu – Moje spotkanie z zespołem Scholi Teatru Węgajty

Author(s): Anna Łopatowska / Language(s): Polish Issue: 02/2007

My encounter with the Węgajty Schola. The first presentation of the kudijattam theatre in Gdańsk, initial conversations about eventual cooperation with Wolfgang Niklaus and his company. Some basic information about the kudijattam temple theatre from Kerala. Several remarks about the possible application of original gestures in liturgical drama upon the basis of my acting and theatrical experiences as well as those connected with studies on kudijattam. Select information about the manner in which my imagination created gestures for the needs of the performers from the Schola of the Węgajty Theatre.

Indyjski teatr świątynny i dramat liturgiczny

Author(s): Krzysztof Maria Byrski / Language(s): Polish Issue: 02/2007

The invocation, which preceded my presentation in its last line, calls theatre a sacrifice. What does that mean? Hindus basically have a monistic vision of reality. The entire universe emerged from the One that was at the beginning of time. The most important and characteristic feature of our universe is perception. This is why it is termed – perceptive reality. In order to create such reality the One had to become a perceiving subject and at the same time a perceivable object. It just had to die as the One and had to become many, just for the sake of joy of uniting again. This union can be a joyful experience because the one divides itself also into one who desires and into another one who is desired. While watching this loveable sacrifice for the eyes that theatrical performance is, we emotionally identify ourselves with the process of such unification, follow it and experience the joy of merger into One. The question now has to be answered why can it happen in theatre and why it is so difficult to experience in our daily life? The answer is an emotional distance, which we do not have in our normal life, in which we shun unpleasant experiences and seek only pleasant ones. In theatre we enjoy both of them equally. Why? Because the stage reality is not the proper reality of a hero of a play. It is also not the proper reality of an actor or a spectator. Therefore it is a non-particular reality, which evokes non-particular emotional responses. The Kudiyattam theatre of Kerala by its highly conventionalised form makes it even more striking and by associating it with temple ritual turns theatre into ritual as well.

Brčko – susreti sukobljenih kanona

Author(s): Dragan Komadina / Language(s): Croatian Issue: 16/2013

Brčko već kao administrativna jedinica, dakle, distrikt, postaje izuzetim mjestom nakon sukoba, mjestom u kojemu je on odgođen ili odložen, ono postaje luka (ne)mira. A kao jamci tog (ne)mira pojavljuju se pozorišni/kazališni emisari iz susjedstva – iz Hrvatske, Srbije i Crne Gore. Tako je regionalna selekcija za koju se dodjeljuje Grand Prix festivala postala svojevrsni ekvivalent supotpisnicama Daytonskog sporazuma, pa Susreti postaju kazališna imitacija daytonske zbilje. Ako je svijet po Baudrillardu u hiperstvarnosti, u svojevrsnoj simulaciji zbilje, onda je život festivalskih Susreta u Brčkom vrhunac predmodernističkih imitacija kazalištem u postmodernističkoj zemlji par excellence. Predmodernističkih jer je kazalište i u postdaytonskoj BiH ustanova organizirana s ciljem podržavanja dominantne ideologije – u troetničkom ključu to implicira i tri društva u kojima je teatar oruđe u dovršetku formiranja nacionalnih kanona

Lächelnde Zeitgenossen und vergrabene Seelen: Die deutsche Einheit und der Alltag in der DDR im Spielfilm - eine Bilanz zehn Jahre nach der Wende

Author(s): Wolfgang Döbber / Language(s): German Issue: 03-04/2000

MOTIVE BIBLICE ÎN DRAMATURGIA LUI VALERIU ŢURCANU

Author(s): Maria Mîţu / Language(s): Romanian Issue: 1/2010

The first reading emphasizes a particular trait that raises the dramatic creation of Valeriu Turcanu to a distinct dimension compared to other Romanian dramatic texts. The defining attribute that characterizes his works is the biblical motif.

Dziury w niebie

Author(s): Agnieszka Goławska / Language(s): Polish Issue: 683/2012

Polityka w muzeum

Author(s): Jacek Maj,Piotr Piotrowski / Language(s): Polish Issue: 683/2012