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Contemporary Romanian-language drama is developing exponentially, with a spectacularly growing audience and professional interest in performances that focus directly on social problems. At the same time, the funding of theatres, including independent or project-based productions, is at the mercy of a political apparatus that has been in constant flux since the change of regime. The prevailing uncertainty justifiably triggers a rebellious, resistant creative attitude. The authors analyzed (and their colleagues) write and create with the conviction that theatre can be a shaper of society, an active participant in the process of change and transformation. It is important to emphasize that this theatre is political without being party-dependent. The presentation of the authors also shows that the playwrights know and support each other’s work, participate in joint projects and form a living artistic community.
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The paper presents part of a research dedicated to the study of the theatrical adaptations of the great Russian classics in Sarajevo theatres, performed in the period between 1921, when the National Theatre was founded, and 2007. It focuses primarily on the literary and theatrical reception of the opus of Fyodor Mikhailovich Dostoevsky. Since the founding of the oldest theatre in Bosnia and Herzegovina in 1921, followed by the founding of other Sarajevo theatres (most notably the Chamber Theatre 55), Sarajevo has seen nine premieres of Dostoevsky. The paper will present various directorial concepts and dramatizations of Dostoevsky’s novels, most of which were met with disappointing reviews. An analysis and synthesis of Bosnian and Herzegovinian literary and theatrical criticism pertaining to the above-mentioned opus compared to Russian critical thought will be presented as well. We will introduce the theoretical ‘view’ of some issues which are inevitably presented to researchers when it comes to the prose works, or classical novel adaptation for theatre.
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Introduction to the essay cluster Performativity as an AttitudePperspective. The guest editor recalls the Polish discussions on the relationship between theater studies and performance studies that have taken place since 2006. She emphasizes that in these discussions performativity was most often associated with theater/performance and human agency. In contrast, the articles that make up the cluster – following Karen Barad – focus on the agency of matter and more-than-human relations. Consequently, performativity is understood in them as a perspective and attitude in which responsibility and care for what happens to and around us are at the forefront.
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This article analyzes the performativity of two composite icons in liturgical and museum contexts. Their unusual form, consisting of two panels combined as one work of art, is interpreted as an assemblage, following Victor I. Stoichita use of the term. Moreover, the multivalency of the term assemblage is used to present the icons as part of dynamic social assemblages by applying the theoretical perspective of assemblage theory. It becomes crucial in seeing them as active agents in the assemblages of humans and non-humans as well as understanding the potential of this unusual form and the way they function in various relations with other works of art, institutions, and people. Applying the categories of assemblage and performative icon to the analysis of two examples of composite icons, the article characterizes the influence of assemblage form on the veneration and presentation of icons. Focusing on the issue of performativity, agency, and affordance made it possible to highlight the dynamics of the assemblage form and the icon itself. Depending on the context—the performances in which it participates and the assemblages of which it becomes a part—the icon can be perceived as a work of art and/or a devotional image that transcends the realm of artistic values. The article also reflects on the assemblage nature of the icon research and study process.
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This article attempts a critical reflection on the metaphorization of contemporary theoretical discourses, using the example of the metaphor of the knot. The author demonstrates its performativity by dissecting the conventionalized metaphor of the Gordian knot into figures of knot (tied deliberately), knot* (tangled accidentally) and loop, which entail different visions of reality and different logics of its problematisation and conceptualisation. He refers to examples of academic texts (Dipesh Chakrabarty, Donna Haraway, and Elaine Gan and Anna Tsing) in which the knot and the epistemological questions inscribed in this metaphor play an important role. He also shows the implications of reading onto-epistemological projects through the logic of the knot, which he sees in Bruno Latour’s actor-network theory, and the logic of the knot*, which he sees in Graham Harman’s object-oriented ontology. Given the significance of materiality in contemporary academic discourses, the author postulates that the term matterphor, as proposed by Lowell Duckert and developed in various currents of environmental humanities, should be introduced into Polish discourse. He believes that the potential of the new term lies in the fact that it makes it possible to combine the performativity of language and the performativity of matter so as not to efface the emergent and contingent character of the world from academic systems of conceptualising reality.
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This article analyses the work of Herman Czerwiński as a leading theater critic of Gazeta Żydowska (Jewish Gazette), published by Jewish journalists under the control of the Nazis in 1940–1942 in the General Governorate for the Occupied Polish Region. To date, his contributions to the Gazeta Żydowska have received little scholarly attention, whether in publications about Jewish press or about Jewish theater during the Second World War. The authors of the article focus on Czerwiński’s opinions on the activity of Warsaw Ghetto theaters, his assessment of their repertoire policy, and his way of reviewing performances staged in the ghetto. The primary research method was quantitative-qualitative content analysis of all 279 editions of Gazeta Żydowska. In order to determine how Czerwiński was perceived in the ghetto, the research also included Gazeta Żydowska articles mentioning him, as well as diaries and memoirs of members of the Jewish intelligentsia. The research also reconstructed the critic’s earlier life, particularly his links with theater, based on pre-war publications from Polish and Jewish press.
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Recenzja publikacji, której jako autor figuruje Stefan Kotlarczyk, twórca wadowickiego teatru amatorskiego przy Towarzystwie im. Króla Władysława Jagiełły (tzw. "Jagiellonce". Z kolei autorami komentarza do sztuk i przypisów są Joanna Grzywna, Stanisław Dziedzic, Dominika Mróz, Janusz Kotlarczyk i Jacek Popiel. "...Z doby dzisiejszej, Za matkę ojczyznę. Dwie sztuki sceniczne opatrzone komentarzem i przypisami" (Wadowickie Centrum Kultury, Wadowice 2007).
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Festivalului Național de Teatru de la București s-a desfășurată între 5-13 noiembrie și s-a aflat sub semnul Granițelor fragile. Istoriilor fluide. Cei trei selecționeri, Mihaela Michailov, curator principal, Oana Cristea Grigorescu și Călin Ciobotari, curatori au ales pentru această ediție nu doar spectacole ale teatrelor de stat, ci și producții ale facultăților de teatru, ori producții independente, dar și spectacole dinafara țării. Argumentul curatorilor festivalului pentru aceste opțiuni a fost urmărirea de „abordări și tendințe estetice relevante în teatrul românesc de azi”.
More...Мотиви као чинилац диференцирања колективног и индивидуалног стила извођења српског кола
Dance style, as an important component of dance performance, has not often been the subject of attention of Serbian ethnochoreologists until now. Sisters Ljubica and Danica Janković were the first to deal with this term back in 1949, defining it, considering its “internal” and “external” manifestations and pointing out the diversity of its individual and collective manifestations. Only after more than fifty years, Olivera Vasić and Zdravko Ranisavljević once again raise questions of the style of Serbian traditional dances, terminologically determining several building motifs as their basic structural identifiers in 2012. After that, there were no new attempts to determine the specificity of regionally different styles in the Serbian dance tradition. In order to compensate for this deficiency, the article investigates the aspects of the performance style of the traditional Moravian dance on the example of a competition held as part of the World Day of the Serbian Kola event, as well as which features of the individual dance style judged the winner.
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Flamenco dance is internationally recognized in the world. Its uniqueness based on ancestral culture and tradition is a current projection of immemorial dances. Currently, it is performed in schools, conservatories, and the so-called flamenco shows in some destinations, where visitors can enjoy it. Therefore, it is essential to deepen its management and study.This investigation aims to analyze the flamenco dance show from the perspective of the general visitor capability. To determine loyalty, the study focuses on tourist fidelity based on the show's perceived value, quality, and satisfaction. The fieldwork has been carried out in Córdoba (Spain). There are few studies on flamenco dance from the attending visitor's perspective, this being a novelty and a contribution to research. The methodology is founded on a partial least squares (PLS) structural equation model. A structured questionnaire has been used to meet the objective, and the conclusions acquired corroborate that the agreement and quality of flamenco dance positively influence tourist loyalty and, therefore, recommend returning to the destination and repeating the visit.
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The article surveys trends in multilingual European theatre in the last decade. It outlines artistic, pedagogical and institutional practices that try to revive the multilingual traditions of European theatre, reflect the diversity of the different European present(s), and imagine futures while searching for otherness-friendly hospitality. The overview grows out of my research project Multilingual Dramaturgies: Towards New European Theatre, which was based on qualitative interviews with artists whose practices concentrate in Europe, and whose voices and languages stretch across Italy, Denmark, England, Sweden, France, Vietnam, Wales, Poland, Germany, Lithuania, Belgium, the Netherlands, Spain, the Czech Republic, Cuba, USA, Brazil, Austria, Argentina and Croatia.
More...German Artists’ Protest Campaign #allesdichtmachen and the Question of Freedom of Expression During the Pandemic
Both the Covid-19 pandemic as well as the political and social discussions it forced upon liberal Western democracies on limitations of fundamental rights provide me with the framework for this paper’s topic. I will address it through the question of how German artists – in this case mostly TV actors – with the social Media campaign #allesdichtmachen drew attention to their situation in times of widespread lockdown and contact restrictions in spring 2021. The question will be whether the constraints of free expression felt by these artists, or the public reactions to their voicing a sense of being unheard, can be captured by the vocabulary of censorship in the narrower or broader sense.
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Based on selected performances (including Autobiografia na wszelki wypadek [Autobiography just in case] by Michał Buszewicz, Woyzeck by Grzegorz Jaremko, Chcieliśmy porozmawiać o męskości, ale zostaliśmy przyjaciółmi [We wanted to talk about masculinity, but we became friends] by the Grupa Performatywna Chłopaki, Bromance by Michał Przybyła and Dominik Więcek, Halka by Anna Smolar and Ojcowie [Fathers] by Błażej Biegasiewicz), the author analyses transformations in the ways of representing masculinities in recent Polish theatre. In her opinion, it has been possible for the past few years to notice both a marked increase in interest in thematising male emotionality, fragility, caring, tenderness or intimacy in Polish theatre and a radicalisation of angry patriarchal masculinity, especially among those who reject the perspectives of institutional criticism or the #metoo movement. In this article, however, the author focuses solely on outlining the historical conditions that constituted patriarchal masculinity with all its qualities and on analysing feminist-formed masculinities in Polish theatre using methodologies developed by feminist theorists (bell hooks and Karla Elliott) and by researchers associated with the field of critical studies of men and masculinities (Michael Kimmel, Raewyn Connell, Jason Wilson, Erik Anderson and Paco Abril).
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The main objective of the article is to analyse the so-called “daddy issues” and their relations to modern masculinity. Using feminist, queer and gender theories as well as some basic psychoanalytical tools, the author tries to dismantle the toxicity of both daddy issues and masculinity itself. Discussing a mainstream Hollywood film, a festival circuit film and a popular TV show, this article offers an insight into and a thoroughly critical perspective on one of the worst shadows of manhood, that is the father figure.
More...Środowisko studenckie Leonii Jabłonkówny – nauczycielki i studentki Wydziału Sztuki Reżyserskiej
The article is devoted to female teachers and students of the Faculty of Directing of the Polish Institute of Theatre Arts (PIST). It presents the current state of research concerning the school and the faculty. It briefly recalls the history and the curriculum, and the process of admission of candidates. Furthermore, it provides new biographical information on male and female students, and highlights the role played by Jadwiga Turowicz and Stanisława Wysocka in the establishment of the school and the educational process. It presents profiles of women studying directing and their achievements. Special attention is paid to their fate during the Second World War. The article is supplemented by an appendix which presents brief biographies of women associated with the Faculty of Directing of the PIST.
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The Frankfurt Declaration is a UNESCO document that reminds and re-emphasizes the importance of promoting and applying arts education to the curriculum of all member states. In 2019, the World Alliance for Arts Education (WAAE) organized an international conference called Arts Education for everybody? Every student? Everywhere? It opened a discussion on various topics about arts education (e.g., in society, in school reforms, opportunities for the education of pedagogues, interconnection with other fields, its application at different levels of schools, its future, possibilities to spread and communicate it in different countries of the world). The education through theatre also belongs to the field of arts education. The study reflects and maps the topic of formal and non-formal education through theater. It ponders the question What is the status of formal and non-formal education through theater nowadays? It points to interesting and inspiring projects, to institutions dedicated to the education through theatre, to the educational activities of professional cultural institutions, the position of drama education in the school system and beyond it, the education through theater at universities, as part of festivals, etc. It also brings an excursion into the education through theater in abroad, in the Czech Republic and Slovakia.
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The text presented here deals with the possibility of using participatory theatre as a site for constructing identity, and thus using it as a tool for the sociologist. The starting point for the presented considerations will be the theatrical experiments of Jerzy Grotowski, who initiated in Poland the tradition of using theatre as a tool for scientific analysis. In the context of his achievements, the author of the text seeks to answer the questions: whether and to what extent the activities of participatory theatre can constitute a research laboratory for the contemporary sociologist? Can participatory theatre serve as a tool for building personal identity? Following the thinking of contemporary scholars (Anthony Giddens, Peter J. Burke et al.), we know that, as a result of the changes associated with globalisation, the acquisition of personal identification has become a life-long task for individuals. Moreover, this process has become considerably complicated in the sense that participants in social life have to cope with a situation of too many choices and, consequently, are confronted with more risks in social situations. They need a variety of competencies in the processes of assuming and playing social roles and the ability to deal with emotions, of which participatory theatre seems to be a natural laboratory. In the author's opinion, it can be a potential basis for the study of group processes. It is therefore worth reflecting on the role of participatory theatre in the construction of collective identities.
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