Poza ramą. Wizerunki kobiet i mężczyzn w Jeziorze łabędzim i Giselle Matsa Eka

Author(s): Anastasia Nabokina / Language(s): Polish Publication Year: 0

The aim of this study is to analyze the possibilities and strategies for constructing images of the body in the art of dance, as well as to describe the discourse of carnality created by dance. The author uses a methodology based on critical theory. Research material, i.e. thechoreography by Mats Ek, allow to applied to the study categories „the scene” and „the obscene” created by Lynda Nead. Through the analysis of movements, gestures and postures used in the different styles of Western dance, the author approaches to describe images of femininity and masculinity created by the art of dance.

Antropolog czyta taniec Alfred Gell i rytuał ida

Author(s): Anna Kawalec / Language(s): Polish Publication Year: 0

My paper Antropologist reads dance. Alfred Gell and ida ritual discusses the conception of dance elaborated by one of the world’s most famous but controversial social anthropologists of the present time. His conception of dance is the initial stage of his research on the issue of art within the domain of anthropology, which was finalized in his last monograph Art and Agency. Gell’s idea of dance is consistently semantic and communicative, although unrealized in the initial context of his work, namely structuralism. The researcher uses the phenomenological tradition (esp. Husserl), developed by him and modified in order to adapt it to the theory of art, which was helpful in answering the basic and maximalist questions, as e.g.: Why do Umeda (people) dance? The context of understanding the problem, as well as the outline of the answer, constitute the content of the presented statements.

,,Umrzeć to byłaby wielka przygoda” Piotruś Pan w reżyserii Roberta Wilsona

Author(s): Katarzyna Peplinska / Language(s): Polish Publication Year: 0

As a teenager, Robert Wilson suffered from a speech disorder. When a traditional therapy did not work, dance and working with the body turned out to be effective. Inspired by the experience, Wilson invented a system based on dance and physical activities which allowed him to work with disabled children as well as those who, for whatever reason, were excluded socially. He deviced individual movements for every actor and the whole system’s aim was psychologically-therapeutic. Wilson was inspired by the body moving in slow motion which created an oeniric effect. Wilson’s experience with the body is clearly visible in his shows created in institutional theatres. Actors with heavy make-up move according to a particular sequence inside a closed aesthetic form. The author looks at Wilson’s Berlin piece „Peter Pan” to analyse the way the performer’s body and voice work in his theatre.

Ciała obecne – ciała znaczące – „Ciała obce”

Author(s): Beata Popczyk-Szczęsna / Language(s): Polish Publication Year: 0

Modern Polish drama texts seem to be „dramas of the body”; the body appears in them as a valid problem of the world depicted (along with various aspects of the man’s bodily existence, e.g. procreation, illness and agony). These drama works could be analyzed with reference to Erika Fischer-Lichte’s aesthetics of performativity and the assumptions of somatic criticism. The deliberations presented in this article are a case study: they concern Julia Holewińska’s drama entitled Foreign bodies and a theatrical performance based on this drama work at Teatr Wybrzeże in Gdańsk in 2012. Difficult bodily and sensual experience, as well as social and cultural, were portrayed in the text and the theatrical performance; it is a story of the man who underwent a sex change operation. In the drama, which was inspired by the biography of Marek Hołuszko, a “Solidarity” member, the author highlighted the carnalityof the hero/heroine. The theme of an individual being entangled in history and the norms of the cultural sex becomes extremely crucial in the world depicted here. Kuba Kowalski, director of this theatrical play, has created an allegoric message of exclusion. In the play, being a vivid stage performance in its character, what is essential is the precise mechanics of the theater group. An intensified performative aspect of the play stems from two predominant principles of the actors’ mechanics: it is highlighting individual performers and their bodies as well as the technique of cross-casting. Foreign bodies by Julia Holewińska and Kuba Kowalski belongs to a group of theatrical performances which are centered around the myth of an outsider, social weirdo or victim. The play showing the hero entangled in a conflict of the biological and cultural sex clearly exhibits the power of the culture as being disciplining and restrictive for an individual.

Ciało i głos Teatr chórowy Marty Górnickiej

Author(s): Aneta Głowacka / Language(s): Polish Publication Year: 0

The article is devoted to the works of Marta Górnicka, one of the most interesting young theater artists in Poland. Górnicka is the author of the original project – the chorus theater, which combines the ancient traditions of the choir (in its restored and subversive version) with contemporary political commitment. The only means of expression in her performances are the body and the voice of performers, who represent the voice of the community. The choir claims about the interests of groups excluded and discriminated for various reasons: women in a patriarchal system, immigrants, Roma, employees used by corporations. Perhaps this perspective makes the Choir perfectly received in different parts of the world.

„Chopin bez fortepianu” – muzyka we władzy spojrzenia

Author(s): Weronika Łucyk / Language(s): Polish Publication Year: 0

Chopin without piano produced by CENTRALA and directed by Michał Zadara (premiere 23 March 2013) is based on the idea of performing two of Chopin’s concertos without the solo instrument part. The grand piano was ridden of its function as a musical instrument, and was used as an element of stage installation. Instead of playing the instrument Barbara Wysocka, starring as a soloist, monologues about the score and its various interpretations, as well as about stereotypes built around the composer’s work. The course of the monologue is strictly subordinated to musical rhythm, phrasing of the score, tempo of the orchestra. Thus the producers achieved a radical shift – the actress’s body replaces the grand piano as the instrument proper, and it is seen in interaction with the grand piano or the onductor. This deconstruction exposes the ambivalence of the listener’s gaze inscribed into a concert performance of a piece, and at the same time it imposes a reflexion on the soloist’s condition, remaining under the authority of the gaze. As a counterpoint to the actress’s appearance, Chopin’s letters are quoted in which the composer’s disease-degraded corporeality is described. As an additional element the paper compares three performances (Festiwal Prapremier in Bydgoszcz, the Gdansk Shakespeare Theatre and Festiwal R@Port in Gdynia) in various performative configurations, thus including incidental marginalia.

Głos, muzyka, ciało w teatrze radiowym

Author(s): Ewa Wąchocka / Language(s): Polish Publication Year: 0

Radio plays in the subjective drama genre are one of the most interesting forms of contemporary radio theatre. The fragmentation of a character’s internal space and the cast of their internal drama serve to present that character’s story and are versatile tools for showing the workings of memory and man’s internal life. The non-visual quality of the radio, which eliminates the substantiality of the body and endows it with virtual existence, does not in fact obliterate the carnal factor completely – it can still be found in the actors’ vocal expression when the libretto comes alive in sound production. Carnality in a radio play can be thematic on the story level and manifest itself in the voice qualities of the actors together with sound effects and music. A polyphonic torrent of voices, which in subjective drama has replaced thetraditional one-track monologue, is often employed to illustrate the severing of ties between mind and body and, consequently, a split personality. The decomposition of psychosomatic integrity shown using multiple voices is more than just a radio play technique – it is also a powerful metaphor of human condition. The article presents diametrically opposed approaches to this phenomenon in Kwadrofonia by Ireneusz Iredyński and Samuel Beckett’s Cascando, analysed within the frameworks of phenomenology and psychoanalysis. The two plays explore contrasting portrayals of subjects in radio plays – a mind overpowered by others versus a fragile unity of alternative identities and a body with a marked presence in the story versus carnality that is both told and expressed in voice and sound.

Kobiety, które budzą niepokój – kategoria fantastyki w działaniach kreatywnych Alexandra McQueena

Author(s): Michał Wójciak / Language(s): Polish Publication Year: 0

Michał Wójciak’s chapter is devoted to Alexander McQueen, considered one of the most important designers of the twentieth and early twenty-first centuries. Thanks to his consistency in his work, McQueen gained a reputation as a visionary. His genius ability to break boundaries and to propel fashion closer to the category of art was validated in his exhibition, "Savage Beauty", organized in 2015 at the Victoria & Albert Museum in London. This was to be the first and largest European retrospective of McQueen’s work. BBC journalist Lindsay Baker once examined the work of British designer in the context of fairy tales written by the Brothers Grimm, which was the source of inspiration for McQueen. He designs silhouettes of warrior princesses and shapeshifters in his creative collections. Alexanders’ collections also make references to the past utilizing the aesthetics of the Victorian era horror. He envisioned the future through what he called the prism of the mythical Atlantis. This was to be Alexander McQueen’s final and complete collection which he named, “Plato’s Atlantis”. The untimely death and suicide of Alexander McQueen in 2010 ushered-in the end of an era in the fashion industry where many designers willingly created uncompromising, fantastical theatrical shows devoid of his creative vision and fashion genius.

"Koralina" Neila Gaimana w realizacjach teatru lalek w Polsce

Author(s): Maria Janus / Language(s): Polish Publication Year: 0

Maria Janus focuses on theatrical adaptations of Neil Gaiman’s "Coraline" in Polish puppet theatre. The analysed performances were directed by Włodzimierz Fełenczak in Teatr Miniatura in Gdańsk with a stage design by Mikołaj Malesza (opening 2009) and in the Białostocki Teatr Lalek with a stage design by Joanna Braun (opening 2011) and directed by Karolina Maciejaszek in Teatr Pinokio in Łódź with a stage design by Anna Chadaj (opening 2013). In addition, the Author discusses the performance of Rozalinda, written and directed by Krystyna Jakóbczyk in the Teatr Dzieci Zagłębia in Będzin (opening 2012), which was inspired by Gaiman’s novel. Janus presents this performance in the context of copyrights and difficulties of obtaining licenses for use of texts written by popular authors (especially from the Anglo-Saxon region). The author compares the adaptations of Neil Gaiman’s novel written by Fełenczak, Maciejaszek and the translation of the novel’s narration by Jakóbczyk (theatrical situations and visual narration vs. the narration performed live on-stage). Maria Janus also highlights theatrical references from the novel considering meta-theatrical elements that enhance the performance. Janus compares theatrical media used in performances from Gdańsk, Białystok and Łódź with special consideration to the stage design and puppetry techniques. In the second part, the author focuses on the popularity of Neil Gaiman’s Coraline among theatrical directors despite little interest in horror fiction. Puppet theatres in Poland do not produce performances based on modern epic literature, especially those nbased on fantasy. Classical fairy-tales and modern dramaturgy containing fairy-tale motives are still more popular. Furthermore, Janus reflects on the possibility of a change of the herein discussed situation. She further refers to the arguments of Bruno Bettelheim, Stanisław Grzelecki and Katarzyna Slany considering young spectator benefits from the contact with theatrical representation of youth horror literature.

Świat i historia – "Monastyr: Fabularna gra dark fantasy"

Author(s): Aleksandra Mochocka / Language(s): Polish Publication Year: 0

The central analysis of "Monastyr: Fabularna Gra Dark Fantasy" TRPG is on the history of gaming systems. Throughout gaming system history, role playing has served as an important backdrop for the actions of the characters.which constitute indispensable elements for the lives of the characters and their sources of power. Without knowledge and awareness of history, human beings can lose their identities or fall victims to exploitation. However, with knowledge in history, humanity can fight against deprivation and nothingness. But this knowledge is not without its contradictions— history can also be a burden, a challenge and even a source of conflict. The notable point of Aleksandra’s Mochocka chapter is that history must never be forgotten, “whitewashed” or outright erased. Whether nations or fctions of people, if any commit an atrocity against humanity, it is the historical record or even the victims’ knowledge that will never allow the perpetrators to escape the consequences of their actions. The embedded history in the framework of Monastyr evokes these feelings and perceptions for the player provoking, what Mary Flanagan coined as, “critical play” during the playing sessions. All of these elements make Monastyr an extremely unique experience in role playing gaming. Although this game was not intenteded to be a purveyor of historical knowledge, it does raise much awareness for the players as to the role of humanity throughout history as well as other potential historical and critical issues.

Starość i wykluczenie w spektaklu Saszka Bramy "Jesień na Plutonie"

Author(s): Anna Korzeniowska-Bihun / Language(s): Polish Publication Year: 0

Anna Korzeniowska-Bihun in the chapter Senility and Exclusion in Sashko Brama’s Play "Autumn on Pluto" analyzes the unique way in which Ukrainian artists developed the eponymous documentary theatrical project based on the interviews conducted in a Lviv nursing home. Sashko Brama translates the project’s title as follows: Autumn stands for the final stage of life and Pluto is the outermost planet of the Solar System. The text depicts the way project’s creators talk about senility and exclusion. Their work consists of three stages. The first focused on gathering and artistic transformation of the source material, which involved an in-depth examination of both performers’ and viewers’ reflection on the passing of time, infirmity, fear of death, and social rejection. The second covered the creation of two versions of the show with the use of hyperrealistic puppet-portraits of selected nursing home residents. The hyperrealism of the stage characters was enhanced by the implementation of authentic voice recordings which made huge puppets mirror their real equivalents. The performance in both versions developed a story about senility understood as the inner, private, and relative experience of the passing time, as well as the physical condition of a human being trapped in their own body. The third element of the artists’ work discussed in the chapter was pivoted around social activities addressing regular and systematic art-therapy sessions with the residents of the nursing home, in a part entitled Spring on Pluto. This art-therapy is analyzed as an attempt to solve a number of social and psychological problems identified by the performers throughout the documentation of the source material.

TRANSPHOBIA IN EBRU NİHAN CELKAN’S KİMSENİN ÖLMEDİĞİ BİR GÜNÜN ERTESİYDİ (AFTER THE DAY NOBODY DIED)

Author(s): Evrim Ersöz Koç / Language(s): English Publication Year: 0

Since the last decade in both private theater companies and state theater in Turkey, there has been a rise in the number of transgender characters or themes that invite the audience into the hardships the transgender individuals face. Along with the adaptation of “in-yer-face” movement in alternative theater and pride parades that hope for a better integration of LGBTQ into everyday life, transgender characters that previously emerged on the Turkish stages as “stereotypes” has developed into more complex characters that enable a better grasp of their psychological and social traumas in patriarchal heteronormative societies (Baş, 2016; Celkan, 2014; Mitrani, 2014). Celkan comments on this change of transgender individuals on the Turkish stage stating that “their journey from the streets to the stages also encapsulates a journey from “type” to “character” (Celkan, 2014).

İçsel Göç: Lena Leyla ve Diğerleri

Author(s): Sevim Akten / Language(s): Turkish Publication Year: 0

Dış göç, iç göç, beyin göçü, nitelikli göç, zorunlu göç, eğitsel göç, kırsaldan kente göç; nedeni ne olursa olsun bir gereksinim sonucu yer değiştirerek bireysel ve toplumsal değişime uğrayan kişinin yaşadığı sorunların adıdır göç. Soruna sosyolojik, ekonomik ya da tarihsel boyutuyla bakmak gibi yalnızca psikolojik yansımalarıyla da bu olguyu değerlendirmek yetmez. Bu bir yaşam deneyimidir. Her göçün bir nedeni, her göçmenin kendine özgü bir öyküsü vardır. Sosyologlar açısından en kısa tanımıyla ekonomik ve kültürel hareketlilik, psikologlar tarafından dönüşüm, ötekileşme, kimlik değişimi, yabancılaşma hatta kimliksizleşme gibi pek çok nitelendirmelerle irdelenen göç olgusu yazarların da ilgi odağındadır. Göç öyküsüne ve kimlik sorununa kurmaca bir pencereden bakan yazar, özellikle ruhsal çözümlemeleri yaparken ister istemez gerçek verilerden yararlanır. Örneğin Zehra İpşiroğlu toplumsal cinsiyet araştırmaları kapsamında farklı kesimlerde yaşayan kadınlarla şiddet üzerine yaptığı röportajlardan birinin öyküsünü Lena, Leyla ve Diğerleri adlı tiyatro oyununa taşır. Bu öyküde yalnızca bir kadının göç serüvenini değil eril bir toplumun kadına bakışı ve davranışı karşısında hırpalanan kadın ruhunu ve kadınlık durumunu gözler önüne serer.

Sztuka wideo w twórczości współczesnych artystów kubańskich

Author(s): Marietta Kuźniewska / Language(s): Polish Publication Year: 0

Retoryczna perspektywa badawcza reportażu telewizyjnego – uwagi teoretyczne

Author(s): Bogumiła Fiołek-Lubczyńska / Language(s): Polish Publication Year: 0

In this article, I present the possibility of applying a rhetorical research perspective to the analysis of audio-visual cultural texts of a documentary nature. The group of these texts includes reportage that is created today for the needs of television and is made both by journalists and film directors. The use of rhetoric as a method of researching these reports sets the general direction of research on audio-visual text and shows an affinity with rhetoric used in literary studies. Research on the rhetoric of television reportage – is understood as a study of how the rules of neoclassical rhetoric are used to create an effective statement. It concerns the study of the composition of the audio-visual text, the way of argumentation, persuasiveness and the "author's message". The rhetorical analysis allows you to check whether the reportage has been constructed correctly, and whether the structure has formally attractive features. Rhetoric examines the relationship between what is workshop and what is artistic in the media coverage.

Łódzkie Spotkania Baletowe – prestiż i edukacja

Author(s): Martyna Kołodziejczak / Language(s): Polish Publication Year: 0

The article discusses the specificity and history of the Lodz Ballet Festival. LBF is the oldest international dance art festival established in Poland; the first biennial took place in 1968 at the Lodz Grand Theater. The festival quickly became the largest and most prestigious ballet event in Poland and one of the best events devoted to the art of dance in Europe. The article presents and analyzes the artistic program of ŁSB, which allowed the Łódź/Polish audience to have direct contact with the most outstanding dancers, dance groups and choreographers from around the world, and thus became a unique forum for confrontation and a school of what is most valuable today: in ballet, in contemporary dance theater and in the art of expression through movement.

Nowa Perspektywa

Author(s): Ewa Otomańska / Language(s): Polish Publication Year: 0

In the article Nowa Perspektywa, the author describes the unique nature of one of the Łódź festivals – Retroperspektywy, organized by the Chorea Theater Association from Łódź. The text discusses the international editions of the festival, from its first edition in 2010, to the creation of a new national initiative called “Perspektywy.” In addition to analyzing the programs and ideas that guided the organization of each edition of the festival, the text also includes interviews with the organizers of the event, from the volunteer to the festival director. Thanks to such a broad study of the subject, both from the organizational and purely artistic side, it is easier to imagine the atmosphere of the festival, where the guest often becomes not only the recipient but also a co-creator of the entire event.

Gdzie dotykać teatru?

Author(s): Katarzyna Mańko / Language(s): Polish Publication Year: 0

Author took up the issue of the action Dotknij Teatru, which has been taking place in Łódź since 2010. In her article, she meticulously traced the history of the festival, using the archives and interviewing the main DT coordinator – Anna Ciszowska. Katarzyna Mańko confronts the original assumptions of the festival with its effects so far. He boldly asks questions about the condition of the campaign, its future, the way it is organized, as well as the target audience. It cites the most interesting events, often using personal experiences as a participant, observer, and also an active artist taking part in the events signed by Dotknij Teatru.

„Duzi ludzie mają bardzo duże buty” — szkic o łódzkich festiwalach teatralnych dla dzieci i młodzieży

Author(s): Nena Stańczuk / Language(s): Polish Publication Year: 0

The aim of the article is to list the festivals for children and youth on the Lodz festival map. Due to the pioneering nature of the monograph, this article is only a general outline of the issues of festivals for children and youth. It also indicates the most important festivals dedicated to minors, focuses on individual elements that characterize and differentiate these festivals. In her analysis, the author included both festivals dedicated to children and youth, as well as those co-created by them. These were: The Carousel International Theater Festival, DZIATWA National Festival of Children’s Theaters, CENTRUM Youth Theater Confrontations, Confrontations of Children’s Theaters KONFRONTACJE and the Henryk Ryl Pre-School Theaters Festival. In the discussion of individual theater festivals, the author deliberately refrained from indicating examples of projects in order to avoid comparing these projects in terms of artistic quality, guided by the principle that in the case of underage audiences and creators it is an extremely controversial issue that cannot be measured in terms of qualitative or quantitative research. The article deals with the need to create and improve festivals for children and youth, and the need for additional animation and educational activities to support festivals.

W(y)kluczenie pani Heleny. Warszawska kariera Modrzejewskiej w dyskursywnym oświetleniu

Author(s): Danuta Kowalska,Magdalena Pietrzak / Language(s): Polish Publication Year: 0

The analyses concern texts which present Helena Modrzejewska’s career in Warsaw, and, above all, her arrival in Warsaw, first guest performances and events preceding her departure to America. The study has been set in the discursive perspective and the texts can be classified into three types of discourse: press (critical and journalistic), biographical and private. Each of them portrays Helena Modrzejewska in a different role and from a different angle. In the press discourse, drawn from the perspective of journalists and theatre critics, Helena has been shown as an actress. What is particularly visible here is her remarkable acting ability, setting her apart as a leading actress. In turn, the private discourse depicts Helena Modrzejewska as a woman and a wife. The emotional and axiological layer of the text varies depending on the authors’ letters and their intentions. The biographical discourse creates the most comprehensive picture of Helena in her three most basic roles: as an actress, as a woman and as a wife. Biographical texts depict Helena’s life and career from the perspective of time and this is why they portray her in full light, thus providing objectivity.