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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.

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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.

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Пасторалните светове в културата на Сребърния век

Author(s): Diyana Nikolova / Language(s): Bulgarian Publication Year: 0

This essay offers an analysis of the uses of the pastoral in the art of the Silver Age. The emphasis falls on the most pronounced tendency in the European culture of the period – art synthesis. The expressions of the synthesis are sought along the lines of the uses of the pastoral code in literature, painting, and theatre, as well as in works that mark the beginnings of ballet modernism.

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„Winning is strictly prohibited”. O strategiach twórczych Banksy’ego i Jana Klaty

Author(s): Michalina Lubaszewska / Language(s): Polish Publication Year: 0

The text constitutes an analysis of the work of two socially-engaged artists: Banksy and Jan Klata, who use the motif of an amusement park in their works. Banksy uses it in a literal – though subversive – way in his project Dismaland, which presents a mocking reversal of Disneyland. Klata, on the other hand, in his performances that often function as a commentary on the reality that surrounds us, uses a set of formal “attractions” reminiscent of those found at an amusement park, which put the viewer (like Eisenstein’s montage of attractions) in a state of perceptual dissonance. The author argues that the space created by engaged art, which utilizes the concept of the amusement park, allows for a true rebellion against the established order. Real amusement parks, on the other hand, create only an illusion of the possibility to break from the existing social norms.

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Przechwycenie i przemieszczenie. Strategie zaangażowania w tomie „Natalia ist sex. Alex ist Freiheit” Siksy

Author(s): Monika Lubińska / Language(s): Polish Publication Year: 0

The text analyses the writing and artistic strategies of capture and displacement present in Siksa’s volume Natalia ist sex. Alex ist Freiheit as well as the broader context of Aleksandra Dudczak’s stage activity. First, the author focuses on the phenomenon of the accumulation of pseudonyms, names and characters used by the artist, which are crucial for the development of the book’s protagonist. She then discusses the problem of Siksa’s reclaiming of hate speech to communicate anti-violence and anti-patriarchal content and the ways in which parody functions in the book. Both the accumulation and displacement between various pseudonyms or characters and the reclaiming of hate speech are shown as strategies of engagement with strong political overtones.

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FACTORI CE DETERMINĂ EFICIENȚA ÎN PERFORMANȚA UNUI ACTOR PROFESIONIST

Author(s): Gianina Eliza Burghelea / Language(s): Romanian Publication Year: 0

The theatrical art, elaborated in a special way, has brought a very significant and rich psychological experience that was assembled in the pedagogy of the acting formation, in the memories and mentions of the theater people. All the emotions and emotional expressions that refer to the actor's art are reflected from a psychological point of view, with the terms that refer to the actions that highlight the self-knowledge and the mastery of the soul’s moods. The actor, like the conscious ego, identifies with his characters insofar as he adheres to them both emotionally and mentally, but at the same time "observes", that he is "someone different" from them; he is the eyewitness of what is happening at that moment. (Erving Goffman)

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“Esta primavera fugitive” de Alberto Conejero (2021). “El príncipe constante” de Calderón de la Barca como el arte de vivir, sobrevivir y revivir.

Author(s): Beata Baczyńska / Language(s): Spanish Publication Year: 0

The article studies a theatrical project presented in Teatro de la Comedia in Madrid by Alberto Conejero, with Susi Sánchez y José Troncoso, based on “El príncipe constante” by Calderón: “Esta primavera fugitive” (“Varaciones sobre” “El príncipe constante” de Calderón de la Barca). The performance was commissioned by Compañía Nacional de Teatro Clásico and staged on 17th of March 2021. The playwright converged several voices in his personal recast to manifest the strength and universality of “El príncipe constante”. The “mise-en-abyme” effect is stressed by the presence of Alberto in his play, as well as the mention of Jerzy Grotowski, Ryszard Cieślak and Juliusz Słowacki, the author of the Polish version of “The Constant Prince”. Different testimonies confirm the fundamental function of theater as ars vitae.

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15.00 €

Posthümanist Eleştirinin Vahasında, Kapsayıcı bir Tiyatronun Gölgesinde

Author(s): Emre Koyuncuoğlu / Language(s): Turkish Publication Year: 0

2019 yılında SLSA’nın (Society of Literature Science and Arts’ın) 33. Buluşması olan ve “Deneysel Bağlar/Sözleşmeler” olarak çevirdiğim “Experimental Engagements” başlığı altında birçok disiplinden kişinin davet edildiği ve dünya-nın birçok yerinde yapılmış çalışmaların sunumunun gerçekleştiği toplantı için akademisyen Selvin Yaltır ile Irvine, Kaliforniya’ya giderken, bu buluşmanın bu yazının yazılmasına sebep olacak sevgili Sümeyra Buran ile tanışmama da neden olacağını bilemezdim. “Deneysel Bağlar/Sözleşmeler” buluşmasında, Selvin Yaltır ile birlikte bu yazıda da değineceğim Sevim Burak’ın Afrika Dansı öyküsünü sahneye taşıma sürecimizi aktaran ve deneysel bir pratikten yola çıkarak, işin deneysel bir okuması olan bir sunum gerçekleştirdik.

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4.50 €

Nejstarší lžidimitrijovská dramata v západní evropě a vliv náboženství na jejich uchopení

Author(s): Zuzana Dupalová / Language(s): Czech Publication Year: 0

The study deals with a brief description of some of the False Dmitry plays (i.e., plays with a plot that describes a part of the life of the first False Dmitry, or Dmitry Samozvanets) written in Western Europe-specifically in Italy, Spain and England-before the end of the Baroque period. Apart from the selected plays and their interpretations, the paper also focuses on various sources studied by the playwrights to get to know the theme and figure of the False Dmitry. Last but not least, the paper focuses on the authors’ religions and any potential impact their religious affiliations may have had on forming the authors’ views of (the False) Dmitry. A major role was played by Jesuit sources, which were studied predominantly by authors from Catholic countries (Italy and Spain), whereas in England, which was Protestant, various travelogues and information from people who had been to Moscow were available, which resulted in a different approach to the theme by the playwrights.

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4.50 €

Komedie denise ivanoviče fonvizina ve zpracování antonína kurše na prknech divadla bratří mrštíků v brně

Author(s): Karolína Velšová / Language(s): Czech Publication Year: 0

The aim of the article is to introduce the circumstances related to the staging of Недоросль (The Minor), a comedy by Denis Ivanovich Fonvizin, or its Czech translation by Antonín Kurš - Maminčin mazánek (Mummy’s Darling), which was performed at the Mrštík Brothers Theatre in Brno from 1959. It was in Brno where this comedy from the era of the Russian Enlightenment was staged until the fall of the Iron Curtain in 1989. This text explains the theatre’s motivation to stage the work of a rather unknown classicist playwright. The author of the article tries to capture the principal historical and political moments in the background of a very complicated cultural and theatrical post-war atmosphere. The excursion in the cultural politics of Czechoslovakia pursued from 1948 can help understand Fonvizin’s comedy translation and its interpretation, including the author’s comments, and it can help define its place in communist-era Czechoslovakia, especially regarding the era of Stalinism in theatres.

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Metodologie výzkumu dětského divadelního publika na příkladu inscenace Vinnetou

Author(s): Miroslav Jindra / Language(s): Czech Publication Year: 0

Příspěvek se zabývá metodologií výzkumu dětského diváctví. Cílem je charakterizovat jednotlivé možnosti práce s dětským divákem po divadelním představení a navrhnout tak vhodnou metodologii pro reflexi diváckého zážitku. Důkladná analýza vybraného inscenačního tvaru i aktivní zapojení dětských diváků do výzkumné činnosti vede k odhalení komunikační roviny mezi jevištěm a hledištěm. Abychom zjistili, jakým způsobem dětský divák vnímá divadelní inscenaci, je zapotřebí zvolit vhodnou metodologii, využívající především přímého empirického poznání skupiny a její schopnosti interpretovat inscenační tvar. Komplexita divadelního umění, sdružujícího množství oblastí lidské činnosti, nabízí pro výzkum recepce divadelního zážitku dětským divákem široké spektrum možností zahrnující výzkumné metody, jež jsou charakteristické svojí multiplicitou (např. metody pedagogického výzkumu či uměleckého výzkumu). Kombinace odlišných metod může výzkum nejen obohatit, ale také dodat výzkumu větší objektivitu a relevantnost.

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Od jeviště k hledišti... (a zpět). K otázkám komunikace divadelní inscenace s dětským divákem

Author(s): Miroslav Jindra / Language(s): Czech Publication Year: 0

Příspěvek se zabývá komunikací dětského diváka s divadelní inscenací. Na základě uměleckých výrazových prostředků divadla a vývojové psychologie popisuje specifika divadelní tvorby s dětmi v různých věkových vývojových obdobích. Divadlo je uměleckým druhem, který se vyznačuje svou syntetickou povahou. Zahrnuje ostatní umění (literární, výtvarné, hudební, taneční atd.), a tím je jeho proces komunikace s recipientem mnohem náročnější než v ostatních uměleckých oborech. Zvláště pokud si uvědomíme, že tento komunikační proces není přímý, ale zprostředkovaný různými divadelními složkami (dramaturgie, herectví, scénografie atd.), které jsou dále podřízeny režijnímu záměru. Divadlo pro děti je specifickou kategorií divadelního umění, jehož komunikační prostředky by měly být v souladu s vývojovými dispozicemi dětí i estetickými hodnotami.

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Jiráskovo drama Otec – analýza postav a motivů v kontextu obecných trendů českého divadla 90. let 19. století

Author(s): Kristýna Klejdusová / Language(s): Czech Publication Year: 0

Příspěvek je analýzou dramatu Aloise Jiráska Otec. Interpretace je zaměřena na vnější i vnitřní charakteristiku postav, text se dále zabývá motivy přítomnými v díle a jejich funkcí ve vztahu ke kompozici dramatu. Drama je zasazeno do kontextu tendencí a změn, ke kterým došlo v českém divadle v poslední čtvrtině 19. století.

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David Zábranský (prostřednictvím Herce a truhláře Majera) mluví o stavu své domoviny

Author(s): Marek Lollok / Language(s): Czech Publication Year: 0

The contribution deals with the new Czech play Actor and Joiner Majer Talks about the State of his Home which was written by David Zábranský for Studio Hrdinů Theatre in Prague. This play is conceived as a polemic with the majority political view and lifestyle of certain social groups; it is constructed as a text a là thèse. We are especially analysing the linguistic (stylistic), structural and argumentative aspects of the Zábranský’s text with regard to the following performance by Kamila Polívková (2016, performed by Stanislav Majer) and its context.

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СТРУКТУРОВАНА ШКІЛЬНА ДРАМА

Author(s): Marie Pavlovská / Language(s): Ukrainian Publication Year: 0

Структурована драма — це особливий тип проекту. Можна також зустріти інші терміни: шкільна драма, драма в навчанні, дитяча драма, драма історій, процесуальна драма, тематична драма, конвенційна драма або структурована драматична гра. Це поняття, які при детальнішому дослідженні позначають одне і те ж. Вони позначають спосіб навчання, який базується на досвіді та подальшому покращенні розуміння людської поведінки, самих себе і світу, у якому ми живемо. У публікації ми будемо послуговуватися терміном «шкільна драма», оскільки сьогодні з ним стикаємося найчастіше. У шкільній драмі використовуються драматичні прийоми та техніки. Для участі в драматичній діяльності учням не потрібні театральні навички.

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4.50 €

Dziecięce doświadczenie getta w spektaklach dla młodego widza

Author(s): Joanna Królikowska / Language(s): Polish Publication Year: 0

The theatre makers often deal with the issue of the Holocaust, but predominantly they talked about the past and memory with adult audiences. Attempts to tell young audiences about the Holocaust are therefore a novelty in Polish theatre. Two performances: “Huljet, huljet” of Teatr Figur in Krakow and “Rutka” of the Arlekin Puppet Theatre in Lodz, both presenting the life of Jewish children in ghettos are examples of activities undertaken in this trend. Both of them are based on local stories related to the cities where theatres operate. “Huljet, huljet”, directed by Dagmara Żabska and Alla Maslovskaja, refers to the Krakow ghetto, Rutka, directed by Karolina Maciejaszek, to the Lodz ghetto. The common element for both shows constitutes making children the main characters and presenting life in a closed neighborhood from their perspective. The analysis of the indicated performances made it possible to check how the creators constructed the stories about the childhood experience of the ghetto and by what means they tried to convey this experience to the young audience. In this context it is worth to mention the importance of considerations done by Frank Ankersmit, in particular the categories of "historical experience" and "experience about the past".

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4.50 €

Muzyczność jako ślad wydarzeń historycznych we współczesnym dramacie polskim

Author(s): Oleksandra Vasylieva / Language(s): Polish Publication Year: 0

The article analyzes the role of musicality in presenting historical events in contemporary Polish drama. Music is not only an ideological vehicle but above all one of the medias for transmitting memory, a trace of past events that are reflected in the present. It is this category of reflection, or resonance, that makes the appearance of music in dramatic texts similar to an echo. Its essence is the ability to convey emotions that cannot always be explained with words and often remain at the level of experience. That is why musicality serves as a filter through which the texts of contemporary Polish playwrights are being critically analyzed. In this case, we use the term musicality in its broad sense. Musicality in dramatic texts covers not only the musical pieces themselves but also the entire sonosphere. Musicality is a powerful way of presenting Polish history in contemporary drama on various levels.

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4.50 €

Obraz Breslau w spektaklu „Mock. Czarna burleska”

Author(s): Małgorzata Woźniak / Language(s): Polish Publication Year: 0

“Mock. Czarna burleska” is a musical play that premiered in 2019, in Musical Theatre Capitol in Wrocław. It is based on seven crime stories by Marek Krajewski. The author of this article claims that (apart from a policeman Eberhard Mock) the second main character of the performance is the city of Breslau. The director of this play Konrad Imiela, who wrote the songs with Roman Kołakowski as well, relying on a literature source, draws an image of a city of depravity on stage. Prostitutes are the narrators of the whole spectacle while the titular character lives in the criminal underworld of Breslau in the 20s and 30s of the twentieth century. Literary fragments that the play was based upon were used in the analysis. Detailed description of the architecture and atmosphere of the city is visible in Krajewski's writing as well. The vibe certainly arises from the genre that the author has chosen. Events of the series take place mostly in the dark streets and sinister bars, while the characters are mostly criminals. The authors of the play in question use not only a text in the case of building a certain climate but also interesting mockumentary techniques, which are a part of a wider reflection on fiction and reality. Pictures used as a part of a scenic design, as well as an exhibition in a foyer, are a mixture of photographs that are styled to look like they were made at the beginning of the twentieth century and those that are authentic. That collection is supplemented with a description, which allows the audience to dive even deeper into a narrated story.

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4.50 €

Teksty, które przepadną, czyli o redaktorskiej władzy estetycznej

Author(s): Adrianna Wolińska / Language(s): Polish Publication Year: 0

The content of the article concerns the creation of aesthetic trends in recent Polish drama. The author compares the categories of power over the production of discourse, proposed by Michel Foucault, to the exercise of editorial or jury power over the publication or rewarding of texts for theater. He identifies two institutions as having the greatest influence - the magazine Dialog and the Gdyńska Nagroda Dramaturgiczna competition. The article raises the issue of texts rejected by those who evaluate them. The author wonders whether perhaps it is these texts that would not become for researchers a real landscape of different realities, when the texts selected by the institutions, are only a slice of it. To this end, she looks at the dramas created during the coronavirus pandemic, taking this event as formative, from which time the texts will become, or perhaps have already become, a vehicle for cultural memory.

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Șantier - Împotriva automatelor. Eseu despre teatrul polonez

Author(s): Ciprian Vălcan / Language(s): Romanian Publication Year: 0

De aproape un secol, teatrul a devenit un capitol al istoriei filosofiei, părăsind vechile sale veșminte și încercând să camufleze ultimele rămășițe ale metafizicii. Nu se mai află în joc doar istoria unor personaje mai mult sau mai puțin arbitrare, patimile pasiunii ori dramele conștiinței. Rolurile principale încep să fie deținute de marile probleme ale existenței și de rezolvările care le pot fi propuse. Realitatea cotidiană e tot mai mult evacuată din orizontul teatralității, fiind înlocuită cu ceea ce am putea să numim, pe urmele fenomenologilor, „atitudinea antinaturală”. Nu mai poate să fie vorba despre o reflectare a vieții, despre reproducerea acelor situații și gesturi pe care le știm din experiența noastră zilnică. Teatrul devine o căutare a sensului vieții, o provocare la adresa tabieturilor și platitudinilor, o alunecare înspre mister. Tocmai de aceea, ne-am propus să înfățișăm în acest eseu modul în care gândesc teatrul trei dintre marii teoreticieni (și practicieni) polonezi ai domeniului: Witkiewicz, Kantor și Grotowski.

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