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.

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.

„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.

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.

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)

“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.

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.

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.

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.

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.

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.

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.