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Wstęp

100%
Mięsowska L.
Przegląd Rusycystyczny
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2015
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issue 1
PL
Wstęp do numeru tematycznego
2
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„MEBLoWANIE PRZESTRZENI” W NAJNOWSZYM DRAMACIE ROSYJSKIM

100%
Mięsowska L.
Przegląd Rusycystyczny
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2015
|
issue 1
PL
 «МЕБЛИРОВАНИЕ ПРОСТРАНСТВА» В НОВЕЙШЕЙ РУССКОЙ ДРАМАТУРГИИ Статья является попыткой представить техники моделирования драматургического пространства в русской «новой драме». Приведенные примеры творчества Александра Шипенко, Николая Коляды, олега Богаева и др. утверждают, что писатели, обращаясь к постмодернистским приемам игры культурными кодами и литературной традицией, конструируют пранстранственно-временной континуум, сопоставляя в нем противо-положные начала и наполняя его играющими театралными предметами. все это они делают с целью передать полнейшим образом изменения, каким подвергается русское общество постперестроечного периода.   THE INTERNAL DECORATION” IN THE LATEST RUSSIAN DRAMA   The article is an attempt to present the techniques of modeling dramatic space of the lat-est Russian drama works. The examples derived from Alexandr Shipenko, Nikolay Kolada or oleg Bogayev’s oeuvre exemplify that writers, who resort to postmodern games with cultural codes and literary tradition, build the space of dramas on the terms of confronting contrasts and fulfilling them with the theatrical items in order to picture the changes that Russian society experienced after the period of transformation.  
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Między postkomunizmem a postmodernizmem. Najnowszy dramat rosyjski w poszukiwaniu tożsamości kulturowej

100%
Mięsowska L.
Miscellanea Posttotalitariana Wratislaviensia
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2016
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vol. 4: POKOLENIE — TRANSFORMACJA — TOŻSAMOŚĆ Gardzienickie czytania teatroznawcze… i nie tylko
59-77
EN
Russian drama after 1991, suspended between memory and oblivion, attempts to process an overwhelming trauma of its own tragic history. Evgeny Grishkovets, Vladimir Sorokin, Ludmila Petrushevskaya, Alexey Shipenko, Oleg Bogayev, Vasily Sigarev, the Presnyakov brothers, Ivan Vyrypaev and others show experiences preceding and following Perestroika and demonstrate the scale of traumatic consequences of old structures disintegration as well as dangers connected with entering the area of freedom. This way Russian drama underwent all the development stages ranging from admiration for freedom to its negation, all the time without losing an interest in the internal man. Therefore criticism of the communist ideology as a kind of utopia and visions showing the risk of the rebirth of totalitarianism in Russia coexist along with the stream of consciousness depicting what is happening in the soul of a contemporary Russian. The process of self-identification of the human being that is decentralised, standardised and attached to stereotypes of mass awareness takes place within the framework of postmodernist mixture of stylistics and aesthetics, deconstruction of the reality and the language, play with culture codes, which is most fully expressed through the ongoing process of searching for cultural identity of the discussed works.
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Władimir Sorokin w Polsce. O polskim (nie) czytaniu rosyjskiego dramatu najnowszego

100%
Mięsowska L.
Przegląd Rusycystyczny
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2012
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issue 1/2
PL
Lidia Mięsowska Uniwersytet Śląski, Katowice, Poland miesowska_l@hot.pl   ВЛАДИММИР СОРОКИН В ПОЛЬШЕ, ИЛИ О ТОМ, КАК ПОЛЯКИ (НЕ) ЧИТАЮТ НОВЕЙШУЮ РУССКУЮ ДРАМУ Резюме Статья представляет собой попытку приблизить направления в восприятии новейшей русской драматургии польским читателем и зрителем после поворота в польско-рус-ских контактах 1989 года.Предлогом дла анализа стало драматургическое творчество Владимира Сорокина - постмодерниста и скандалиста, прозаические произведения которого пользуются в Польше большой популярностью. Представленные исследования показывают, что интерес как к современной русскои драматургии, так и к самому Сорокину с вре-менем увеличивается, о чем свидетелствует названная автором статьи критическая литература. VLADIMIR SOROKIN IN POLAND. ABOUT POLISH (NON) READING OF THE LATEST  RUSSIAN DRAMA Summary The main aim of this article is to present the reception of the latest Russian drama not only among the popular readers, but also among professionals. Conducted researchers prove clearly that the interest towards Russian drama has been growing recently, despite the fact that Polish readers become familiar with it through the theatre.The exemplification of presented tendencies is the oeuvre of Vladimir Sorokin ― postmodernist and scandal, finally appreciated and awarded in Russia, popular in Poland for many years. He has also gained a recognition in the word of theatre, where his controversial, but reflective dramas are being referred more and more often. 
5
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Władimir Sorokin w Polsce. O polskim (nie)czytaniu rosyjskiego dramatu najnowszego

100%
Mięsowska L.
Przegląd Rusycystyczny
|
2012
|
issue 1/2
PL
The main aim of this article is to present the reception of the latest Russian drama notonly among the popular readers, but also among professionals. Conducted researchers proveclearly that the interest towards Russian drama has been growing recently, despite the factthat Polish readers become familiar with it through the theatre.The exemplification of presented tendencies is the oeuvre of Vladimir Sorokin ―postmodernist and scandal, finally appreciated and awarded in Russia, popular in Poland formany years. He has also gained a recognition in the word of theatre, where his controversial,but reflective dramas are being referred more and more often.
6
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Powrót do korzeni. Władimira Sorokina język pozarozumowy

100%
Mięsowska L.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
185-198
EN
The article is an attempt to show connections of Vladimir Sorokin with OBERIU’s tradition as well as Russian futurism. The dramatist experiments with language creating his own version of postmodern zaum, thanks to that he can be called a real “word manipulator” (D. Tokariev). In this way Sorokin is always situated on the border of two orders: the past and the future one. At the same time he is an inheritor and continuator of Daniil Kharm’s theatre of the Absurd, on the other hand he is also an innovator who introduces dramatic genre into the stage of surprising, aesthetic experiments.
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