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  1. 2 Pamiętnik Teatralny

  2. 1 Stan Rzeczy

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  1. 3 Kopania K.

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  1. 1 2015

  2. 2 2013

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Ostentatio genitalium, czyli seksualność Chrystusa jako dowód Wcielenia. Leo Steinberg "Seksualność Chrystusa. Zapomniany temat sztuki renesansowej"

100%
Kopania K.
Stan Rzeczy
|
2015
|
issue 1(8)
358-368
2
Content available remote

Animowane rzeźby w ceremoniach liturgicznych i paraliturgicznych : niedoceniony element dziejów teatru w Polsce

100%
Kopania K.
Pamiętnik Teatralny
|
2013
|
vol. 62
|
issue 2(246)
49-71
EN
The article is devoted to medieval and Early Modern animated sculpturesfrom the current and former territories of Poland. Sculptures of this kind, withthe construction of various degrees of complexity, quipped sometimes withmechanisms enabling movement of chosen body parts, e.g. the head, hands or legs,were used at theatralised liturgical and paraliturgical ceremonies, mostly during Holy Week. Such ceremonies have a rich tradition, which is clearly testified notonly by numerous surviving written accounts of specific ceremonies but also by seldom talked about and mostly unknown to theatre historians sculpted pieces thatare the subject of this article. The article contains a detailed presentation of surviving and known from historical accounts figures of the Christ on a donkey, fixed to platforms onwheels and used on Palm Sunday; animated statues of the Crucified Christ, fitted with mechanisms that made it possible to take the figure off the cross on Good Friday; and statues of the Resurrected Christ that were used during ceremonies commemorating the Ascension of Christ. Other works of similar character used inother periods of liturgical year, though fewer, have also been mentioned.
3
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"Kartoteka" Tadeusza Różewicza na scenach teatrów lalek

100%
Kopania K.
Pamiętnik Teatralny
|
2013
|
vol. 62
|
issue 3-4(247-248)
79-104
EN
The article is devoted to the presence of "The Index Card" by Tadeusz Różewiczin puppet theatre. It discusses the productions at the following puppet theatres: the Groteska Theatre in Cracow (1961), the Lalek Theatre in Białystok (1972), the Olsztyński Teatr Lalek (2001), Teatr Dzieci Zagłębia im. Jana Dormana – Scena Inicjatyw Twórczych in Będzin (2011), and the Lalki i Aktora Theatre in Łomża(2012). The discussion, based on numerous archival sources and press reviews,presents major conceptual assumptions of the producers, some problems relating to stage design and directing, and the overall message that each of the productions conveyed. Special attention is given to the changes in how the drama by Różewicz has been treated over the years. In more than fifty years since the puppet theatre premiere of the play, some directors have deviated from the original text of "The Card Index" in a substantial way. While the Cracow and Białystok productionsstrictly adhered to the text, the productions of the last dozen years clearly tend to contemporise the play and even complement it rather arbitrarily with fragments of other works by Różewicz. Each of the productions has also been analysed inrelation to the history of puppet theatre in Poland of the last decades, which shows a consistent trend to move away from the traditional means of expression of this art form.
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