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Między słowem a obrazem. Z notatnika reżysera

100%

Gliński R.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2011

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vol. 8

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issue 15-16

123-148

EN

For the film director the film is, in a way, “ready” before the shooting. Everything what is important for the film must be planned and worked out before its shooting. The interval between writing the script and the shooting the film is the intensive time of work for the director. He/she must decide what (kind of) movie he/she wants to do. The director must know how to organize the scenes for the shots, how the film should start and end. He/she must know who will play in the film and find a way to inspire the actors. The director prepares the rehearsals. He/she is also supposed to find interiors and exteriors for shooting, write the screenplay and draw the storyboard. The satisfy all these requirements of director has to be not only talented but work hard, be concentrated and persistent. Effects of his/her devotion to film are revealed in how the text of the script is turned into film.

PL

Between script and film camera For the film director the film is, in a way, “ready” before the shooting. Everything what is important for the film must be planned and worked out before its shooting. The interval between writing the script and the shooting the film is the intensive time of work for the director. He/she must decide what (kind of) movie he/she wants to do. The director must know how to organize the scenes for the shots, how the film should start and end. He/she must know who will play in the film and find a way to inspire the actors. The director prepares the rehearsals. He/she is also supposed to find interiors and exteriors for shooting, write the screenplay and draw the storyboard. The satisfy all these requirements of director has to be not only talented but work hard, be concentrated and persistent. Effects of his/her devotion to film are revealed in how the text of the script is turned into film.

2

The Actor, the Pilgrim and the Fieldpath

100%

Copeliovitch A.

Human and Social Studies

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2015

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vol. 4

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issue 3

123-136

EN

This article aims to cast a glance on some questions relevant for theatre, with an emphasis on the actor’s point of view, not in order to investigate the acting practice but to develop a reflection. Theatre is a marginal art; an actor’s action is a displacement action, out of the centre, searching, moving. Also, the actor is always a foreigner, a strange stranger. We follow these questions while going through the fieldpath, with direct reference to Martin Heidegger’s text “Der Feldweg” (1949). As an actress, I try to understand it by walking my own path.

3

To Face or Not To Face the Audience: Performing Styles

86%

Banu G.

Human and Social Studies

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2014

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vol. 3

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issue 1

61-77

EN

This paper proposes a series of theoretical considerations on the performing styles used in contemporary theatre, according to the relationship the actor establishes with the audience. If Diderot was the first to question frontal relationship, and asked the performer to ignore the spectator, this programme will only be accomplished one hundred years later, with the emergence of the director. Later on, theoreticians such as Meyerhold, Vakhtangov or Copeau will ask for a partial return to performing facing the audience, as a sign of the return to the theatrical tradition dominated by the exigencies of the stage and not by those of the truth. With Piscator and Brecht theatre rediscovered frontality, as a sign of the wish to engage the auditorium as an active partner of dialogue. The author discusses several avatars that this new frontality acquires in presentday theatre.

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2 Human and Social Studies

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Banu G.

1 Copeliovitch A.

1 Gliński R.

1 2015

1 2014

1 2011

Między słowem a obrazem. Z notatnika reżysera

The Actor, the Pilgrim and the Fieldpath

To Face or Not To Face the Audience: Performing Styles