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Ethosoficzne przesłanki estetyki Bogusława Jasińskiego

100%
Strzałkowska M.
Sztuka i Dokumentacja
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2010
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issue 3
26-32
EN
The concept of Boguslaw Jasinski's aesthetics is an attempt to create a new theoretical space for examining the sense and the aims of activities in the field of art. The starting point is a negation of the very notion of art and an art object. The ending point is the experience of the mystery of existence. The obstacle on the way is traditional aesthetics (beauty, form, content, aesthetic experience, creativeness, re-creation). All that together makes up a metasphere of existence which is a dense matter of life that covers up the existence itself, that is deceptive and unauthentic. The theoretical background of aesthetics is the concept of ethosophy. Its central categories are ethos and existence that is the ethos of existence. The existence is a primary fact for philosophy, it is obvious and undeniable. There exists only what there exists. Ethos is, however, a place which we take up in the whole of existence, in contrast to life, in which we find ourselves in the constant search for our own place. An artistic creation is a tool which allows us to grasp the wisdom coming from the very existence. It demolishes the traditional structure of aesthetics and the global System and points out a new area of human activity, in a frame for a new social structure where creation can be freely carried out. Creation has no material effect and does not function as a product. It is a process, it is constantly becoming. It is realised in the particular way of living. The artist makes art without consciousness or hyperconsciousness of being an artist. Jasinski postulates creating enclaves - small communities organised in their own way and self-sufficient, which are free from unwelcome influences from the outside world. Creativity is here a way of self-fulfillment, without the need to communicate anything to anybody outside. In the ethosofical project the only matter for creation is the very personality of an individual.
2
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PEDAGOGICKO-TVORIVÁ METÓDA THOMASA OSTERMEIERA

100%
Goriaux Pelechová J.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 1
24 - 38
EN
How does an actor become the creator of his own art, rather than performer of the stage director’s instructions? What are the creative sources he can call upon? And what are the tools of a stage director (pedagogue), willing to guide his (student) actors to an autonomous creative process? For the sake of finding answers to these questions Thomas Ostermeier has developed a specific working process that rests on the Brechtian inductive method, but it also contains a variation of many elements of Stanislavsky’s system and of Meyerhold’s legacy. The stage director’s objective, while employing this method, is, in his own words “not to direct at all, not to dictate, not to order, prescribe, tell or instruct” but quite the contrary “to delegate [his] work to actors, to their art, to their imagination, and to their expertise”. The paper not only aims at describing this method, but also at reflecting its concrete application during a workshop led by Ostermeier, the target group being the students of DAMU in Prague.
3
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Geniusz i szaleństwo a proces twórczy

86%
Dudek Z. W.
Zagadnienia Naukoznawstwa
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2011
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vol. 47
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issue 4(190)
549-563
EN
The modern science does not possess adequate means of analysis and interpretation of genius and madness. Objective and statistical methods and rationalistic analysis push away the specificity of these phenomena. Genius and madness are possible to analyse and interpret from the perspective of Carl G. Jung’s theory of archetypes. Genius and madness are elements of the qualitative process of transformation of the human consciousness (initiation), but their meaning in the context of the individuation process (formation of individual personality) is different. In the context of creative process and in the context of culture the problem becomes crucial. Constructive interpretation of genius and madness is possible on the basis of “round way” metaphor, which catch complex nature of human symbolic activity, creative process and the culture. The Jungian concept of circumambulatio (rounding) is useful as well.
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FRANS FLORIS AND DISEGNO. A RETURN TO THE QUESTION

86%
Wouk E. H.
ARS
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2009
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vol. 42
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issue 1
47-63
EN
The article offers an evaluation of the fundaments of Floris's theory of disegno by considering drawings that do not fit comfortably into any of the categories (studies after Ancient or contemporary Italian art, modelli, designs for prints, and designs for the decorative arts), defined by the artist's biographer, Carl Van de Velde. Following his return from Italy, Floris broadened the scope of Lambert Lombard's practice of disegno. The works analyzed here suggest that although Floris remained indebted to Lombard's vision of the creative process of drawing, he also retooled its uses to ensure a degree of uniformity in workshop production and a successful and prolific dissemination of personal style.
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