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1

SPONTANEOUS CINEMA (Kino spontaniczne)

100%
Gizycki M.
Kwartalnik Filmowy
|
2009
|
issue 67-68
304-308
EN
The author discusses the art of improvisation in film making. This aspect of creativity is, he argues, one of the most neglected ones by the scholars. According to him the first improvisers in the history of the cinema were the brothers Lumiere, who filmed everything that happened in front of their cameras, whereas the first self-conscious improvisations were probably made by Feliks Kuczkowski, a long forgotten pioneer of Polish animated film. Unfortunately no trace of his work survives. The first surviving attempt of spontaneous cinema identified by he author is Man Ray's 'Return to Reason' (1923), who thanks to that particular film became one of the founding fathers of the whole genre of frameless film in experimental cinema, and a precursor of non-camera films. Non-camera films, especially the abstract ones, became one of the most responsive mediums for spontaneous cinema. The author considers work of this type made by Stan Brakhage and Norman McLaren, and he also mentions David Ehrlich and Jonas Mekas. The article is concluded by a manifest of spontaneous cinema, in which the author shows why spontaneous films are worth watching and filming.
2
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MISSISSIPI AND ITS ENVIRONS. ON WHY BLUES COMPOSITIONS SOUND THE SAME

63%
Siemieniuk A.
Muzyka
|
2005
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vol. 50
|
issue 4(199)
105-131
EN
Listeners who are not familiar with the blues might have the impression that most compositions in that style appear to sound somewhat alike. This article examines the question of what might contribute to creating this impression. The original blues compositions were created within the so-called local traditions. Local tradition can be described as a group of blues musicians who perform together, learn from each other and live in the same area. In each such tradition the musician would absorb the general style of composing the blues, which would consist mainly in transforming the existing rhythmic and melodic motifs, and to a lesser extent in creating totally new elements. As a result, each musician would use similar melodies, texts and instrumental parts. The bluesman did not have at his disposal a set of particular songs, but elements of traditional character (texts, melodies, instrumental parts) which would be linked together during performance in a way which suited him at the time. What made it possible was the use of improvisation, as well as the fact that the works did not have a strictly defined structure - their form was shaped during the performance. As a result we may note that the impression of monotony in the blues compositions most probably arises from the fact that we apply to folklore the criteria used to evaluate commercial music. The blues is the kind of music in which emotions, reaching the listener with the message contained in the work, and adapting it to the particular situation and audience, are of key importance. Of lesser importance is the degree to which the composition is innovative and different from others of the same genre.
3

TVOŘIVÉ NEVĚDENÍ

51%
Fridmanová M.
Filozofia (Philosophy)
|
2013
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vol. 68
|
issue 5
385 – 392
EN
In this paper, several principles that define the creative condition are formulated. The shift from the everyday attitude to the creative one may be described as a disruption of both normal perception and established structures of meaning. This can happen to us by chance, but it can also be induced deliberately. Creative thinking techniques from Edward De Bono, as well as some improvisational activities, aim intentionally to disturb the natural perception and thus open the area of not-knowing. This is not the Socratic not-knowing which poses a question about what we do not know and thus, at the same time, indicates the direction whence the answer should be expected. Creative not-knowing only opens up the space in which one can afford to delay the question. This paper shows how creative not-knowing differs from the hermeneutical understanding of openness, and why we should learn something new from delaying a question instead of posing it.
4
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“IDZIE O TO, ŻEBY SZŁO. MIAŁO WZIĘCIE. DZIAŁAŁO. ŻYŁO”. IMPROWIZOWANIE FILOMATÓW

38%
ŻAGLEWSKA A.
pl.it / rassegna italiana di argomenti polacchi
|
2022
|
vol. 13
132-151
EN
The article discusses improvisational performances of the Philomaths in the context of the advent of a so-called modernity which correlated with a rapid change in people’s lifestyles. My starting point in examining the most characteristic phenomena of the literary life in Vilnius is the newly emerged economic environment: the enormous popularity of improvised poems (performed or written impromptu) and the development of the printed press. The analysis of the Philomaths’ performances, letters and poems focuses on various aspects of improvising, and not only on poetry presentations but also on a spontaneous way of living and the process of literary production. I argue that the improvisational activity of the Philomaths can be considered as an act of experimenting with and adapting various (traditional as well as innovative) literary patterns, and therefore as a poetic laboratory of the new romantic era.
5

TELO JAKO VÝRAZ. TVŮRČÍ GESTO PODLE MERLEAU-PONTYHO A JEHO REVISE NA ZÁKLADE ZKUŠENOSTI IMPROVIZACE

38%
Puc J.
Filozofia (Philosophy)
|
2013
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vol. 68
|
issue 5
367 – 375
EN
The paper compares the notion of bodily expression as used in Merleau-Ponty’s Phenomenology of perception with the notion gained from the analysis of The Acting with the Inner Partner. It is a kind of dramatic improvised performance, developed at the Department of Authorial Creativity and Education at the Theatre Faculty of the Performing Arts in Prague. Whereas Merleau-Ponty grasps the experience of non-certainty, so typical for the creative state of mind, by the schema empty intention/fulfilment. The Acting with the Inner Partner is based on the ability of a body’s expression to create its own meaning. Thus the body’s expressivity is liberated from the meaning given in advance, no matter if fulfilled (as it is in the case of imitation) or just empty or intended (as when realizing an idea). The improvisation thus offers a new means how to get to the “very birth” of our experience (Merleau-Ponty’s understanding of the proper goal of phenomenology), and to understand the intrinsic creativity of our own body.
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