Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Michał Zadara
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

"Gusła nasze moc straciły" Czy kultura współczesna stawia "Dziadom" ważkie pytania ?

100%
Woźniewska-Działak M.
Colloquia Litteraria
|
2014
|
vol. 17
|
issue 2
57-67
PL
‘Gusła nasze moc straciły’. Does contemporary culture ask Dziady serious questions? Review of a theatre spectacle: Adam Mickiewicz, Dziady, parts I, II and IV and the poem Upiór, directed by Michał Zadara, Teatr Polski in Wrocław, premiere on 14th February 2014. The review article discusses Dziady, część I, II i IV and the poem Upiór directed by Michał Zadara. The spectacle is part of a bigger project realised at Teatr Polski in Wrocław in 2014–2016. The article attempts to reconstruct the director’s idea of a stage version of Mickiewicz’s drama, which is regarded in Polish culture as a symbolic work constituting Polish identity. Furthermore, the author asks a number of questions about the condition of the contemporary culture that seems to be a culture of exhaustion, and also about this culture’s dispositions and capabilities employed when reinterpreting the romantic masterpiece.
2
Content available remote

Abiekt uwięziony w języku: Współczesne inscenizacje mitu Fedry w teatrze polskim – Kleczewska, Zadara, Wiśniewski

75%
Budzowska M.
Pamiętnik Teatralny
|
2020
|
issue 1(273)
51-70
EN
This article presents a comparative analysis of three contemporary stagings of the myth of Phaedra: by Maja Kleczewska (Teatr Narodowy, Warsaw 2006), Michał Zadara (Narodowy Teatr Stary, Kraków 2006), and Grzegorz Wiśniewski (Teatr Wybrzeże, Gdańsk 2019). The theoretical framework refers to the abject quality of the character of Phaedra and its representation in language. The author analyses the directors’ interventions in literary texts reworking the myth of Phaedra: strategies ranging from multiplication, through modification, to annihilation of the dramatic text. In Kleczewska’s intertextual staging, which juxtaposes different plays addressing the theme, the text and the language become less important than the actors’ physicality. Zadara’s ironic theatre deconstructs the discursive formation of Racine’s classical tragedy, while retaining it as the main subject of the performance. Wiśniewski returns to Rancine’s language, but tries to transcend it, counterbalancing it with quiet, restrained acting, enhanced by strong musical phrases. The three stagings resonate with the concept of the theatre as a laboratory of crisis, here: of the crisis of the abject.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.