Search results

1

Chapliniada w kręgach lewicy literackiej i artystycznej lat 20.

100%

Strożek P.

Kwartalnik Filmowy

|

2015

|

issue 89-90 Redefinicje klasyki

288-305

PL

Artykuł przedstawia recepcję filmów Chaplina w środowiskach lewicy literackiej i artystycznej Europy Środkowo-Wschodniej lat 20. Autor ukazuje, w jaki sposób berlińscy dadaiści wykorzystywali jego wizerunek do walk politycznych z rządzącą SPD, a także jak konstruktywiści sowieccy, czescy i serbscy łączyli jego grę aktorską ze sztuką maszyny, a wymowę filmów z ideologią komunistyczną. Od słynnych publikacji Iwana Golla ("Apologia Charlota"; "Chapliniada") lewicowe środowiska awangardowe często traktowały Chaplina na równi z bohaterem walczącego proletariatu, narzucając polityczną wymowę jego filmów. Nie inaczej było w Polsce, gdzie w kontekście ogólnoeuropejskiej fascynacji Chaplinem środowisk lewicowej awangardy kręgi „Nowej Kultury”, futurystów i konstruktywistów warszawskich w podobny sposób interpretowały kreacje amerykańskiego komika. Ten wspólny dla Niemiec, sowieckiej Rosji, Czech, Węgier, Polski i Bałkanów dadaistyczno-konstruktywistyczny schemat utożsamiania filmów Chaplina z głosem wojującej klasy robotniczej miał przekonywać o potrzebie radykalnej rewolucji w sztuce i wytworzeniu podstaw nowej kultury proletariackiej dostępnej dla szerokich mas społecznych.

EN

The article describes how Chaplin’s films were received by left-wing literary and artistic circles in Central and Eastern Europe of the 1920s. The author demonstrates how Berlin dadaists used his image in the political struggle with the ruling SPD party, and how Soviet, Czech and Serbian constructivists combined his acting with the art of the machine, and the message of his films with communist ideology. From Ivan Goll’s famous publications ("Apologie des Charlot"; "Die Chapliniade") avant-garde left-wing circles treated Charlie Chaplin on a par with a fighting working class hero, imposing a political interpretation of his films. It was the same in Poland, where in the context of a pan European fascination with Chaplin of the left-wing avant-garde the circles of the “New Culture”, futurists and Warsaw constructivists interpreted the American comedian’s work in a similar way. This common for Germany, Soviet Russia, Czech Republic, Hungary, Poland and the Balkans dadaist-constructivist scheme of identifying Chaplin’s films with the voice of the struggling working class was seen as a proof of the need for a radical revolution in art and the creation of new proletariat art available to the masses.

2

Luzifers-Ab schied from Samstag aus Licht. Stockhausen and the Italian affair

84%

Draus A.

Interdisciplinary Studies in Musicology

|

2013

|

issue 12

149-162

PL

The homeland of Leonardo and Palestrina, Dante and Eco, Verdi and Fellini became crucial for the reception of music of one of the most controversial, and at the same time innovative composers of the second half of the 20th century, a German artist, Karlheinz Stockhausen. The genius- and visionary-bearing nation opened itself to the new musical art, and appointed the author of Hymnen to be the coryphaeus of that art. This fascination transformed into a desire to better present the composer’s personality to a wider audience. Many of the most recent Stockhausen’s compositions were created as a response to numerous Italian orders, including ArtArche’s from Milan or Massimo Simonini’s from the Angelica Foundation, many of them were performed for the first time in the most magnificent works of Italian architecture, for example the Milan cathedral. The stage premieres of Donnerstag, Samstag and Montag aus Licht took place in Milan’s La Scala, with the creative participation of such celebrities as a theatre and opera director, Luca Ronconi and an architect, Gae Aulenti, famous most of all for her contemporary designs of Parisian museum buildings, and in the project of Licht - for scenography. In 2007 Stockhausen’s music filled 25. Rassegna di Nuova Musica in Macerata Teatro Lauro Rossi; during two days the most famous electronic compositions were presented: Mittwochs-Gruss, Cosmic Pulses, Gesang der Jünglinge, Telemusik and Kontakte. Lucifer’s Farewell is the last - and the most “Italian” - scene devoted to this character of the opera - Samstag aus Licht. It was finished in August 1982 upon the order of Associazione Sagra Musicale Umbra in Perugia, celebrating the 800th birth anniversary of St. Francis of Assisi. The opening night took place on 18th September that same year in Chiesa di San Rufino in Assisi. In the composition Stockhausen interprets the text of Lodi delle virtu (A Salutation of the Virtues) of the little poor man in the original wording of the Italian language. The article is an interpretation both text and music of Luzifers Abschied within a wide range of problem context of the whole stage cycle Licht (‘Light’) by Karlheinz Stockhausen.

3

Поэтика и метапоэтика русского авангарда

67%

Штайн К. Э., Петренко Д. И.

Studia Rossica Gedanensia

|

2016

|

issue 3

238-273

RU

В статье рассматривается метапоэтика авангарда (исследование авторами собственного творчества) как качественно новое явление в парадигме русской метапоэтики. Авангардисты, отталкиваясь от академического творчества русских поэтов, в том числе и символистов, пытались создать инверсионную поэтику, направленную на раскрепощение языка, слова, обращенную к первоистокам бытия и творчества с целью диаметрально противоположной – создания искусства будущего, революционного перевоплощения всех форм – вплоть до самого материала – языка. В статье анализируются понятия классического и авангардистского типов текста, гармонии, ткани, склада, фактуры поэтического текста, использование традиций классического и авангардистского текстов в ситуации постмодерна.

EN

This paper is devoted to the Russian avant-guard metapoetics (research by authors of their own poetic texts). The Russian avant-guard is analyzed as a completely new phenomenon in the paradigm of the Russian metapoetics. Avant-guard poets were guided by the Russian poetic academic tradition including the theory of symbolism. However, they tried to create some kind of inversive poetics which should help to liberate the language, turn to fundamental principles of the universe and become the basis of revolutionary art of the future and of transformation of all forms – up to the material of the Russian language. The paper analyzes classical and avant-garde text types, terms ‘harmony’, ‘substance’, ‘constitution’, ‘texture’ of the poetic text, usage of traditions of classical and avant-garde texts in a postmodern situation.

Refine search results

1 Interdisciplinary Studies in Musicology

1 Kwartalnik Filmowy

1 Studia Rossica Gedanensia

1 Draus A.

1 Strożek P.

1 Петренко Д. И.

1 Штайн К. Э.

1 2016

1 2015

1 2013

Chapliniada w kręgach lewicy literackiej i artystycznej lat 20.

Luzifers-Ab schied from Samstag aus Licht. Stockhausen and the Italian affair

Поэтика и метапоэтика русского авангарда