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Dramaturgia Maksyma Gorkiego w Polsce

100%
Krycka-Michnowska I.
Studia Interkulturowe Europy Środkowo-Wschodniej
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2018
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vol. 11
216-232
PL
Maxim Gorky’s person has become a legend already during the writer’s life, and his perception has been ideologized both in Russia and abroad. This is evidenced by the analysis carried out in the article reception Gorky’s drama in Poland, the most important phase of which was determined by the changing political situation. The reception has changed substantially: from the spontaneous popularity of the Russian writer at the turn of the 19th and 20th centuries through ambivalence in the interwar period, forced apotheosis after World War II to marginalization after 1989 and reinterpretation attempts in recent times. As the analysis shows, a significant part of Gorky’s plays has survived the difficult test of time. These literary works, for many directors and spectators, are a carrier of universal values, while the author is considered a classic of Russian dramaturgy.
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Po co dramaturgowi aktor performatywny?

100%
Baluch W.
Przestrzenie Teorii
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2021
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issue 36
137-152
EN
The article is an attempt to answer the question of how contemporary performative acting enters into artistically and cognitively significant interactions with the new Polish dramaturgy. The relationship between the two forms of art is discussed in relation to two types of acting: task-oriented and performative. The concept of both types of acting is derived from the analysis of selected contemporary theater and television productions of dramas and scenarios arising from the achievements of the latest Polish dramaturgy. The examples that are analyzed reveal various aspects and types of the actors’ performative game, which include the issues of the actor’s subjectivity, their presence on stage and the materiality of the body. Unlike many of today’s discussions, the interpretations and comments on selected scenes and fragments of a performance do not focus on the subversive dimension of the above-mentioned aspects of acting, but look for new perspectives of reception and, at the same time, broaden the areas of theatrical experience. These new perspectives and areas are triggered by references to the affective and mental processes of reception, which allow perceptions to exclude, at least partially, the tendency to automatically interpret everything that surrounds them. The analyses featured in the article therefore aim to describe those aspects of performative acting that enable the viewer to derive benefit from what the new Polish dramaturgy offers.
3
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Ku teatrowi agonistycznemu. Pippa Delbona Waleczność rycerska w Teatrze San Carlo

100%
Woźniak K.
Przestrzenie Teorii
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2021
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issue 36
153-162
EN
The author aims to outline the dramatic work of the Italian director Pippo Delbon as establishing a theater of agon. From the state of research, she analyzes the staging of Pietro Mascagni’s Cavalleria rusticana and formulates the theory of Delbonos’s theater of agon based on M. de Certeau’s and W. Świątkowska’s papers and the theories of dramaturgy of Anna Krajewska and Dariusz Kosiński.
4
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Dramaturgia fotografii. Między teorią a osobistym doświadczeniem (przypadek Rolanda Barthes’a)

100%
Górska I.
Przestrzenie Teorii
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2021
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issue 36
93-107
EN
The article discusses Roland Barthes’ experience of photography and presents its distinctive dramaturgy, which emerges from the reflections of the author of The Light of Image. It is played out between attempts at a theoretical grasp of the essence of photography and a personal, intimate experience of being photographed, but also of being a spectator looking at various photographs. Barthes places this experience in two basic perspectives. The first is connected with the process of taking photographs and the second with the experience of the spectator. This also includes the experience of photography with one’s own image, which according to the author, is always an experience of oneself as someone else, and the experience of searching for “the truth of photography”, especially important in the context of the photographs of his deceased mother. It is significant in Barthes’s concept that he is talking about traditional photography which had a completely different character and performed different functions to digital images do today. Moreover, as the author notes, Barthes’s theoretical findings would be untenable in relation to digital photography.
5
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Dramaturgia współtworzenia znaczeń wypowiedzi scenicznej. Na marginesie lektury Tekstów dla (Starego) Teatru Pawła Demirskiego

100%
Popczyk-Szczęsna B.
Przestrzenie Teorii
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2021
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issue 36
163-175
EN
The article deals with dramaturgy in the broad sense of the term – as a written creative work and the characteristic feature of human activities: artistic and social. The starting point for these discussions is the publication of an anthology of Paweł Demirski’s theatrical texts commissioned by the National Stary Theatre in Krakow. The book is an excellent testimony to stage creativity because it contains conversations with the author and actors about the stages of work in the performance. The article presents reflections on the dramaturgy of the process of creating a text and a theatrical performance, the characteristics of Paweł Demirski’s writing and the content arrangement in the anthology. Reading this book is a peculiar aesthetic experience and a challenge for the reader. The dramaturgy of the message leads to the dramaturgy of its reception: the reader updates and co-creates meanings of theatrical texts, according to individual knowledge and sensitivity. Aesthetic experience is shaped by combining different mental spaces: it is reading a text / seeing a performance.
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Czech Puppet Theatre Dramaturgy as a Specific Phenomenon

100%
Lešková Dolenská K.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2015
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vol. 18
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issue 2
231-276
EN
The article addresses Czech puppet theatre dramaturgy in its historical development from the late eighteenth to the present. Apart from the historical overview, it also analyses recent trends in Czech puppet theatre – an aspect that has not yet been concisely addressed. It also points out opportunities that puppet theatre could explore in future productions.
7
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Dramat, dramaturgia, dramatologia – retroperspektywy

88%
Kosiński D.
Przestrzenie Teorii
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2021
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issue 36
17-32
EN
The article is an attempt to reconsider, reinterpret and, at the same time, summarize the concepts of dramaturgy and dramatology as they were developed by the author mainly in his research realized within the framework of the Chair of Drama and then the Chair of Performance Studies at the Jagiellonian University. Despite the fact that efforts to establish a broad understanding of drama and dramaturgy that is not restricted to art but is used to analyse and interpret performative aspects of social life were not fully successful, the main goal of the article is to support this idea by claiming the need for a ‘return to dramatology’.
8

Václav Havel v Polsku

88%
Martinek L.
Miscellanea Posttotalitariana Wratislaviensia
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2015
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vol. 3: Elity w krajach Europy Środkowej i Wschodniej po roku 1989
145 - 156
EN
The article focuses on the reception of Havel’s personality and his works in Po­lish academic circles. For the Polish intelligentsia Václav Havel, the president of Czechoslovakia and the Czech Republic, undoubtedly appears as an outstanding intellectual, playwright and essayist who promoted moral attitudes and was, thanks to his works, an undisputed authority both intellectual and moral. He was not only a symbol of political changes in Czechoslovakia and Central Europe, but pri­marily a thinker, enjoying a similar interest of the Polish intellectual circles to that once enjoyed by T.G. Masaryk, who gave Polish intelligentsia his highly valuable thoughts about Europe and Russia.
9
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Paradygmat i suspens. O dramaturgii scenariusza filmowego

88%
Otto W.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
73-84
EN
Paradigm and Suspense. Th e Dramaturgy of a Film Script   Film scripts have a dramaturgical structure, i.e. a specific format comprising a particular number of scenes written in a predetermined order. Its vital elements are a three-act structure and two plot twists. It is also characterized by the development of tension, intended to lead to a constant rise in emotions as the story advances. The dramaturgy of the scenes and their sequence are built in many ways, the main two being suspense and delay. These are used to suspend action, slow it down in order to achieve an element of surprise, and to raise emotions in forthcoming scenes.
10
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New Polish Theatre on the Small Screen: the TV series Artyści (Artists, 2015)

88%
Baluch W.
Przestrzenie Teorii
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2022
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issue 38
339-355
EN
The article describes the phenomenon of the Polish TV series Artists. Created by the theater creators Strzępka and Demirski were their TV debut. The series has become iconic among the theater community. Analyzing the series I show its sources, which are stuck in the extraordinary recent development of Polish theater dramaturgy . I also try to show how the series opens the directing to new dimensions of creativity. The changes that have taken place in the Polish theater allow to replace the dominant models of affirmation and subversion with an affective approach to art whose frame I become experience.
11
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Splątane światy literatury i filmu

87%
Krajewska A.
Przestrzenie Teorii
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2019
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issue 32
7-14
EN
Krajewska Anna, Splątane światy literatury i filmu [The Entangled Worlds of Literature and Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 7–12. ISSN 1644-6763. DOI 10.14746/pt.2019.32.0. In view of the relations between literature and film, the article contains suggestions for ways to use performative approaches, which preclude concepts of adaptation, in favour of processes defining actions involving the entanglement of the arts.
12
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Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic

75%
Fedorova E. T., Saiz Molina J., Haba Osca J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2021
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vol. 24
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issue 39
169-190
EN
This article is a little tribute that a drama teacher, an editor and translator and a lecturer in English Literature would like to contribute to this Special Issue in Honour of Professor Dr Jan Kott, the most influential non-English speaking Shakespearean Critic in the second half of the 20th Century and early 21st Century. In the initial part of the essay we will overview Kott’s influence in the development of current Shakespearean tradition(s) in Spain from the early 1970s to the present day. In fact, his writings and critical views on William Shakespeare’s Works have been a decisive point in the development of new approaches to this playwright in some University Departments and Drama Schools in this country. The whole discussion will take the notion of hybrid and hybridization as the point of departure and we will draw some conclusions for discussing new critical thinking in Art (Science,) and Humanities.
13
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Teoria splątana

75%
Krajewska A.
Przestrzenie Teorii
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2020
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issue 34
7-15
EN
Referring to her earlier articles, Anna Krajewska develops her own concept of “entangled theory”. Adopting the principles of operation of elementary particles in quantum physics, referred to as the “entanglement state”, she proposes to see literary studies through anti-binary, performative concepts, which include, above all, anamorphosis. She ties theory in with the process of experiencing art. She proposes to “entangle” seeing in art (the viewer in front of the painting) with the role of seeing in theory (the viewer as practising dramaturgy). In this approach, the theory appears as the theory of entanglement. In this concept, disciplines become dramaturgies.
14
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Affirmation, Acceptance and Rejection: Polish Contemporary Documentary Filmmakers and their Relation to Poland’s Documentary Film Tradition

75%
Mąka-Malatytńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 15
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issue 24
155-164
PL
This paper attempts to define the complex attitude to the tradition in Poland of fact-driven cinema shared by members of the young generation of Polish documentary filmmakers. The examples of films by Marcin Koszałka and Wojciech Staroń, and Tomasz Wolski’s The Lucky Ones, discussed in greater detail, illustrate various shades of this complex attitude, oscillating between affirmation and opposition. The article argues against criticism that demands contemporary cinema take up certain issues and discard others. 
15
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„Гамлет. Версия” Бориса Акунина как отказ от регламентации шекспировского интертекста

75%
Kiseleva K.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
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2016
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issue 6
97-105
EN
The present article aims at analyzing one of the modern drama's strategies  - playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting - consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
RU
The present article aims at analyzing one of the modern drama's strategies  - playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting - consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
16
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Słońce i cień. Dramaturgia Posłańca: Hartley / Pinter / Losey

63%
Katafiasz O.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
65-72
EN
Sun and Shadow; The Go-Between’s Dramaturgy: Hartley / Pinter / Losey   The text explores the dramaturgy of Leslie Poles Hartley’s novel The Go-Between (1953) and its adaptations: Harold Pinter’s screenplay and Joseph Losey’s movie (The Go-Between, 1971). Th e author analyzes some decisions made by the authors of the novel, screenplay and movie about the roles assigned to them and to the audience which are crucial for the dramaturgy of The Go-Between. Following on from this, eff orts to subjectivize the narration turn out to be essential, as well. The author also emphasizes the unusually important play with time in the narration and its consequences for the characters’ construction and the way they are judged. A matter of great importance in Losey’s movie work, which is a variant of Hartley’s novel and at the same time of Pinter’s screenplay, is the method of its frame semantics creation. As far as the novel is concerned, the author analyzes the roles of the narrator and the reader, who has to put facts in order (as the chronology is distorted) and make judgments about them. Equally important in determining the novel’s dramaturgy are symbolism of light and shadow, as well as the fact that its plot is set in 1900. In his screenplay, Pinter doesn’t directly mention the time of action; instead he identifies it as the “past”, “present” and “time neutral”. His screenplay is based on two dramaturgic principles: the splitting of Leo Colston’s character (the audience doesn’t perceive the child and the adult as the same person) and the introduction of narrative disruptions in the form of “present” scenes. Joseph Losey made a few significant changes to the screenplay. The most important of these seems to be the removal of all the scenes not featuring Leo, which makes him the sole narrator. Clearly defining the presented world in the movie is the opposition between light and shadow, which is distinct in the frame composition. It turns out that equally important for the dramaturgy of Losey’s Th e Go-Between is Michael Redgrave, who was cast in the role of Colston, and how he creates this character.
17
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Dramaturgia barw w Zaginionej dziewczynie Davida Finchera

63%
Choczaj M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
105-112
EN
The Dramaturgy of Colour in David Fincher’s Gone Girl   The article is an analysis of colour symbolism in David Fincher’s Gone Girl where yellow, blue and green are symbols of marital breakdown. Colours and their contrasts emphasize competing versions of events in the film and emotional conflicts between the characters. The text refers to the psychology of visual perception and Susanne Marschall’s idea of colour playing a dramatic, symbolic and emotional role in the film.
18
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Refleksja z katedry

63%
Bukojemski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
215-223
EN
Reflections from the Rostrum In his polemics with the Documentary Filmmaker Guide by Grażyna Kędzielawska, Michał Bukojemski claims that the notional apparatus, filmmaking methods, and production technologies described in the book do not adhere to the digital present day. The author believes that the teaching of documentary filmmaking in film school should begin with setting and describing the main goal, which is the film itself. Today’s documentary film has specific conditions, such as financing, distribution and shooting technologies. Speaking about various methods and practicing different forms of filmmaking are rather auxiliary goals that should be fulfilled in the course of studies. The author convinces us that both the subject and the story are crucial for the documentary film. And with them academic teachers should begin and end their teaching of documentary filmmaking.
19
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Diderot et Le Neveu de Rameau, un je(u) de rôle à l’issue incertaine

63%
Lecimbre A.
Quêtes littéraires
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2023
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issue 13
38-47
EN
By requiring us to think the notion of play in his dramaturgical aspect, the main purpose of this paper is to shed light on the question of the individuality of the character of the Nephew in Rameau’s Nephew. The field of the theatre and performing arts is of great importance in Diderot’s texts. Therefore, in Rameau’s Nephew, through the dialogue between Him and Me, the question of the theatrical space and the structure of the text are coupled with a questioning of the “I” of the characters. We want to observe, in this paper, the way in which the theme of play in Rameau’s Nephew illuminates the theatrical space and the structure. The character of the Nephew is only an actor. He laughs at the Philosopher and subverts the materialist point of view, as much as philosophical practice.
FR
En dépliant les usages du terme de jeu dans leur dimension dramaturgique, l’objectif de cette contribution est d’éclairer la question de l ’individualité du personnage du Neveu dans Le Neveu de Rameau de Diderot. L’importance que l’écrivain accorde au genre théâtral éclaire d’un point de vue nouveau l’œuvre puisque, dans ce dialogue entre Lui et Moi, la question du décor et la structure du texte se doublent d’une interrogation sur le je des personnages. Le thème du jeu éclaire à la fois le décor dans lequel se déroule le dialogue et l’individualité du personnage du Neveu qui ne semble être, du début à la fin, qu’un comédien par essence. Force est alors de constater que ce dernier se joue du Philosophe et subvertit tout autant son point de vue matérialiste que sa pratique philosophique.
20

The Actor’s Social Status and Agency. Fame or Misery?

63%
Ganser E., Cuneo D.
Cracow Indological Studies
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2012
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vol. 14
87-131
EN
1The position of the actor in the Nāṭyaśāstra,2the first and foremost Indian treatise of dramaturgical principles, is ambiguous, to say the least. Although the actor represents the practical focus of a large number of chapters (all that concern abhinaya, i.e. “representation”) and the veritable centre of any conceivable theatrical performance, the actors are cursed to be degraded to the status of śūdras in the thirty-sixth chapter of the Nāṭyaśāstra, because they have misused their histrionic abilities to mock the r̥ ṣis. The lowermost social status of the actors in ancient Indian society is confirmed by passages of the Mānavadharmaśāstra, and other Smr̥ tis. However, the last chapter of the Nāṭyaśāstra leaves the possibility for the actors to redeem themselves from their condition and win back their original status of brāhmaṇas. An inquiry into the aforementioned curse-and-atonement episode allows us to account for the ambiguity of the status of the performer, especially focusing on the thirty-sixth and thirty-seventh chapter of the Nāṭyaśāstra in the light of Abhinavagupta’s commentary, and to assess the general ethics of the profession in early and medieval India.
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