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Kostiumy w japońskim teatrze kyōgen: estetyka komizmu

100%

Zalewska A.

Przegląd Orientalistyczny

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2021

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issue 1-4 (277-280)

48-57

EN

Japanese kyōgen theatre is a comedy, and it has developed alongside nō drama from the 14th century on. Both types of theatre are performed even today and new plays for them are written, but the performances take place on a traditional stage, where the stage set and the costumes are traditional, as well. Kyōgen theatre costumes boldly combine humour with elegance and beautiful design. The article introduces the most important elements of basic types of kyōgen costumes and discusses the ornaments used on them, their meaning, and in what way they influence the atmosphere on the stage. The ornaments are both geometrical, from quite simple to more complicated ones (often grid patterns, stripes), and representational, in multiple forms and very rich imagery. The images on the costumes represent animals (often rabbits and hares), birds, fruit and vegetables (who would think a common turnip might look so interesting!), insects and crabs; all sorts of inanimate objects: fishing nets, houses, ox carts, fans, musical instruments etc. These costumes are fascinating examples of Japanese aesthetics: its asymmetry, overlaying of the images, taking part for the whole.

2

„Die Ohnmacht ist ein Syndrom von dem Österreich.“ Heimat- und Sozialmisere in den Stücken von Thomas Arzt

87%

Höfler G. A.

Studia Germanica Posnaniensia

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2019

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issue 40

53-61

PL

With reference to two plays by Thomas Arzt (Die Neigung des Peter Rosegger, Totes Gebirge), this paper examines how attitudes in contemporary Austria are represented in literature. The analysis focuses on the playwright’s poetical originality in presenting conventional themes like homeland, social misery and the Austrian sense of apocalypse. It will be argued that the transformative playing with dramatic genres, intertextuality, significant idioms and local song material is in fact a farce exposing current circumstances and mentalities.

DE

Der Beitrag untersucht anhand zweier Stücke von Thomas Arzt (Die Neigung des Peter Rosegger, Totes Gebirge) literarische Darstellungsformen von Ansichten des gegenwärtigen Österreich. Der Fokus der Analyse richtet sich auf die poetisch originelle Art und Weise, in der der Dramatiker herkömmliche Motive wie Heimat, soziale Misere und österreichische Apokalypsestimmung präsentiert. Hierbei wird dargelegt, wie das transformative Spiel mit dramatischen Genres, Intertexten, signifikanten Idiomen und heimischem Liedgut eine Farce konstituiert, die aktuelle Verhältnisse und Mentalitäten transparent macht.

3

Юмористический тон как маркер авторского взгляда в комедиях Надежды Птушкиной

86%

Maliutina N.

Studia Rossica Posnaniensia

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2022

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vol. 47

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issue 1

59-73

EN

The article considers comic humour as an emotional and semantic component of the statements in two comedies written by Nadezhda Ptushkina: Paying ahead and Come and take away, which can be attributed to popular mass literature. Distinguishing between the manifestations of situational and semantic comedy and humour the article shows how the humorous tone of the character’s remarks changes the overall genre tone of the comedy. Due to the idea of how much the personality does not fit into the narrow framework of the stereotypical perception of the situation of the husband’s withdrawal from the family, the article notes the dramatic and tragic modality of the statements in the plays. At the same time, in all situations and in all manifestations of the relationship between the characters, we feel the author’s view. The author is distinguished by the ability to understand and accept a different opinion to optimistically see the possibility of preserving the family and identity of each person in the process of collisions with other opinions. Despite the author’s rejection the play retains a belief in a certain general harmony of the human soul, which is especially vividly perceived thanks to allusions to Chekhov’s plays. Techniques contribute to the removal of the author’s view and the positions of the characters: dialogue of the deaf, distancing the author’s view and the character’s position, wordplay. All these techniques contribute to overcoming the farcical nature of the conflict and its dramatization.

4

Kyōgen, japońska komedia szalonych słów i komedia dell’arte

71%

Zalewska A.

Porównania

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2016

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vol. 18

219-238

EN

Kyōgen, a form of Japanese comic theater, was created and developed alongside Noh theater and in the beginnings it was mostly improvised on stage. Later, the actors started to write down whole texts of kyōgen pieces. In this article the language of kyōgen drama is discussed, especially some of the frequently used elements, like the phrases used by the main character to introduce himself in the beginning, phrases used as a reaction to the words of other actors or phrases and even full sentences repeatedly used in many dramas in certain situations. Although until the 19TH century Japanese theater was functioning without any contact with European theater, some resemblances can be noticed between kyōgen and Italian commedia dell’arte. These resemblances and differences are also discussed in the article.

PL

Japońska farsa kyōgen kształtowała się w ścisłym związku z teatrem nō i początkowo była formą w dużym stopniu improwizowaną; później teksty sztuk zaczęto ustalać i spisywać w ich pełnym brzmieniu. Artykuł przedstawia język sztuk kyōgen, ich stałe elementy, takie jak przedstawienie się na początku, sposoby reagowania na słowa drugiego aktora, i powtarzające się w wielu tekstach stałe zdania lub frazy. Do XIX wieku teatr japoński rozwijał się bez kontaktu z teatrem europejskim, można jednak dostrzec pewne zbieżności pomiędzy farsą kyōgen a włoską commedia dell’arte, dlatego też formy te zostały skonfrontowane i wyliczone zostały podobieństwa i różnice.

Refine search results

1 Porównania

1 Przegląd Orientalistyczny

1 Studia Germanica Posnaniensia

1 Studia Rossica Posnaniensia

2 Zalewska A.

1 Höfler G. A.

1 Maliutina N.

1 2022

1 2021

1 2019

1 2016

Kostiumy w japońskim teatrze kyōgen: estetyka komizmu

„Die Ohnmacht ist ein Syndrom von dem Österreich.“ Heimat- und Sozialmisere in den Stücken von Thomas Arzt

Юмористический тон как маркер авторского взгляда в комедиях Надежды Птушкиной

Kyōgen, japońska komedia szalonych słów i komedia dell’arte