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Technika teatru w teatrze w wybranych baletowych konkretyzacjach

100%
Ziemba M.
Postscriptum Polonistyczne
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2015
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issue 1(15)
181-189
EN
Two ballet performances are being analysed: Pietruszka by Igor Strawiński and Dama Kameliowa choreographed by John Neumier. The author discusses a metatheatrical character of the two performances, which reveals itself through a concept of “a theatre within a theatre”. The analyses presented in this article are rooted in a (slightly modified) methodological approach defined by Marcin Gmys. The analysis leads to the conclusion that the three subcodes (dance, music and drama) determine the functionality of the concept of ‘a theatre within a theatre’ in both performances.
2
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Metateatralność w dramacie Jewgienija Wodołazkina Parodysta

63%
Biegluk-Leś W.
Studia Wschodniosłowiańskie
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2021
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vol. 21
5-22
EN
As the author of the article claims, the metatheatricality in Eugene Vodolazkin’s drama The Parodist is constituted by the multiplication of levels of presented reality and its specific modelling, exposing the “derivativness” and “fictionality”.The multi-layered reality is generated by various, usually perfidious, realizations of the concept of “theatre in theatre” (e.g. thanks to outright and allusive intertextuality, implicitly inscribed in the text of the drama); appearance of specific structural and compositional elements and the simultaneity resembling a film technique of parallel editing; breaking down the stage illusion and maximising the theatrum mundi concept; a play generated within a dramatic plot by the heroes themselves; and metaparody of artistic issues in the dramatic dialogue.
3

Teatralizacja świata jako wyznacznik odmiany gatunkowej powieści (Zwariowane miasto, Wteatrwstąpienie, Biała noc miłości)

62%
Sobiecka A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2019
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vol. 7
150-164
EN
The aim of this article is to describe selected 20th-century novels which deal with theatre and the rule of theatralization of the presented fictional world. The selected works (Zwariowane miasto by Jan Wiktor, Wteatrwstąpienie (rzecz o aktorze – romans nietypowy) by Jerzy Ronard Bujański and Biała noc miłości. Opowieść teatralna by Gustaw Herling-Grudziński) suggest that the process of staging fictional reality comprises not only the compositional mode of the characterized pieces, but also the inherent trait woven into the structure of the epic world. The reference point behind the analytical speculations is the “staging of life” concept by Mikołaj Jewreinow, stemming from the anti-naturalistic theatrical theories from the turn of the 19th and the 20th centuries.
PL
Artykuł charakteryzuje wybrane powieści XX wieku, których tematem staje się teatr oraz zasada teatralizacji powieściowego świata przedstawionego. Wybrane utwory (Zwariowane miasto Jana Wiktora, Wteatrwstąpienie (rzecz o aktorze – romans nietypowy) Jerzego Ronarda Bujańskiego oraz Biała noc miłości. Opowieść teatralna Gustawa Herlinga-Grudzińskiego) sugerują, że proces teatralizacji fikcjonalnej rzeczywistości stanowi zarówno dominantę kompozycyjną charakteryzowanych tekstów, jak również cechę immanentnie wpisaną w strukturę epickiego świata. Punktem odniesienia dla rozważań analitycznych staje się koncepcja „teatralizacji życia” Mikołaja Jewreinowa, wyrastająca z antynaturalistycznej teorii teatru przełomu XIX i XX wieku.
4
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Strategie metateatralne we współczesnym dramacie białoruskim

51%
Siwek B.
Studia Białorutenistyczne
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2016
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vol. 10
EN
The article was aimed at analyzing the phenomenon metatheatricality in the modern Belarusian drama The sources of construction of meta theater date back to intermedia. Just as they are intended to diversify art the framework. therefore songs, dance, music inserts and conventional scenes play an important role in them. The second type, which originates from the prologue is the theme of the theater within the theater, often used for presenting artistic views of the author. Metadramaticality can hardly be considered only in terms of formal although undoubtedly changes the style of the dramatic text. It simultaneously implements aesthetic evaluation (accurate or caricatured, grotesque reflection of external reality or the reality of work of art and, which seems to be the most important), it becomes an expression of the philosophy and the world outlook of the author, an expression of the way they see and interpret the crucial relationship between the real world and the world presented.
PL
W artykule została podjęta analiza zjawiska metateatralności we współczesnym dramacie białoruskim. Źródła konstrukcji metateatralnych sięgają intermediów. Tak jak one mają na celu urozmaicenie sztuki ramowej, dlatego dużą rolę odgrywają w nich piosenki, taniec, wstawki muzyczne, konwencjonalne scenki. Drugim typem, wywodzącym się z prologów, jest motyw teatru w teatrze wykorzystywany często do zaprezentowania poglądów artystycznych autora. Metadramatyczność trudno rozpatrywać jedynie w kategoriach formalnych, choć niewątpliwie zmienia ona stylistykę tekstu dramatycznego. Wprowadza jednocześnie wartościowanie estetyczne (wierne lub karykaturalne, groteskowe odbicie rzeczywistości zewnętrznej lub rzeczywistości dzieła) oraz – co wydaje się najważniejsze – staje się wyrazem filozofii i światopoglądu autora, wyrazem sposobu, w jaki dostrzega on i interpretuje kluczową relację między światem rzeczywistym a światem przedstawionym.
RU
У артыкуле праведзены аналіз з’явы метатэатральнасці ў сучасный беларускай драматургіі. Свой пачатак метатэатральныя канстуркцыі бяруць з інтэрмедый. Паколькі ствараліся яны з мэтай зрабіць больш разнастайнай асноўную п’есу, істотную ролю адыгрываюць у іх песня, танец, музычныя ўстаўкі, простыя сцэнкі. Другім тыпам, які выводзіць свой радавод з пралогаў, з’яўляецца матыў тэатра ў тэатры, што часта выкарыстоўваецца з мэтай прадстаўлення мастацкіх пазіцый аўтара. Метадраматычнасць, несумненна, змяняе стылістыку драматургічнага тэксту, аднак цяжка разглядаць яе выключна ў фармальных катэгорыях. Яна адначасова ўводзіць эстэтычную катэгарызацыю (вернае альбо карыкатурнае, гратэскнае адлюстраванне знешняй рэчаіснасці, альбо мастацкага свету твора), а таксама, што здаецца найважнейшым, робіцца выразам філасофіі і светапогляду аўтара, выразам аўтарскай інтэрпрэтацыі рэляцый паміж рэальным і мастацкім светам.
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