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Szafa marzeń. Dziecięce kryjówki w E.T. Stevena Spielberga

100%
Kostyra K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2020
|
vol. 27
|
issue 36
41-55
EN
The filmmakers made efforts to present reality from a child’s viewpoint. Among the strategies applied for this purpose, we find a detailed approach to grasping the atmosphere of children’s bedrooms. The wardrobe, intimate lighting, cozy nooks and child’s props allow the creation of a space of autonomy and the uncanny effect, which slips away from adults’ perception. The author uses works on the anthropology of place, the psychoanalysis of dreams, film studies analyses of E.T. and also the history of cinematic representation of children’s worlds in order to describe the specificity of domestic space in Spielberg’s movie. At the same time, the author proposes that E.T. can be interpreted as a movie about the relative independence of children’s worlds in relation to the overpowering and stiflingAmerican suburbs. If we follow the proposed interpretation, then the popular judgment of E.T. as a conservative and family narration from Reagan’s days would seem to be too one-sided.
2
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Abiekt uwięziony w języku: Współczesne inscenizacje mitu Fedry w teatrze polskim – Kleczewska, Zadara, Wiśniewski

99%
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.
3
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Le théâtre espagnol alternatif : l'avènement d'un lieu de métissages polymorphes et synergiques

67%
Bottin B.
Lublin Studies in Modern Languages and Literature
|
2015
|
vol. 39
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issue 2
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
Since the beginning of the Twentieth Century, internationallyrenowned stages and festivals have welcomed Spanish playwrights by giving them the recognition they deserved. Not only has the subtitling technique helped to kindle the audience’s curiosity, but it has also significantly influenced and enriched the alternative creations offered by Rodrigo García, Óscar Gómez Mata and Angélica Liddell, in addition to promoting their dissemination. Yet did audiences receive their work in the same way in every country? Did the artists adapt their plays for the countries where they were performed?
FR
Le numéro contient uniquement les résumés en anglais
RU
Том не содержит аннотаций на английском языке.
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