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The Syntax in Pantomimic Re-enactments of Events Among Polish Participants

100%
Boruta M., Placiński M.
Kultura i Edukacja
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2017
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issue 2(116)
106-117
EN
What appears to be a key question in recent studies on language evolution is the notion of natural word order-a hypothesis propounding word order to be innate in a phylogenetic and cognitive sense (Dryer, 2005; Pagel, 2009; Gell-Mann & Ruhlen, 2011). Gesture and sign studies provide a sound base for the topic. The primary idea for the study comes from Goldin-Meadow et al. (2008) research, which proposed the silent gesture paradigm, in which participants communicate simple events with the aid of their hands. The result of their research suggests that when participants communicate via gestures, notwithstanding their native language, they apply the SOV (subject-object-verb) word order-a finding which has been largely substantiated, but also discussed by following studies (e.g., Gibson et al., 2013; Hall et al., 2013). The purpose of our study was to verify whether the SOV order is prevalent in the experimental environment when participants are instructed to use whole-bodily pantomime rather than hand-and-arm gesture only. The actors in the study were instructed to perform reversible events from the pictures. Reversible events means that both the actor and the patient can perform an action. There exists an exciting opportunity for our study to shed a new light on research into natural word order.
2
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Le silence, mise à l’épreuve de la sincérité au théâtre (1802-1828)

88%
Fix F.
Quêtes littéraires
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2017
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issue 7
34-42
EN
In 19th century French very successful melodrama, discourse is seen as a powerful way to get attention. Criminals and traitors are masters of speech and seductive persuasion, but they never achieve their goals by the end of the play. On the other hand, the mute, humble and shy characters demonstrate that silence can convey values such as honesty, loyalty and show the audience that sensibility should be preferred to histrionic actor play.
3
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Poza głosem. Postać Fenelli w świetle wystawień warszawskich z 1831 roku

75%
Kaminiczna N.
Poznańskie Studia Polonistyczne. Seria Literacka
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2022
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issue 42
265-293
EN
The article is an attempt to describe an operatic figure deprived of a voice. Following the views of Thrasybulos G. Georgiades, who believes that an operatic character differs from a literary or a dramatic one in that it constitutes a kind of symbiosis between person and sound, the author tries to characterise a mute character. She analyses the Warsaw stagings of Daniel Auber’s opera Masaniello ou La muette de Portici from 1831. Additionally, by activating the visual imagination and relying on iconographic and book sources (including Mimika [Facial expression] by Wojciech Bogusławski), the author reconstructs the character of Fenella in the interpretation of Antonina Palczewska in order to be able to investigate how this character functioned on stage. Such a procedure allowed for an in-depth analysis of the operatic figure devoid of a voice and created by means of a combination of facial expressions and gestures. The study also takes into account the circumstances and problems related to the performance of this opera during the November Uprising.
4
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Cultural and educational leisure activities in nules of Ukraine

63%
KOVALCHUK T., MELNICHUK T.
Edukacja-Technika-Informatyka
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2013
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vol. 4
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issue 1
234-238
EN
Cultural and educational work in NULES of Ukraine has fruitful influence on the formation of future social teachers’ preparedness to deal with leisure activity. The favorable conditions are created at the University with the purpose of individual and professional qualities improvement; theatrical, vocal and musical gifts perfection and physical development.
5
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Św. Augustyn a starożytny dramat teatralny

51%
Longosz S.
Vox Patrum
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1988
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vol. 14
369-394
EN
Dissertatiuncula tribus partibus constat. E parte prima, quae hoc in fasciculo invenitur, patet, quae S. Augustinus in operibus suis de antiquo dramati theatrali, id est de tragoedia, comoedia, pantomimo ac mimo scripserit.
6
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Mise en corps des «gueules» de «Ferdydurke»: le ballet grotesque d’Anna Hop à la lumière de l’œuvre de Gombrowicz

51%
Bocianowski C.
Prace Polonistyczne
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2017
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vol. LXXII
183-195
EN
This article examines Anna Hop’s 2015 ballet, based upon Witold Gombrowicz’s novel Ferdydurke, created at the National Polish Ballet, analysing the interaction between the choreography and literary language to demonstrate the choreographic specificity of Hop’s treatment of Gombrowicz’s text.
7
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Bożonarodzeniowa obrzędowość: kolędowanie z Szopką i Herody w województwie lwowskim, Bojkowszczyna na Ukrainie

45%
Borovets T.
Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej
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2016
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issue 23
21-36
EN
Scientific interest in the traditional culture in order to preserve the spiritual wealth, especially in conditions of accelerated urbanization, unification, the spread of mass culture, it becomes even more relevant. Preservation of traditions, spirituality, each nation is not only a source of concern for culture, but also taking care of its development in our time and the future of every nation. Ukrainian rituals are the glue that has helped over the centuries to keep the national mentality, and cognitive and educational potential is the dearest treasure that helped survive nationalities, to keep down the centuries and today thrive in the global community of nations. While popular culture is best preserved its local traditions in celebrating Christmas, it was a feast worthy of special scientific interest.The object of the research is Christmas rituals: carolling with nativity and Herody villagers regions starosamborskiego and Sambor in Boykivshchina, Lviv region. The aim of this article is to determine the specifics of the Christmas rituals in the context of the overall cultural heritage of the Ukrainian nation on the basis of preserved archival materials Cathedral ethnology Lviv National University named I. Franko, and developed the scientific literature. Since 1998, efforts lecturers completed eighteen trips beginners ethnologists to various historical and ethnographic regions of Ukraine, including the land Bojkowszczyzny (2003, 2005, 2010); In 2005, students made an expedition to starosamborskiego region, base points were the villages Hołowecko, Dnistryk, Mszanec, Hwozdec, Hroziowe, Ripi, Wyciw, Babyno and others; in 2010 they were in villages in Sambor district Bojkowszczyzny - Kowynyczi, Werbiwka, Berehy, Baraniwci, Zarajckie, Kornyczi. Students ethnology, preparing for the expedition, develop a comprehensive program of interrogating, which is a reliable instrument for productive work in the field, such a methodology we used, we too, adding data from its own ethnographic research. The survey involved both men as women, young and older people.The history of the development of specific motifs carolling with nativity and Herody in Boykivshchina intrigued many contemporary scholars of folklore, as well as the author of this article, which points to the wealth of culture and religion in the region.The analysis and conclusions of the study can be used for detailed and deep acquaint with the Christmas customes of Boikivshchyna villages in Lviv region, in Ukraine. Materials of the research can also be used in textbooks, anthologies of religious and kulturological studies, topical special courses, as well as in the creation of a repertoire of folk groups and organizations Christmas celebration at schools, parishes and other collectives.
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Marcel Marceau jako rzecznik mimu współczesnego

45%
Krzyżak A.
Roczniki Kulturoznawcze
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2018
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vol. 9
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issue 2
55-75
PL
Artykuł jest szkicem na temat mimu, formy teatralnej znanej od starożytności, lecz dzisiaj istniejącej w nowej odsłonie. Mim współczesny, powstały na kanwie awangardowych poszukiwań praktyków i teoretyków teatru początków XX wieku, zawdzięcza swą obecną formę twórcom francuskim, takim jak Étienne Decroux, Marcel Marceau i Jean-Louis Barrault. Koncepcja mimu przedstawiona w niniejszej pracy oparta jest na teorii i praktyce Marcela Marceau, mającej szczególny rys filozoficzny. Marceau, poświęcając całe życie propagowaniu idei i techniki mimu współczesnego poprzez spektakle, wywiady i pracę pedagogiczną, stał się jego rzecznikiem na całym świecie. Współcześnie mim to rodzaj teatru, w którym kluczową rolę odgrywają milczenie, stanowiące nowy wymiar ludzkiego istnienia, gdy słowa zawodzą, oraz postać doskonale przygotowanego technicznie aktora-mima, czyniącego na scenie to, co niewidzialne, widzialnym. Artykuł składa się z dwóch części. W pierwszej zarysowano historyczny kontekst mimu. Podjęto również próbę uporządkowania terminologicznego. W drugiej przedstawiono materię mimu współczesnego w aspekcie filozoficznym oraz technicznym na podstawie dokonań Marcela Marceau.
EN
The article is a sketch of the subject of mime, a theatrical form known since the ancient times, but nowadays existing in a new version. A contemporary mime that came into being based on the research of avant-garde theoreticians and practitioners of the early 20th century theatre owes its current shape to the French artists such as Étienne Decroux, Marcel Marceau, and Jean-Louis Barrault. The presented concept of mime is based on Marceau’s theory and practice—both having a particular philosophical touch. Marceau who dedicated his life to promoting theory and methodology of contemporary mime by means of performances, interviews and teaching has become a mime expert whose work has a timeless quality worldwide. These days mime is becoming a kind of theatre where silence plays the key role and becomes a new dimension of a human being when words fail, and where an actor-mime with perfect technical skills makes the invisible visible on stage. The article consists of two parts. The first part outlines a historical context of mime. It also tries to organize its terminology. The second one presents philosophical and technical aspects of contemporary mime on the basis of Marcel Marceau’s work.
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