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Drunken Language, Elliptical Politics: Caryl Churchill’s Oblique Protest Theatre

100%
Jones M.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2018
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vol. 5
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issue 1
11-20
EN
Can “political theatre” exist in today’s political climate? In the last few decades, our understanding of politics and theatre has undermined the basis on which prior generations of artists conceived of both politics and theatre. Caryl Churchill’s Drunk Enough to Say I Love You? sits at the intersection of critiques of dramatic theatre and new forms of post-dramatic, non-representational performance. The play tells the story of a man, Guy, who falls in love with a country, Sam, and critics have largely seen the play as an allegory for the “special relationship” between Britain and the United States. But while the play riffs on that metaphor, it also includes aspects that work against a political reading. Churchill’s depiction of the relationship as a sincere gay love affair raises questions about what it means to say that politicians are “in bed together.” As the play develops, the political critique and the personal relationships seem to work against each other, and the play becomes an elliptical invitation to think political theatre anew.
2
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Wyzwania kolektywnej dyrekcji Volksbühne oraz teatru politycznego par excellence

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Duda A.
Didaskalia. Gazeta Teatralna
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2022
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issue 169-170
312-335
EN
The article presents selected issues related to the collective management of the Volksbühne initiated by René Pollesch together with six representatives of the theatre company. The crisis caused by the non-renewal of Frank Castorf’s managerial contract and the disclosure of the sexist practices of one of his successors, Klaus Dörr, provoked a broad debate around the preferred management style in this Berlin theatre. Drawing on numerous articles and conversations published in professional magazines (Theater heute, Theater der Zeit) and the opinion-forming all-German press, the author illuminates the heuristic, intuitive character of the new collective management at the Volksbühne against the background of the growing debate in Germany about the need to empower social groups excluded in terms of class, race or gender. The calls for dismantling the central position of the theatre manager (Intendant) and employing a post-heroic management model are confronted with the analysis of the Volksbühne case in terms of ‘politicised’ theatre. According to Jacques Rancière, the political nature of art manifests itself in establishing an open space in which voiceless groups or communities can articulate their political aspirations and attempt to redefine the order of the ‘distribution of the sensible.’ On the one hand, it is worth noting that the newest collective management of the Volksbühne seeks to go beyond the centralised pattern of leadership performed by Frank Castorf and his group of ‘old revolutionaries’ towards the emancipation of women and non-heteronormative groups. On the other hand, the problem of empowerment of Eastern Europeans regained its importance after the outbreak of the war in Ukraine. It means the restitution of a key challenge of Castorf’s theatre that was proclaimed after the reunification of Germany.
3
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A Sociosemiotic Analysis of Fugard’s My Children! My Africa!

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Viator T. J., University R., Dr. Timothy J. Viator teaches drama and literature at Rowan University (New Jersey U. H. h. p. e. o. t. h.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2016
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vol. 4
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issue 1
EN
This essay presents a sociosemiotic analysis of My Children! My Africa! (1989) by Athol Fugard. By considering the characters’ views about self, community, education, and time, it points to the Fugard’s anxious attempt to offer liberalism as the solution to apartheid in South Africa instead of oppositional politics, especially blacks’ calls for activism and communalism. Sociosemiotics is suitable to plays overtly political; it holds that political writers are troubled by political changes that do not correspond to a firmly held ideology—a tension between what a playwright believes is absolute and what s/he senses and perhaps fears is happening. Keys to the analysis are contemporary texts, including essays from leading Black writers and journalists and from studies and essays from attendees of a 1986 conference on liberal solutions to the unrest in South Africa.
4
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Árpád Schilling: Strzaskać skorupę teatru

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Sztarbowski P.
Didaskalia. Gazeta Teatralna
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2020
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issue 156
1-28
EN
This article covers the work of Hungarian director Árpád Schilling in the perspective of his direct political activities against Viktor Orbán’s manipulations of democracy. The author situates the theatrical activities of this director as a vehicle for understanding contemporary populism. Using the political and sociological categories (like “stubborn structures” or “deep history”), he describes how Schilling generates the vision of politically engaged theatre based on very simple gestures and texts with “deep histories” and how his activities try to transcend the division between “artistic” and “political”.
5
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Oliver Frljić i nowy koszmar Europy

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Sztarbowski P.
Didaskalia. Gazeta Teatralna
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2020
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issue 157-158
1-32
EN
This article covers the works of the Croatian director Oliver Frljić from the perspective of the political influence of his performances. The frame for this research is Walter Benjamin’s historiosophical concept of „angel of history” and Chantal Mouffe’s theory of agonism concentrated on positive aspects of political conflicts. The author situates the director’s theatrical activities and his biography (especially his personal experience of the Yugoslav Wars) as a tool for understanding inexorable nationalistic tendencies in contemporary Europe. Frljić’s strategy of creating “radical fiction” and strong, shocking images is analysed as a vehicle for breaking the postdemocratic and postpolitical order. It means that theatre can be treated as a new form of protest and political subjectivity. For this reason Frljić’s performances are concerned with social debates about refreshing democracy
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Il desiderio di utopia. Elementi per definire la costruzione delle distopie teatrali polacche

86%
Minczewa B.
pl.it / rassegna italiana di argomenti polacchi
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2016
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issue 7
171-185
EN
The paper concerns some elements of the construction of worlds represented on stage in recent Polish theatre. This may be seen as a comment on the state of democratic Poland after 1989 and, more generally, as an analysis of the peculiarities of the contemporary world. However, a deeper analysis shows recent theatre staging as structurally similar to the construction of dystopias. The worlds represented on stage are characterized by the presence of a nonlinear construction of time, by the absence of ending, of a horizon and of death, by the presence of ruins (intended literally, as an aesthetic paradigm, and metaphorically) and by the construction of dystopian characters. The analysis focuses on one of the most important performances for the Polish political theatre of the last two decades, H. (2004), a version of Hamlet directed by Jan Klata, performed in the historic and derelict Gdańsk Shipyard, a symbolic stage set which becomes at the same time the place of fulfilment of dystopia and of the emergence of the desire for utopia.
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Transformativní charakter performance: od symbolického jednání k liminalitě a politickému divadlu

58%
Došlová T.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 2
78-95
EN
This article works with the transformation of the actor-spectator relationship which happened in theatre along with the performative turn. First, the author conducts a survey of the philosophical roots of the 'liminality' concept in the German theatrology, with special focus on the works of German theatrologist Erika Fischer-Lichte, who uses liminality in order to describe the transformative character of contemporary performances. The second part of the article presents a case study, in which the author, using the liminality perspective, analyses the project of the theatre group Rimini Protokoll named Träumende Kollektive. Tastende Schafe /Staat 3/ [Dreaming Collectives. Tapping Sheep (State 3)], staged in Schauspielhaus, Dresden. Using this selected interactive project, the article focuses on the way audience leave their well-known, comfort zone and enter a liminal state, characterised by a strengthened self-reflection. Rimini Protokoll's project is examined as an example of contemporary postdramatic tendency in political theatre, which has a potential to influence the audience and their reassessment of their standpoints and opinions through the liminal experience. The case study therefore describes the way politicum can be incorporated into the participatory theatre aesthetics.
CS
Překládaná studie vychází z proměny vztahu mezi divákem a aktérem, která se udála v souvislosti s performativním obratem. V první části autorka mapuje myšlenkové kořeny konceptu liminality v německé teatrologii s důrazem na práci německé teatroložky Eriky Fischer-Lichte, které liminalita slouží k popisu transformativního charakteru současných performance. Druhá část textu má podobu případové studie, v níž autorka analyzuje projekt souboru Rimini Protokoll s názvem Träumende Kollektive. Tastende Schafe /Staat 3/ [Snící kolektivy. Tápající ovce (Stát 3)], uvedeného v drážďanském Schauspielhausu. Na vybraném interaktivním projektu studie ukazuje, jakým způsobem se diváci dostávají ze svých komfortních zón do hraničních stavů. Projekt souboru Rimini Protokoll je v textu zkoumán jakožto příklad současné postdramatické linie politického divadla, která má potenciál ovlivnit diváky ve smyslu přehodnocování jejich dosavadních postojů a názorů, a to právě díky liminálnímu zážitku. Ukazuje tedy, jakým způsobem může být politikum vtěleno do samotné participativní divadelní estetiky.
8
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Przestrzeń idei, edukacji I dialogu społecznego czyli teatr anglosaski wobec kryzysu ekologicznego

58%
Suwalska-Kołecka A.
Społeczeństwo. Edukacja. Język
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2021
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vol. 14
227-238
EN
The chief aim of this article is to present the main developments in ecological thought and practice that have influenced British and American theatre in the past three decades. Although eco-criticism had attracted many keen followers and public environmental awareness had grown rapidly in recent years, theatre remained silent on green issues for a long time despite its political engagement in other areas. When at last theatre turned green, its voice is powerful and inspiring. Theatre uses its collective character to foster a feeling of shared responsibility and to create space that transformsinto one of the major characters of the performance. Moreover, dystopian visions of the ecological catastrophe that brings famine and destruction presented on stage are thought-provoking and highly persuasive. Theatre interconnects artists and audiences and uses its capacity to raise environmental awareness and to bring about behaviour change. In this way, theatre is able to affect social and political change.
PL
Celem tego artykułu jest zarysowanie głównych nurtów działalności teatru anglojęzycznego w ciągu ostatnich trzech dekad na rzecz ochrony przyrody. Chociaż eko-krytyka zdobywała rzesze kolejnych wyznawców a świadomość zagrożeń ekologicznych obejmowała stopniowo wszystkie sfery działalności człowieka, teatr przez wiele lat nie podejmował tematów ekologicznych, mimo swojego zaangażowania politycznego w innych sprawach. Kiedy w końcu teatr zabarwił się na zielono, jego głos w tej sprawie jest zdecydowany i inspirujący. Wykorzystał on wspólnotowy charakterteatru do tworzenia przestrzeni, która jest jednym z głównych bohaterów przedstawienie a dystopijne wizje katastrof ekologicznych niosących głód i zagładęmają ogromną siłę rażenia. W ten sposób działalność artystyczna aktywnie kreuje świadomość ekologiczną swoich odbiorców a teatr nabiera społecznej i politycznej sprawczości.
9
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Politikum a privatum O podobách ruskej dokumentárnej drámy

58%
Štorková Maliti R.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
125-132
EN
In 2002, the theatre Teatr.doc was established in the Moscow by the group of Russian playwrights led by Yelena Gremina and Mikhail Ugarov. The verbatim method and documentary drama became a new trend of their performing arts creation. The political theatre is in the current Russian theatre culture represented especially by the documentary drama and the work of the Teatr.doc. The documentary drama is the most significant stream of the Russian new drama and is existentially related to the current social and political situation.
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Od sociálně-demokratické spirituality k socialistickému realismu: koncept lidovosti v myšlení Jindřicha Honzla o divadle

44%
Kunderová R.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 1
188-215
EN
The study examines the concept of "the popular" in the thinking of theatre director and theorist Jindřich Honzl (1894–1953). By analyzing his essays and articles, the essay describes the changes in Honzl's approach to the popular as reflected in his critical writing during his theatre career and as placed within the context of politics and theatre history. Based on the discussion of existing Czech theatre historiographic literature about Honzl (the majority of which was published before 1989), the study offers novel findings and connections, many of which have been ignored, often for ideological reasons. The essay brings a close study of Honzl's sources of inspiration, from the beginnings of his work in the era of the so-called proletarian theatre, especially by embedding Honzl's thinking in the social democratic ideology and his knowledge of post-revolutionary Soviet theatre until 1925. The essay subsequently offers a characterization of the changes in Honzl's understanding of "the popular" during his Poetism and Surrealist phases, as well as after the Second World War, when he converted to Socialist Realism.
CS
Studie zkoumá koncept lidovosti v myšlení divadelního režiséra a teoretika Jindřicha Honzla (1894–1953). Prostřednictvím analýzy jeho studií a článků autorka pojmenovává proměny pojetí lidovosti v Honzlově uvažování během jeho divadelní kariéry a zasazuje je do divadelně-historického a politického kontextu. Na základě diskuse s dosavadní českou divadelně-historiografickou literaturou o Honzlovi, jejíž většina byla publikována před rokem 1989, přináší studie poznatky a souvislosti, které byly dosud – nezřídka z ideologických důvodů – opomíjeny. Autorka se podrobně zabývá Honzlovými inspiračními zdroji na počátku jeho divadelní činnosti v období tzv. proletářského divadla, zejména ukotvením Honzlova myšlení v sociálně-demokratické ideologii a jeho obeznámeností s porevolučním sovětským divadlem do roku 1925. Následně charakterizuje proměny Honzlova chápání lidovosti divadla v průběhu jeho poetistického a surrealistického období a po konci druhé světové války, kdy se přiklonil k socialistickému realismu.
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