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Andrzej Kreutz Majewski w Bibliotece Polskiej w Paryżu

100%
Kuraś M.
Pamiętnik Teatralny
|
2012
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vol. 61
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issue 3-4(243-244)
173-188
2
Content available remote

Villa dei Misteri. Andrzeja Kreuz Majewskiego biografii część pierwsza

88%
Koecher-Hensel A.
Pamiętnik Teatralny
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2012
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vol. 61
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issue 1-2(241-242)
223-266
EN
The article is a shortened version of two first chapters of the monograph entitled Od malarstwa i scenografii do teatru autorskiego. Andrzej Kreutz Majewski. Biografia artysty (From Painting and Stage Design to Author’s Theatre. Andrzej Kreutz Majewski. A Biography of the Artist) written thanks to a scholarship received from the Polish Ministry of Culture and National Heritage. Andrzej Majewski, since 1999 using the name Kreutz Majewski, who was the major stage designer of the Wielki Theatre from 1966 to 2005 and passed away on 28 February 2011, was a versatile artist. Having completed more than 200 stage designs, including those to visually grand productions, in collaboration with various directors in Poland and abroad, at the end of the 1970s Majewski came to a point in which he felt ready for his own theatre productions: a production of Pasja wg św. Łukasza (The Passion According to St Lukas) by Krzysztof Penderecki in 1979, and then Król Roger (King Roger) by Karol Szymanowski in 1983 at the Wielki Theatre in Warsaw. First and foremost, however, Majewski was a painter. He debuted as such in 1955 and remained faithful to this form of artistic creation throughout his life. The painting, being an autonomous art, enabled him to express himself in a personal, intimate manner. What he could not express through the fine arts and theatre, he wrote down: scraps of visions, fragments of dreams, memories, reflexions on the books he was reading, artistic experiences, notes on his work on theatre productions. His Notatki malarskie (A Painter’s Notes), written regularly since 1984, were published as Dziennik 1984–2004 (Diary 1984–2004) in 2005. In 1990, a traumatic experience of discovering the truth about his father and unravelling the mystery of his parentage, which led him to add his true family name Kreutz to the previous Majewski surname, inspired him to write a scenario of his own theatre production entitled Narcissimo/Lotczyk. The play is a poetic autobiographical drama of Romantic and surreal character. In her article, Agnieszka Koecher-Hensel recounts and puts in order the facts related to the artist’s birth and sheds light on the causes of the family secrets which caused confusion in his biographical records and documents while making it difficult for him to define his own identity. The article focuses on Majewski’s childhood and early youth in an attempt to understand the sources of the most salient motifs in his art. Born in Brdów in 1934 (not in Warsaw in 1936, official documents notwithstanding), Andrzej Majewski was raised mostly by his grandmother Natalia. In his earliest childhood, he was surrounded by lakes, woods, and music: grandmother Natalia often sang various arias and played the piano, contributing to Majewski’s love of the opera. Those years had left imprinted on his mind the images of boats, kites, birds, wooden buildings, and fences which were later to become so prominent in his art. Then came the Second World War: Majewski spent most of it in Warsaw. He had learned to read from Andersen’s Little Mermaid, among burning buildings, bomb raids, and smoke.
3
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Scenography studies – on the margin of art history and theater studies

75%
Łarionow D.
Art Inquiry. Recherches sur les arts
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2014
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vol. XVI (XXV)
115-126
EN
Scenography as a domain of artistic activity has always been a liminal art, placed between the visual arts and theater, with the latter being treated as a chiefly literary domain. The history of scenography to date has recorded two moments when it rose to prominence, becoming the “queen” of the spectacle: the Renaissance and modern times. The article will briefly discuss its history, to show the main reasons for the exclusion of scenography from the domain of academic research. The author will survey some recent publications on set design written by practitioners and academics.
PL
Scenografia jako sfera działań artystycznych była i jest sztuką pogranicza. Sytuowano ją zawsze pomiędzy sztukami plastycznymi, a teatrem, traktowanym jako obszar głównie zajmowany przez literaturę. W dotychczasowej historii scenografii widoczne są dwa momenty, kiedy za-władnęła ona widowiskiem, stając się „królową” przedstawienia: renesans i czasy współczes-ne. Artykuł poprzez skrótowe omówienie jej dziejów chce wykazać głównie przyczyny margi-nalizacji czy wręcz wyrzucenia scenografii ze sfery badań naukowych. Autorka odwołuje się do publikacji autorstwa zarówno praktyków, jak i naukowców, jakie ukazały się w ostatnim czasie na temat scenografii.
4
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Fenomen twórczości scenograficznej Mariana Bogusza

75%
Dąbek-Derda E.
Pamiętnik Teatralny
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2021
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issue 1(277)
95-112
EN
This article discusses selected set designs of Marian Bogusz (1920–1980), whose work is characterized by a predominance of unrealized projects. Bogusz’s artistic practice – designing, constructing, and exhibiting mockups – is juxtaposed with his clear views on the collective character of the work on a theater production and on the set designer’s role in this process. In this context, Bogusz’s gesture of creating visual concepts for the dramatic texts that inspired him is presented as a kind of scenographic utopia. His spatial compositions and their unused artistic potential are discussed based on an analysis of three projects from 1957: Karel Čapek’s The White Disease and Mother, and Federico García Lorca’s Blood Wedding.
5
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Is Stage Design a Craft or Art?

63%
Łarionow D.
Art Inquiry. Recherches sur les arts
|
2019
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vol. XXI
161-170
PL
Artykuł zwraca uwagę na problem z definicją pojęcia: scenografia. W dwudziestym wieku terminologia teatralna przeszła szereg zmian. Scenograf od lat sześćdziesiątych ubiegłego stulecia przestał być dekoratorem, osobą techniczną czy wręcz rzemieślnikiem a stał się artystą teatru. Obecnie scenografia stała się autonomiczną dziedziną sztuki, która obecna jest także poza sferą budynku teatralnego: w filmie, w marszach społecznych, politycznych wiecach, koncertach rokowych a także muzeach. Autorka pokazuje zmianę w podejściu do powszechnego rozumienia zadań i funkcji scenografii na przykładzie terminologii obecnej w słownikach językowych i teatralnych kultury anglosaskiej.
EN
The article draws attention to the problem with the definition of the concept: “sceno¬graphy.” In the twentieth century, theater terminology underwent a number of changes. In the 1960s, the stage designer ceased to be a decorator, member of technical staff or even a craftsman, and became a theater artist. Currently, stage design/scenography has become an autonomous field of art, present also outside the sphere of theater building: in film, at social demonstrations, political rallies, rock concerts and in museums. The author discusses a change in the approach to the common understanding of the tasks and functions of scenography on the example of the terminology present in the language and theater dictionaries of Anglo-Saxon culture.
6
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Black, White and Blue: Pregnancy and Unsettled Binaries in The Masque of Blackness (1605)

63%
Aebischer P., Sparey V.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2020
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vol. 22
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issue 37
15-36
EN
This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop existing discussions of the humoral theory that underpins the masque’s representation of racial identities. We suggest that the Queen’s pregnant performance in blackface, by reminding the viewer that her maternal mind could ‘will’ the racial identity of royal progeny into being, had the power to unsettle King James I’s white male nationalist supremacy in the very act of celebrating it before their new English court and its foreign guests.
7

Architektura, scenografia, przestrzeń w refleksji filmowej Mariana Wimmera. Komentarz

63%
Rutkowska T.
Kwartalnik Filmowy
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2023
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issue 123 Tempo i rytm
208-213
PL
Redakcja „Kwartalnika Filmowego” rozpoczyna cykl przedruków archiwalnych artykułów pochodzących z pierwszej edycji pisma, wydawanej w latach 1951-1965. Celem projektu jest odtworzenie dziejów polskiej myśli filmowej i przypomnienie najciekawszych dokonań dawnych autorów, wraz z komentarzem, który rekonstruuje kontekst ich powstania i sytuuje je wobec współczesnych tendencji teorii i historii filmu. Marian Wimmer był architektem, zajmował się też teorią architektury i sztuki. Interesowała go zwłaszcza kwestia przestrzeni, w tym także przestrzeni filmowej. Autorka rekapituluje jego dokonania w tej dziedzinie, wskazując na zainteresowanie pozycją widza oraz zasadami odbioru i percepcji dzieła filmowego, co potem zostało rozwinięte w nurcie kognitywistycznym i neoformalistycznym teorii filmu. (Materiał nierecenzowany).
EN
The editors of Kwartalnik Filmowy begin a series of reprints of archival articles from the journal’s first edition, published in 1951-1965. This project aims to recreate the history of Polish film thought and re-establish the most significant achievements of past authors, accompanied with a commentary that reconstructs the context of their work and situates them against contemporary trends in film theory and history. Marian Wimmer was an architect who also dealt with architectural and art theory. He was particularly interested in the problem of space, including film space. The author recapitulates his achievements in this field, pointing to his interest in the viewer’s position and the principles of reception and perception of a film work, which later developed in the cognitive and neoformalist trend of film theory. (Non-reviewed material).
8

Architecture, Set Design, and Space in Marian Wimmer’s Film Reflection: A Commentary

63%
Rutkowska T.
Kwartalnik Filmowy
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2023
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issue 123 Tempo i rytm
214-219
EN
The editors of Kwartalnik Filmowy begin a series of reprints of archival articles from the journal’s first edition, published in 1951-1965. This project aims to recreate the history of Polish film thought and re-establish the most significant achievements of past authors, accompanied with a commentary that reconstructs the context of their work and situates them against contemporary trends in film theory and history. Marian Wimmer was an architect who also dealt with architectural and art theory. He was particularly interested in the problem of space, including film space. The author recapitulates his achievements in this field, pointing to his interest in the viewer’s position and the principles of reception and perception of a film work, which later developed in the cognitive and neoformalist trend of film theory. (Non-reviewed material).
PL
Redakcja „Kwartalnika Filmowego” rozpoczyna cykl przedruków archiwalnych artykułów pochodzących z pierwszej edycji pisma, wydawanej w latach 1951-1965. Celem projektu jest odtworzenie dziejów polskiej myśli filmowej i przypomnienie najciekawszych dokonań dawnych autorów, wraz z komentarzem, który rekonstruuje kontekst ich powstania i sytuuje je wobec współczesnych tendencji teorii i historii filmu. Marian Wimmer był architektem, zajmował się też teorią architektury i sztuki. Interesowała go zwłaszcza kwestia przestrzeni, w tym także przestrzeni filmowej. Autorka rekapituluje jego dokonania w tej dziedzinie, wskazując na zainteresowanie pozycją widza oraz zasadami odbioru i percepcji dzieła filmowego, co potem zostało rozwinięte w nurcie kognitywistycznym i neoformalistycznym teorii filmu. (Materiał nierecenzowany).
9

Myśli o scenografii filmowej

63%
Wimmer M.
Kwartalnik Filmowy
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2023
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issue 123 Tempo i rytm
164-185
PL
W ujęciu Wimmera scenografia jest plastycznym tłem akcji dramatu teatralnego lub filmu. Bohater w działaniu nadaje jej energię i określa jej funkcje. Przestrzeń teatralna była niegdyś nieruchoma, zdynamizował ją dopiero Gordon Craig, wykorzystując grę świateł. W filmie natomiast zostaje wykorzystana przestrzeń dynamiczna, ale to nie ze scenografią ma tu do czynienia widz, lecz z jej fotografią. Wimmer zwraca uwagę na to, jak odbiorca percypuje przestrzeń filmową, angażując zmysły, wrażliwość, emocje, grę skojarzeń i intelekt. Punktem centralnym są według niego bohater i jego działania w środowisku, które zawiera znacznie więcej informacji, niż dzieje się to w przypadku teatru. Jak pisze badacz – krajobrazy i aktorzy łączą się w akcji na zasadzie harmonii lub kontrastu. Wimmer analizuje ponadto takie czynniki jak: fabuła, ruchomy obraz, kompozycja kadru, montaż oraz ich związek ze scenografią i konstrukcją przestrzeni. (Materiał nierecenzowany; pierwodruk: „Kwartalnik Filmowy” 1963, nr 52, s. 3-15).
EN
Set design, in Wimmer’s view, is the visual background to the action of a drama or film, to which the character in his action gives energy and determines its function. The key elements of this background are: space, its architectural layout, and the objects that fill it. Theatrical space was static. It was Gordon Craig who dynamized it using the play of light. The film uses a dynamic and variable space, but it is not the set design that the viewer is dealing with here, but its photography. Wimmer pays attention to how the viewer perceives the film space by engaging the senses, sensibility, emotions, associations, and the intellect. Wimmer identifies the eye of the viewer with the eye of the camera. The focal point is the protagonist and his actions in the environment that contains much more information (of social and psychological nature) than the background in the theatre. As he states, spatial landscapes and actors come together in the movement of the action by way of harmony or contrast. From this point of view and referring to specific examples, Wimmer analyses such factors as plot, moving image, frame composition, editing, and their relationship to set design and space construction. He invokes Aldous Huxley’s metaphor describing film drama as a wide river full of whirlpools. It is the film space that forms the basis of its continuity. (Non-reviewed material; originally published in Kwartalnik Filmowy 1963, no. 52, pp. 3-15).
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