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Maja Kleczewska's 2019 Hamlet/Гамлет: a case of trans- / inter-cultural Shakespeare production in Poland thirty years after the transition

100%

Fabiszak J.

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 Special_Issue

139-150

EN

The article considers a production of Hamlet by Maja Kleczewska at Teatr Polski in Poznań in the context of formal experimentation as well as its political and social ramifications, which are inextricably intertwined. Both the reasons for and consequences of choosing the sitespecific location of the Old Abattoir in Poznań as well as the lack of the division of the production space into stage and auditorium are analysed, with reference to reception processes, the ontological status of spectators and characters as well as the comments, which the production makes on the political and social situation of Poland and Central Europe in 2019 and 2020, especially immigration and marginalised groups within Central European societies.

2

Looking Back at the Audience: The RSC & The Wooster Group’s "Troilus and Cressida" (2012)

72%

Mancewicz A.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2014

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vol. 11

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issue 26

65-79

EN

The controversy around the RSC & The Wooster Group’s Troilus and Cressida (Stratford-upon-Avon 2012) among the spectators and critics in Britain revealed significant differences between the UK and the US patterns of staging, spectating, and reviewing Shakespeare. The production has also exposed the gap between mainstream and avant-garde performance practices in terms of artists’ assumptions and audiences’ expectations. Reviews and blog entries written by scholars, critics, practitioners, and anonymous theatre goers were particularly disapproving of The Wooster Group’s experimentation with language, non-psychological acting, the appropriation of Native American customs, and the overall approach to the play and the very process of stage production. These points of criticism have suggested a clear perception of a successful Shakespeare production in the mainstream British theatre: a staging that approaches the text as an autonomous universe guided by realistic rules, psychological principles, and immediate political concerns. If we assume, however, that Troilus and Cressida as a play relies on the dramaturgy of cultural differences and that it consciously reflects on the notion of spectatorship, the production’s transgression of mainstream patterns of staging and spectating brings it surprisingly close to the Shakespearean source.

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Nedáme si diktovat, koho máme milovat(?) : o sletovém průvodu v roce 1948

37%

Frýbertová T.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2014

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vol. 17

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issue 1

52-89

EN

Focus of the present study is the Sokol gathering parade in 1948, which became a massive demonstration of disagreement with the on-setting Communist regime in Czechoslovakia. Originally meant to be a unity ritual celebrating renewal after the end of WWII, the gathering soon turned into the conflict ritual between democratic and totalitarian part of the Czechoslovak society. The aim of the study, exploring the Sokol gathering on the grounds of cultural performance theory, is to present the parade as a theatrical public event which had particular distinctive features, such as changeability in time, dialogic nature, etc. The author is especially concerned with the ways in which the schedule of the event was being alternated based on the changing socio-political situation; with the means of protesting against the Communist procedure in the parade; and the dialogic nature of the slogans chanted by the participants.

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2 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Fabiszak J.

1 Frýbertová T.

1 Mancewicz A.

1 2021

2 2014

Maja Kleczewska's 2019 Hamlet/Гамлет: a case of trans- / inter-cultural Shakespeare production in Poland thirty years after the transition

Looking Back at the Audience: The RSC & The Wooster Group’s "Troilus and Cressida" (2012)

Nedáme si diktovat, koho máme milovat(?) : o sletovém průvodu v roce 1948