Search results

1

Fenomenologia przedstawienia

100%

Szturc W.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 1(253)

32-48

EN

In his article, the author examines the possibility of undertaking a new way of conceptualising the theatre performance, the way defined as phenomenological theatrology. Admittedly, the methods and tools of phenomenology in reference to theatre have been discussed in theatre studies several times. Such reflexion drew inspiration from Roman Ingarden’s theory of the literary work of art (more often) and (less frequently) from his theory of the theatrical piece. Ingarden’s philosophy was discussed and applied only selectively, with emphasis on the so-called stratification of the work of art (Stefania Skwarczyńska, Sławomir Świontek, Tomasz Kubikowski), even though its influence made itself apparent in the way that the structure of perception was appropriated for the so-called “aesthetic situation” by Maria Gołaszewska or in the way drama theory was set in the context of Roman Ingarden’s theory of theatre as consti-tuting the multi-material works of art (Janina Makota). For many reasons, the author believes that a more comprehensive reflexion on the phenomenology of the theatrical piece has been brought by works reporting the state of phenomenological research on the spectacle (Małgor-zata Różewicz) or by synthetic studies of the whole oeuvre of the Polish phenomenologist that treat it as one of the key areas of cognition left by the 20th-century Polish aesthetic thought, with an epistemological import as well (Irena Sławińska). An important contribution of phenomenology as a “truly scientific philosophy” to the study of spectacle was the theory of perception (Merleau-Ponty’s phenomenology of commu-nication), the fact recently brought to attention by Dobrochna Ratajczak. What serves as its foundation is the intentionality indicating the model of experiencing the theatrical piece (a priori, but in relation to the subject’s intuition, stimulated by exposure to the work of theatre) where the piece is made up of unconcretised entities reduced to their basic sense that are be-ing further determined in the process of perception of the whole work. This point of view is, according to the author, just a prologue to constructing the communicative situation but it is not the proper ground for phenomenology itself as directed to cognition of the theatrical piece in all of its different shapes, including public rehearsals and various forms of performances. In devising his project of phenomenology of theatre performance (not “spectacle” or “theatrical piece”), the author harks back to the source texts by Edmund Husserl and Martin Heidegger (and, thus, omits the reflexions of Ingarden as insufficient for the study of theatre) and delineates a methodological model consistent with the programme of going “back to the things themselves” (without resentments, presuppositions, and interpretations) and based on the principle of intuition as a viable way of describing a performance that dictates its own order. Phenomenology of theatre performance starts out with cognition of the thing itself “given to watch” which, “unfolding before the viewer”, constitutes itself as a schema of the phenomenon that is being concretised as the experience progresses. In the profound study of Husserl’s methodology lies the key to restoring theatrology as a descriptive science laying foundations for the study of theatre as an a posteriori science based on a phenomenologically understood analysis of theatre performance.

2

Pudełko ze szminkami. Warsztat charakteryzatorski aktora w XIX wieku

88%

Jarzębek-Wasyl D.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 3-4(255-256)

143-179

EN

The nineteenth-century actor was the creator of his art, i.e. the role, in its entirety. The actors and actresses were responsible not only for the elocution they adopted, but also for the costumes and external transformation of their bodies they employed. The art of theatrical makeup, which encompasses makeup, hairdressing and the overall physical transformation of the actor’s body, is the subject matter of this article. The text commences with an analysis of the products used for theatrical makeup. While at the beginning of the 19th century, the typical makeup box of an actor had only three containers (for white face powder, rouge, and black), a hundred years later the artists of the stage could choose from a wide array of factory-made cosmetics, makeup and makeup removal products, supplied, for example, by the Leichner company in Germany. The course of typical and necessary treatment of the face is another matter. Beautifying cosmetic procedures were followed by sophisticated hairdressing, wig attachment and even elements of moulding and sculpting. Application of artificial noses, chins, cheeks, ears, foreheads, or bald spots was a mask-making technology of sorts. All these actions had ideological foundations; e.g. thick hair on a man was a cultural sign of elegance and seriousness, while a white feminine complexion signified delicacy and gracefulness of the fair sex. The way that face features of a character were modelled out relied not so much on empirical observation guided by an intention to “sculpt the man” from the outside as on the contemporary anthropological knowledge, a framework of aesthetic and axiological concepts that defined how human beings were perceived. Finally, there is yet another issue: the act by which the actor is putting on makeup before going onstage constitutes an ambiguous ritual with dangerous consequences.

3

Sport and Art: Differences and Theatrical Similarities

75%

Kosiewicz J.

Physical Culture and Sport. Studies and Research

|

2014

|

vol. 63

|

issue 1

69-87

EN

A certain tradition of philosophical considerations on the interrelation between sport and art has already been established. According to Tim L. Elcombe (Elcombe, 2012, p. 201), such considerations on the subject first appeared in English-language literature in the 1970s and 1980s, and were fruitful. Usually, they appear together with questions on the aesthetic properties of sport - in this case, a special issue of the Journal of the Philosophy of Sport dedicated to ―Sport and Aesthetics‖ (2012, vol. 39, no. 2), and an excellent postdoctoral dissertation by Jakub Mosz entitled ―Estetyczne aspekty uczestnictwa w sporcie‖ (English: Aesthetic aspects of participation in sports) may serve as good examples. In his article (Elcombe, 2012), Tim L. Elcombe describes the contention and briefly characterizes the main differences between the two opposing viewpoints (Elcombe, 2012, pp. 202-204). It should be noted that he sympathizes with the view of David Best, who some years ago argued that sport is not art (1988, pp. 527-539). He believes that ―although art could use sport as a subject, art could not be the subject of sport‖ (Elcombe, 2012, p. 202). I would like to make that statement more specific by adding that its second part suggests that the display of artistic values cannot be the fundamental purpose of sport. I shall expand on that later. Best's viewpoint was criticized by Jan Boxil (1988), Spencer Wertz (1988), and Terry Roberts (1995), who believed that sport could be treated as art. Christopher Cordner (1995a; 1995b) and Joseph Kupfer (1988) also challenged Best, although they did not entirely disagree with him (see: Elcombe, 2012, pp. 202-204). Because literature on the subject published in English presents diversified statements on the interrelation between sport and art, and the circle of people engaged in the matters of physical culture in Poland is still in favor of equating sport with art, I have decided to present my own stance on that matter.

Refine search results

2 Pamiętnik Teatralny

1 Physical Culture and Sport. Studies and Research

1 Jarzębek-Wasyl D.

1 Kosiewicz J.

1 Szturc W.

2 2015

1 2014

Fenomenologia przedstawienia

Pudełko ze szminkami. Warsztat charakteryzatorski aktora w XIX wieku

Sport and Art: Differences and Theatrical Similarities