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Rozważania o teatrologii. Próba opisu sytuacji

100%
Pamiętnik Teatralny
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2014
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vol. 63
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issue 1-2(249-250)
55-64
EN
In order to determine what has happened with Polish theatrology and what the chances of changing its situation are, one needs to go back to the year 1913, to the programmatic text Nowy kierunek badań teatrologicznych (A New Direction in Theatrological Research) by Leon Schiller, and take a look at the origins of the discipline in high modernist thought. It is so, because theatrology owed its existence to the so-called high modernism that conceived it as a high cognitive act having an autonomous art as its object, which had its correlate in the concept of autonomous aesthetic experience. Aesthetics constituted a line of defence against commercialisation of art, and institution became the new discipline’s hero. Theatrology was founded on several myths, which in turn formed its prison: they included the myth of the theatre as a temple of art, the myth of pure art, and the summaries myth of the auratic work of art. Thus, the process of its transformations had to be triggered by the changes taking place in the artistic reality, i.e. by art itself and by aesthetics, which turned into anaesthetics; it had to become dependent on the development of new media, the emergence of new relations between man and technology, the validation of everyday life, and a number of related turns and breakthroughs in various fields of academic research and science. All of this has resulted in reconfiguring the discipline of theatrology and expanding its borders. A rough outline of the fields claimed and cultivated by today’s theatrology looks interesting. There are two types of historical research: one that prolongs the existence of the old history of theatre, still closed within the walls of institutions and aesthetics, which I call the history of the first degree; and a new history of the second degree, consisting of various other historical narratives, in which theatre turns out to be a phenomenon encompassing diverse regions of activity and collective consciousness. Recent years have also shaped a broad field of new theatrology understood as an inter-discipline of maximally inclusive character, with multiple lines of research and different methodologies. Finally, a trans-disciplinary area of hybrid character has emerged, where, for example, performatics can be located. By summing up all the various tendencies present in our current research practice we can see that the big picture consists of dynamic and mobile lines of inquiry, very attractive in the multitude of possibilities it offers, which is a cultural consequence of the time.
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Dyscyplina po przejściach. O strategiach badań teatrologicznych

100%
Wachowski J.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 1-2(249-250)
65-76
EN
New challenges that theatre studies had to face in the last decades inspire one to ponder on some basic questions: What is the contemporary theatre? And in what directions is today’s acting heading? But also: How has the status of the theatre performance changed under the influence of new technologies (most notably by the means of its recording and transmission, and their presence within the performances themselves)? The answers to these (and other) questions provided by theatre scholars lead to the conclusion that we can talk about at least four distinct ways – epistemic paradigms, as it were – of tackling such issues within the discourse of theatre studies. The first may be called inclusive theatrology. Its source is the belief that everything is theatre and theatre is everywhere. The second position may be called exclusive theatrology. It originates in understanding theatre in a narrow sense, which enables one to discriminate between theatre and other spectacles (and exclude theatre from the discourse about them). The third way is of interdisciplinary character (it means constructing a discourse that is a confluence of disciplines, or to be more exact, methodological positions; there can, obviously, be several of them). The fourth, trans-disciplinary, stance seeks out narratives summaries breaking away from the customary theatrocentrism of the scholars (and readers). It is aimed at supporting independent methods of inquiry, i.e. those devoid of any methodological (often dogmatic and a priori) assumptions. Its aim is not to produce methodological-and-epistemic contaminations, but to broaden the scope of research by shedding multi-disciplinary bands of light to see the things “caughtin-between” that would otherwise go unnoticed. It seems that it is this trans-disciplinary approach that holds the most promise for theatre studies not only because it is a breeze of fresh air that broadens the scope of theatrological research and renews the discourse, but also because it brings about a change in what is meant by criteria for academic scholarship. It redefines old concepts and customary notions (relating to the scope of research and its tools), replacing them with new methodological categories. It aims at a discourse open to cognitive inspiration and responding to challenges resulting from the developments in the humanities of today.
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O “Pamiętniku Teatralnym”. Rozważania na 60-lecie

100%
Ratajczak D.
Pamiętnik Teatralny
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2012
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vol. 61
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issue 1-2(241-242)
5-31
EN
The text is an attempt at recapitulating the sixty-year history of Pamiętnik Teatralny, the first Polish theatrological periodical, and showing its place and role in Polish theatre studies. Through all these years, a lot of things have changed. For one, theatrology, non-existent at the time the periodical was established, has flourished and developed in many directions; universities have formulated curricula for the courses of study in the field; but most of all, as a result of changes affecting the humanities in general, the function and importance of theatre history have changed. It no longer encompasses the whole, extensive field of theatrology, and the tradition and traditional kinds of research are not universally accepted. The situation called for taking a closer look at the periodical which was meant to become the foundation Polish theatre studies, starting with its tell-tale title. Its significance was paramount, since it enabled the founders to define the horizon of the periodical, its field of research, and to determine the norm and research formula which made Pamiętnik Teatralny a kind of “external memory” not for the theatre medium but rather for theatre art. The article recounts actions of three consecutive editorial boards focusing mostly on programmatic enunciations of the editors in chief: Leon Schiller, the tandem of Bohdan Korzeniewski and Zbigniew Raszewski, and Edward Krasiński. The periodical’s programme stemmed from the modernist traditions and visions of the interwar period. The founding myth of Pamiętnik Teatralny and of the Polish theatre studies as well, comes from Leon Schiller, and his successors have remained faithful to that myth. Schiller envisaged a highly modernist formula of theatre history as an autonomous inquiry, devoted to research on great auratic art created in institutional theatre. The major goal was to prepare a synthetic history of the Polish stage, and all individual issues, whether of monographic or review character, were to serve that purpose. Thanks to the canon of values, research approaches, subjects and problems, the artistic phenomena and artists that became “heroes” of the monographic issues, Pamiętnik Teatralny has become a solid, uniform periodical of almost monolithic dimensions, untouched by some exceptions that appeared along the way. Despite the fact that the whole system worked well in the previous years, it seems that it now needs rethinking. The sixtieth anniversary is an excellent occasion to make such an effort.
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Recenzja książki Muzyczność w dramacie i teatrze, pod red. Elżbiety Rzewuskie i Jarosława Cymermana (Lublin, 2013)

100%
Wołowski W.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 1-2(249-250)
278-288
EN
The review of Muzyczność w dramacie i teatrze, ed. Elżbieta Rzewuska and Jarosław Cymerman (Lublin: Wydawnictwo UMCS, 2013) has been devised as a fairly detailed overview of this valuable synthetic work. Since the work is a product of collective effort which entails its heterogeneous nature, a “cross-fire” strategy of description seems to be most effective. Hence, a linear description (most of the articles are dealt with separately) has been combined with a synoptic view to pinpoint the thematic dominants and offer some general comments. The participants in the project represent a wide range of research interests, which means that the articles collected in the book touch upon most of the ways in which musicality manifests itself in theatre and discuss various filiations and interferences between these two symbiotic and yet different media. Somewhat correlated with the chronological order of contents, basic aspects of how musicality functions in theatre are featured, including: musicality manifesting itself in discourse and prosody; musicality in the form of particular compositions or effects present in a text or show, or as a subject matter; musicality that results from projecting some structures characteristic for musical works onto a drama; and metaphysical musicality felt intuitively, resounding between words, or present in music-inspired references to the categories of harmony of the world and cosmos. The book starts with a body of texts with a theoretical strand that indicate some limitations of the area of research (i.e. incompatibility of concepts), its deficits (a lack of the musicologist view on theatre), phenomena that have not been researched yet (i.e. the history of librettos), and some peculiar fusion forms (Schaeffer’s theatre). Then the readers have a chance to look into numerous key elements of the broad array of musical interferences into the world of theatre. The basic groups of problems focus on such issues as opera and masque, Chekhov’s mood-evoking phrasing, the sounds of radio plays, music arranged for theatre shows, Kantorian rhythm, the musical spirit of the Gardzienice, reception of music by some theatre critics, and even campanology (functions of bells).
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Lokacje teatralne w cyfrowych grach fabularnych jako przyczynek do refleksji nad remediacją teatru w obrębie gier komputerowych

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Kłeczek J., Uniwersytet Adama Mickiewicza W. F. P. i. K., mgr Jakub Kłeczek — absolwent Wiedzy o Teatrze UAM w Poznaniu; doktorant Wydziału Filologii Polskiej i Klasycznej UAM; autor pracy magisterskiej „Teatr i gry cyfrowe wobec zjawiska remediacji”; w polu jego zainteresowań znajdują się remediacje teatru w obrębie nowych mediów t. g. f. L. i. c.
Replay. The Polish Journal of Game Studies
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2014
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vol. 01
EN
Digital games and theatre seem to have similar identity. This may be observed in similar art techniques used in both media. The aim of this paper is to demonstrate how theatre as a medium is represented in digital games. Analysis of selected games using theatrological methods shows the ludological problem of immersion in a new and interesting way. The subject of study is theatrical video game locations in Pathologic, The Path, Final Fantasy IX and The Elder Scrolls III: Morrowind. According to the author, analysing such locations is a good starting point for the discussion about the remediation of theatre and digital games.
6
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Teatrologie v čase Priorů

51%
Topolová B.
Slovo a smysl - Word & Sense
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2020
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vol. 17
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issue 35
123-138
EN
This study analyzes the publication of the samizdat magazine Dialog, which offered a remarkably consistent and integrated diagnosis of contemporary Czech theatre in the 1970s. By identifying and critically reflecting on the theatre’s innumerable exceptional achievements and alternatives, against the background of its predominantly and unvaryingly average (and below average) offerings, the magazine searched for, formulated, and maintained the value criteria for both theatre criticism and the theatre arts. Despite the fact that after three years under trying circumstances the strength and resources of the editorial board and contributing authors were inevitably exhausted, the collection of texts presented by the magazine is undoubtedly one of the most relevant sources we have today on the theatre and productions of the period. The unsatisfactory state of other public professional critical platforms, as well as the many restrictions imposed on the daily press in the field of theatre arts, make the achievements of Dialog by comparison irreplaceable to historians today. In the broader context, the magazine can be seen as an attempt to distil the quintessence of the present through a cri tical reception of contemporary theatrical productions. A common leitmotif of Dialog, one that may be found in both its reviews and more comprehensive essays and studies, was an urgent expression of the inadequacy – or indeed the total absence – of stylistics in the theatre of its time. [*Obchodní domy Prior was a chain of state owned department stores in Normalisation era Czechoslovakia.]
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Metafory, kterými hrajeme. Perspektivy a meze české kognitivní teatrologie

38%
Havlíčková Kysová Š.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2015
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vol. 18
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issue 1
65-84
EN
The given study presents the main terms and theoretical concepts of cognitive theatrology. The author aims at making the Czech audience acquainted with the foundation texts of this relatively new branch of theatre studies which draws abundantly from other disciplines, and indicate its possible application in research. Discussion is carried on what is the use of cognitive science in theatre research, which issues it can handle, and what methodology it employs.
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