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Czego chce film na scenie? Analiza trzech przypadków

100%
Fazan K.
Kwartalnik Filmowy
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2014
|
issue 87-88
114-126
PL
Ekspansja obrazów filmowych w teatrze prowokuje do zadawania pytań o sens ich obecności, o różne relacje między żywym a zarejestrowanym planem inscenizacji. Artykuł jest okazją do poszukiwania adekwatnych teorii, które pozwolą analizować złożone techniki scenicznego obrazowania, idącego od powtórzenia, iluzji, gry z percepcją do utrwalenia i rozproszenia scenicznej cielesności. Interpretacja wybranych przykładów zmierza do odpowiedzi na pytanie, czego chcą (wedle formuły W. J. T. Mitchella) obrazy filmowe na scenie. Odwołując się do trzech autorskich teatrów Krystiana Lupy, Krzysztofa Warlikowskiego i Krzysztofa Garbaczewskiego, autorka próbuje w trybie analizy prześledzić wybrane strategie reżyserów, którzy posługując się nagraniem i kamerą, filmem cytowanym i własną dramaturgią, odmienili i skomplikowali formy żywej obecności na scenie. Nowoczesne praktyki wizualności zmuszają także do poszukiwania nowych narzędzi opisu fenomenów teatralnych o niejednorodnej strukturze przekazu. W przypadku konkretnej praktyki wydaje się ciekawe nie tylko mechaniczne przeniesienie filmu w obszar sceny, lecz także wykorzystanie materii filmowo-kinowej jako inspiracji i zasobu konwencji, które de(kon)struują tradycyjne środki teatralne.
EN
The growing presence of film images on stage makes one question the sense and meaning of their being there, the relations between what is live and recorded. In the article adequate theories are sought that would help to analyse complex scenic imaging techniques, ranging from repetition, illusion, playing with perception, to dispersion and consolidation of corporeality on stage. Analysis of selected examples aims to answer the question (according to W. J. T. Mitchell’s formulae) what is the purpose of film images on the stage. The author refers to the theatres of Krystian Lupa, Krzysztof Warlikowski and Krzysztof Garbaczewski, and analyses the directors’ strategies of their use of recorded film, camera, film citations and their own dramaturgy, and how they changed and made more complex the form of life presence on the stage. The modern visual practices force one to search for new tools to be used in the description of the theatre phenomena which do not have a unitary structure. What appears interesting is not simply the direct placing of film on the stage, but the use of film material as an inspiration and a source of conventions that de(con)struct traditional theatrical agents.
2
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Szekspir współczesny i (po)nowoczesny. Ekranizacja jako historyczna dekonstrukcja dramatu (O książce Olgi Katafiasz Shakespeare i kino. Strategie adaptacyjne i ich konteksty społeczno-kulturowe)

100%
Fazan K.
Wielogłos
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2014
|
issue 1(19)
PL
Contemporary and postmodern Shakespeare. Film as historical deconstruction of drama The article is a review of the book: Shakespeare and Cinema. Adaptation Strategies and their Socio-Cultural Contexts (Shakespeare i kino. Strategie adaptacyjne i ich konteksty społeczno-kulturowe) by Olga Katafiasz. In this book the Author analysis 28 chosen film version of Shakespeare dramas adopted by famous directors in 1935–2011. Katafiasz examines especially strategies of adaptations reading in esthetical, political and historical dimensions. The article refers to order of the book which was determined mainly by chronology and begins with Max Reinhardt’s and William Dieterle’s A Midsummer Night’s Dream (1935); then analyses the  adaptation strategies prevailing in movies directed by: Laurence Olivier, Orson Welles, Grigorij Kozincev, Akira Kurosawa, Roman Polański, Kenneth Branagh, Peter Greenaway, Richard Loncraine, Baz Luhrmann, Julie Taymor, Ralph Fiennes and Michael Radford; Ernst Lubitsch’s To Be or Not to Be (1942) and Alan Johnson’s To Be or Not to Be (1983). The review discusses (among others) the methodology of the book based on Harold Bloom’s idea  so called: ‘the anxiety of influence’, accompanying – as suggests Katafiasz – the creativeprocess of film based on Shakespeare’s plays.
3
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Monumenta polskiej scenografii. Ustawienia – odsłonięcia – obchody

100%
Fazan K.
Didaskalia. Gazeta Teatralna
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2023
|
issue 175-176
502-550
EN
The article entitled Monumenta polskiej scenografii. Ustawienia-odsłonięcia-obchody is a discussion of the important publication Zmiana ustawienia. Historia polskiej scenografii teatralnej i społecznej XX i XXI wieku (A change of setting. History of the Polish theatre and social scenography in the 19th and 20th centuries) edited by D. Buchwald and D. Kosiński. In the three parts, entitled Settings, Unveilings and Celebrations, the author refers to the methodological assumptions of the project, analyses the contribution of each author to the ambitious research project and reflects on the inclusion of socio-political issues in the study of theatre aesthetics. The author acknowledges the groundbreaking nature of this achievement, crowned with an important scenography exhibition at the Zachęta Gallery in Warsaw authored by Robert Rumas, and enters into polemics with the individual concepts of set design analysis and reflects on the value of the work as a synthesis covering ‘the entirety of Polish scenography’ from the late 19th century to the present day.
4
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Widmokręgi Lupy

100%
Fazan K.
Didaskalia. Gazeta Teatralna
|
2024
|
issue 183
85-122
EN
Lupa’s Widmokręgi is an essay exploring the relationship with literature as the dramaturgical basis for Krystian Lupa’s two 2024 productions of Balconies. Love Songs (Balkony – pieśni miłosne; from the Polish Underground Theatre in Wroclaw) and Les Émigrants (The Emigrants), ultimately staged at the Odeon in Paris. The essay starts by framing the director’s assumptions as complex biographical narratives using writings by Federico García Lorca and John Maxwell Coetzee in the first case and the staging of W. G. Sebald’s short stories from the volume The Emigrants in the latter one. An important role in these dramaturgies is played by the montage of non-obvious narrative structures rooted in the sought-after biographies of the characters: real and fictional characters. The author assumes that the plays can be written about together because they show a significant turn in the director’s substantive and aesthetic interests; they prove the historical and political engagement and the expansion of staging with cinematic parameters. The essay introduces concepts relevant for both stage performances, such as ‘prosthetic biography’ and ‘empathetic archaeology’ regarding the way of using literary sources and working with actors as co-creators of the staging.
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