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Ladies and Ladies

100%
Kwaśniewska M.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 155
1-21
PL
Z Oksaną Czerkaszyną rozmawia Monika Kwaśniewska
2
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Czy mam prawo do wątpliwości?

100%
Kwaśniewska M.
Didaskalia. Gazeta Teatralna
|
2021
|
issue 161
314-325
PL
Teatr Nowy Proxima w Krakowie Spektakl dyplomowy, czyli kilka piosenek o przemocy w teatrze muzyka: Karol Osman, autor tekstów: Andrzej Błażewicz (w spektaklu wykorzystano satyryczny utwór Adekwatnie autorstwa Łukasza Borkowskiego), wokal, inicjatorka tematu: Karolina Szczypek, wokal, gitara basowa: Magdalena Dębicka, wokal, pianino: Konrad Cichoń, gitara elektryczna, wideo: Paweł Sablik, perkusja: Miguel Nieto, kostiumy: Maria Duda, konsultacja muzyczna: Annika Mikołajko, akceleracja energetyczno-sceniczna: Adrianna Kurzawa, choreografia: Tobiasz Berg premiera: 25 września 2020
3
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Dlaczego przestały milczeć? Dlaczego zostały wysłuchane? Afektywna analiza #metoo w Teatrze Bagatela

100%
Kwaśniewska M.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 159
1-41
EN
The article analyses the media coverage of the accusations of sexual harassment and mobbing made against Henryk Jacek S., a long-time director of the Bagatela Theatre in Krakow, by its female employees. Based on the employees’ statements, the author tries to describe the situation in the theatre before the case was exposed. She refers to the category of ‘ugly feelings’, created and explored by Sianne Ngai, and specifically, to the affect of animatedness, which is characterised by particularly limited agency and the blurring of the boundary between the inside and the outside. The moment when the female employees broke the silence is associated by the author with the affect of disgust (as defined by Sara Ahmed) and the related revulsion and nausea. She also examines how this affective dynamic has influenced the women’s agency and effectiveness in relation to the recipients of their public appearances.
4

Nie wiem, co to znaczy być aktorem

100%
Kwaśniewska M.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 156
1-14
PL
Z Mamadou Góo Bâ rozmawia Monika Kwaśniewska
EN
Mamadou Góo Bâ In Conversation With Monika Kwaśniewska
5
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Taniec dla teatru przyszłości: Czytając Isadorę Duncan

100%
Kwaśniewska M.
Pamiętnik Teatralny
|
2021
|
vol. 70
|
issue 1(277)
11-35
EN
The author analyzes Isadora Duncan’s ideas expressed in her lecture “The Dance of the Future,” setting them against the backdrop of the manifestos and concepts of Adolphe Appia, Edward Gordon Craig, and Konstantin Stanislavsky, who shared her interests and/or knew her personally. The marginalisation of Isadora Duncan in theater history is interpreted in the article as resulting from the patriarchal character of twentieth- and early twenty-first century theater, based on the cult of great masters. Revisiting Duncan’s ideas is thus a step towards revising historical narratives and speculatively expanding the choice of traditions. Referring to feminist theories, institutional critique, and disability studies, the author identifies the progressive elements of Duncan’s thinking that correspond to innovative trends in contemporary theater and performance practices.
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