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Między globalnością a lokalnością National Theatre Live i uniwersalizowanie teatralnego zdarzenia

100%
Lachman M.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 159
1-25
EN
The article examines film productions of London’s National Theatre, which are based on its most famous performances. The author discusses the techniques used to produce cinematic versions of the plays and analyses the methods of re-creating the theatrical experience as well as the way it affects the models of theatre reception. His starting point is the thesis that this form of transmitting the theatrical experience serves to impose a specific, mainstream cultural model whose impact is strengthened by the use of new media. Subject to the media treatment, the theatrical experience becomes more intense and gives the spectator an illusion of more direct contact with the work than a traditional visit to the theatre. The processed experience has the potential to create new cultural models whose predominant characteristic is the pleasure of reception.
2
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Drunken Language, Elliptical Politics: Caryl Churchill’s Oblique Protest Theatre

88%
Jones M.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2018
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vol. 5
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issue 1
11-20
EN
Can “political theatre” exist in today’s political climate? In the last few decades, our understanding of politics and theatre has undermined the basis on which prior generations of artists conceived of both politics and theatre. Caryl Churchill’s Drunk Enough to Say I Love You? sits at the intersection of critiques of dramatic theatre and new forms of post-dramatic, non-representational performance. The play tells the story of a man, Guy, who falls in love with a country, Sam, and critics have largely seen the play as an allegory for the “special relationship” between Britain and the United States. But while the play riffs on that metaphor, it also includes aspects that work against a political reading. Churchill’s depiction of the relationship as a sincere gay love affair raises questions about what it means to say that politicians are “in bed together.” As the play develops, the political critique and the personal relationships seem to work against each other, and the play becomes an elliptical invitation to think political theatre anew.
3
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Looking Back at the Audience: The RSC & The Wooster Group’s "Troilus and Cressida" (2012)

63%
Mancewicz A.
|
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.
4
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Przestrzeń idei, edukacji I dialogu społecznego czyli teatr anglosaski wobec kryzysu ekologicznego

51%
Suwalska-Kołecka A.
Społeczeństwo. Edukacja. Język
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2021
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vol. 14
227-238
EN
The chief aim of this article is to present the main developments in ecological thought and practice that have influenced British and American theatre in the past three decades. Although eco-criticism had attracted many keen followers and public environmental awareness had grown rapidly in recent years, theatre remained silent on green issues for a long time despite its political engagement in other areas. When at last theatre turned green, its voice is powerful and inspiring. Theatre uses its collective character to foster a feeling of shared responsibility and to create space that transformsinto one of the major characters of the performance. Moreover, dystopian visions of the ecological catastrophe that brings famine and destruction presented on stage are thought-provoking and highly persuasive. Theatre interconnects artists and audiences and uses its capacity to raise environmental awareness and to bring about behaviour change. In this way, theatre is able to affect social and political change.
PL
Celem tego artykułu jest zarysowanie głównych nurtów działalności teatru anglojęzycznego w ciągu ostatnich trzech dekad na rzecz ochrony przyrody. Chociaż eko-krytyka zdobywała rzesze kolejnych wyznawców a świadomość zagrożeń ekologicznych obejmowała stopniowo wszystkie sfery działalności człowieka, teatr przez wiele lat nie podejmował tematów ekologicznych, mimo swojego zaangażowania politycznego w innych sprawach. Kiedy w końcu teatr zabarwił się na zielono, jego głos w tej sprawie jest zdecydowany i inspirujący. Wykorzystał on wspólnotowy charakterteatru do tworzenia przestrzeni, która jest jednym z głównych bohaterów przedstawienie a dystopijne wizje katastrof ekologicznych niosących głód i zagładęmają ogromną siłę rażenia. W ten sposób działalność artystyczna aktywnie kreuje świadomość ekologiczną swoich odbiorców a teatr nabiera społecznej i politycznej sprawczości.
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