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1

Pierwszy sezon Teatru Narodowego w Toruniu Dyrekcja Franciszka Frączkowskiego (1920/21)

100%

Duda A.

Rocznik Toruński

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2016

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issue 43

73-106

PL

Artykuł dotyczy kulis powstania Teatru Narodowego w Toruniu oraz przebiegu sezonu teatralnego 1920/21, repertuaru i zespołu prowadzonego przez dyrektora Franciszka Frączkowskiego. Odwołując się do akt z Archiwum Państwowego w Toruniu, prasy polskiej i niemieckiej z początku XX wieku oraz teatrologicznej literatury przedmiotu, autor stara się weryfikować tezy Stanisława Kwaskowskiego i pokazać drogę do utworzenia polskiego teatru, znaczenie pierwszej polskiej sceny publicznej w historii Torunia w nowym świetle: w wymiarze pracy reżyserów i aktorów, a także jakości przedstawień przez nich tworzonych. Przyjęta perspektywa performatyczna pozwala spojrzeć nie tylko na przedstawienia teatralne, ale także różnego rodzaju performanse publiczne, za pomocą których torunianie mogli wyrazić swoje przekonania i emocje w jednym z najważniejszych w historii miasta momentów dziejowych.

EN

The article concerns the background of the creation of the National Thea-tre in Toruń, the theatrical season in the years 1920 –1921, the repertoire of the theatre and the team headed by Director Franciszek Frączkowski. Referring to the files of the State Archive in Torun, the Polish and German press from the beginning of the 20th century and the theatrological literature of the subject matter, the author attempts to verify the thesis by Stanisław Kwaskowski and show the process of the creation of the Polish theatre, the significance of the Polish public theatre in the history of Toruń in the new light: in terms of the directors’ and actors’ work, and the quality of performances created by them. The performative perspective allows us to look not only at theatrical perfor-mances, but also at various kinds of public performances through which in-habitants of Toruń could express their beliefs and emotions in one of the most important historical moments.

DE

In dem Artikel geht es um die Entstehung des Nationaltheaters in Thorn und um den Verlauf der Theatersaison 1920/21, um das Repertoire und das Ensemble, das von Franciszek Frączkowski als Intendanten geleitet wurde. Der Autor stützt sich auf Akten aus dem Staatsarchiv in Thorn, der polnischen und deutschen Presse vom Beginn des 20. Jahrhunderts und auf die theater-wissenschaftliche Literatur zum Thema. Dabei ist er bemüht, die Thesen von Stanisław Kwaskowski zu verifizieren und den Weg zur Eröffnung des pol-nischen Theaters sowie die Bedeutung der ersten öffentlichen polnischen Bühne in der Geschichte Thorns in neuem Licht darzustellen. Er befasst sich mit der Arbeit der Regisseure und Schauspieler ebenso wie mit der Qualität der von ihnen gestalteten Aufführungen. Aus dieser performativen Perspek-tive lassen sich nicht nur die Theateraufführungen betrachten, sondern auch öffentliche Aufführungen verschiedener Art, mit deren Hilfe die Thorner ihre Überzeugungen und Emotionen in einem der wichtigsten historischen Momen-te in der Geschichte der Stadt zum Ausdruck bringen konnten.

2

For a feminist gender horizon in productions and studies on men and masculinities in the performing arts

88%

Péclat C. P., Ferracini R.

Didaskalia. Gazeta Teatralna

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2022

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issue 171

102-127

EN

Taking as a starting point the construction of the conceptual framework of gender produced by the Brazilian authors Benedito Medrado and Jorge Lyra, the present article brings as a central focus the discussion on the creation of strategies, principles and methodological horizons for the insertion of masculinities in the scene. Developing the issue of the need for a welcoming of masculinities in the scenic activity beyond a simple opportune thematic interest for the construction of performances and plays, the authors propose the creation of clues/principles that can be developed so that masculinities enter the scene under a perspective of political and careful awareness of gender issues that goes beyond a dichotomous and binary model of power relations, resulting from a universalizing stereotyping of being a man and being a woman. The authors also include in their observation the creation of an expanded artistic territory where the work does not close in on itself and includes artistic proposals linked to intersectional factors (such as race, class, age, sexuality and coloniality) that constitute the relations of gender consider the vast and complex production of multiple masculinity models.

3

Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012

75%

Rogers J.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2019

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vol. 19

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issue 34

55-70

EN

This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.

4

To Face or Not To Face the Audience: Performing Styles

75%

Banu G.

Human and Social Studies

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2014

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vol. 3

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issue 1

61-77

EN

This paper proposes a series of theoretical considerations on the performing styles used in contemporary theatre, according to the relationship the actor establishes with the audience. If Diderot was the first to question frontal relationship, and asked the performer to ignore the spectator, this programme will only be accomplished one hundred years later, with the emergence of the director. Later on, theoreticians such as Meyerhold, Vakhtangov or Copeau will ask for a partial return to performing facing the audience, as a sign of the return to the theatrical tradition dominated by the exigencies of the stage and not by those of the truth. With Piscator and Brecht theatre rediscovered frontality, as a sign of the wish to engage the auditorium as an active partner of dialogue. The author discusses several avatars that this new frontality acquires in presentday theatre.

5

Uvedení divadelní hry Rolfa Hochhutha „Náměstek“ v Československu

63%

Turynová M.

Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

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2017

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vol. 25

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issue 1

261-278

EN

The author's study focuses on the controversial play Náměstek (The Deputy; Der Stellvertreter, 1963) by Rolf Hochhuth, which portrays Pope Pius XII. as cold, anti-Semitic and pro-Nazi leader, motivated almost exclusively by material and financial interests of Holy See. Communist regimes were eager to retrieve Hochhuth's approval with performance of the play behind the Iron Curtain, as the play was very useful propaganda tool against the Roman Catholic Church. After some hesitation, Hochhuth gave his consent. Study focuses on the production (of Divadlo Vítězného Února in Hradec Králové, Divadlo na Vinohradech in Prague and Státní divadlo v Brně) and public perception of Hochhuth's play, as well as its treatment by the communist propaganda.

6

Being European: "Hamlet" on the Israeli Stage

51%

Barzilai R.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2020

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vol. 21

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issue 36

27-53

EN

One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society-and was indeed understood abroad as doing so-Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and-only finally-a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

7

Noty o książkach

51%

Kisiel M., Maraś A.

ER(R)GO: Teoria – Literatura – Kultura

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2016

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issue 32

EN

Critical notes on: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), pp. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), pp. 384.

PL

Noty krytyczne poświęcone następującym książkom: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), ss. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), ss. 384.

8

La purification ardente et l’échec. Antonin Artaud lu par Josep Palau i Fabre

51%

Castella-Martinez S.

Cahiers ERTA

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2023

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issue 33

69-93

EN

Antonin Artaud’s « Théâtre de la cruauté » consists in the extreme display of the conflictive nature of the world. The Catalan poet Josep Palau i Fabre highlighted the poetic and negative dimensions of Artaud’s project and insisted on its failure, addressing its impossible objectivation and its similarity with alchemy. The article aims to identify the central elements of Palau’s interpretation, annihilation and debirth, and to assess their inscription in an experimental poetics proposal inspired by alchemy.

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2 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Cahiers ERTA

1 Didaskalia. Gazeta Teatralna

1 ER(R)GO: Teoria – Literatura – Kultura

1 Human and Social Studies

1 Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

1 Rocznik Toruński

1 Banu G.

1 Barzilai R.

1 Castella-Martinez S.

1 Duda A.

1 Ferracini R.

1 Kisiel M.

1 Maraś A.

1 Péclat C. P.

1 Rogers J.

1 Turynová M.

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1 2020

1 2019

1 2017

2 2016

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