Search results

1

Jindřich Honzl's texts on acting - between convention and spontaneity

100%

Musilová M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2014

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vol. 17

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issue 2

137-147

EN

The terms 'spontaneity' and 'convention' obtain different meanings in Honzl's texts devoted to issues of acting. The dynamic in the interpretation of these terms is influenced by Honzl's artistic development and also by political changes in the period of 1920s–1940s. The paper is based on the research of Honzl's personal archive that includes variations of texts, proof-read versions and notes. These enable us to gain an insight into Honzl's strategy of writing the programme and theoretical studies.

2

Jak to dobrze, że pan przeżył... Aktorstwo filmowe Jana Świderskiego

100%

GUZEK M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2016

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vol. 19

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issue 28

147-156

EN

It’s a good job you survived... Jan Świderski’s fi lm actingJan Świderski was one of the most original figures of the Polish stage. As an actor, director, theatre director and teacher he left a considerable legacy. He also enjoyed appearing on television. However, he never warmed to the idea of film. His filmography from 1947-1988 totals a mere 14 films, including one leading role. Despite this modest output, these roles do create a kind of acting strategies, which supplement his stage output in the form of counterpoint. The text presents two variants of his screen characters - the old man and the scoundrel, who were rather unsuccessful attempts at transferring the tried-and-tested theatre formula to the demanding requirements of the film set.

3

Otakar Zich on the dramatic acting:

100%

Musilová M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2020

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vol. 23

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issue 1

81-88

EN

This study deals with Otakar Zich's conception of dramatic acting as defined in his 1931 The Aesthetics of Dramatic Art and the historical context in which the concept was formed, e.g. within the first generation of Czech Modernism in the 1890s of which Zich was a member. Zich's aesthetics were influenced by (1) experimental psychology, particularly the associationism Zich adopted from his professor František Krejčí; (2) a theory of the work of art developed by first-generation Modernists under the influence of Richard Wagner; and (3) Nietzschean individualism. Coming from this background, Zich could not fully anticipate the tumultuous developments in theatre during the interwar period, especially the latest practical and theoretical innovations in the field of anti-illusionistic avant-garde acting.

4

Marilyn Monroe 1962

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Piotrowski G., Szymański K.

Kwartalnik Filmowy

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2013

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issue 83-84

36-58

PL

W kreacjach filmowych Marilyn Monroe od drugiej połowy lat 50., a zwłaszcza od początku lat 60., w ówczesnej przemianie jej fizycznego wizerunku, a także w działaniach, jakie podejmowała w celu zmiany swego statusu Piotrowski i Szymański widzą symptomy procesu wyzwalania się gwiazdy-marionetki spod dominacji reguł i oczekiwań „hegemonów hollywoodzkiego spektaklu”. Na podstawie ostatniego, niedokończonego filmu Monroe "Coś trzeba dać" oraz jej sesji zdjęciowych z 1962 r. – Berta Sterna dla „Vogue’a” i George’a Barrisa dla „Cosmoplitan” – autorzy analizują , w jaki sposób Monroe wybijała się na twórczą (i kobiecą) autonomię poprzez zmianę sposobu używania swej dojrzałej, naznaczonej wiekiem i doświadczeniami cielesności jako narzędzia ekspresji aktorskiej. W 1962 r. następuje wyraźny odwrót od MM jako gwiazdy, seks-symbolu, metafory czy idei w kierunku Marilyn Monroe – aktorki, dojrzałej i niezależnej kobiety, konkretnego człowieka (z całą jego realną fizycznością i cielesnością ), Zdarzenia.

EN

In Marilyn Monroe’s film creations from the second half of the 1950s, and especially the beginnings of the 1960s, and particularly in the change in her physical appearance, as well as in the steps she took in order to change her status, the authors see the symptoms of the process of the star-marionette freeing herself from the domination of rules and expectations of the “hegemons of the Hollywood spectacle”. Using the example of Monroe’s last, unfinished film "Something’s Got to Give" and her photo sessions from 1962 – Bert Stern’s from the “Vogue” and George Barris’ for “Cosmopolitan”, the authors analyse the way in which Monroe reached for creative (and feminine) autonomy through changing the way she used her mature, marked with age and experience body as means of artistic expression. In 1962 there is a marked shift from Marilyn Monroe as a star and a sex symbol, a metaphor or an idea towards Marilyn Monroe as a mature and independent woman and actress, a real, physical person with a real body, an Event.

5

Otakar Zich's invisible actors and creative minds

100%

Pšenička M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2014

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vol. 17

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issue 2

71-80

EN

In his essay "Sémiotika sémiotika Otakara Zicha" (Otakar Zich's Semiotics, 1981), Ivo Osolsobě seeks to illuminate one of Zich's most troubling and mysterious terms: 'významová představa' (semantic image). For Osolsobě, it "is a complex, liminal, and interdisciplinary phenomenon about which a substantial body of studies has been written, though a majority of which only hardly touched the problem: a systematic treatise on the phenomenon is still missing." Nonetheless, Osolsobě succumbs to the theorist's temptation and ventures into the investigation of the term and, following Mukařovský's 'semiotization' of aesthetics, finds a relevant connection with C. S. Peirce's semiotic notion of 'interpretant' which, in Osolsobě's view, resonates with Zich's notion of the semantic visual image. Surprisingly (or mysteriously) though, Osolsobě does not find in Peirce's vast work any corresponding mirror term for Zich's signifying technical image. In my paper, I try to re-read Zich via Peirce and vice versa and suggest a potential solution for the notion which strangely fell overboard while being transported across the Atlantic.

6

Ženski „glumački tekst”1 i njegova „arhivska groznica”

88%

Čale Feldman L.

Poznańskie Studia Slawistyczne

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2016

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issue 11

55-70

EN

The discussion of the ways one conceives of and reflex upon the procedures of archiving the opus of actresses active in the socialist period represents one of the urging tasks of both theatre studies and feminist criticism in Croatia, given the relative scarcity of interest for this area of research within Croatian theatre academia. This study presents the results of a research done on the work of one of the leading Croatian actresses after WWII, Neva Rošić, which mostly rely on the discourse analysis of theatre reviews, interviews, personal letters, articles written by the actress herself and other media reports on her major successes on the stage. A whole array of sources is thus summoned to corroborate the thesis that the female acting practice in this period, belonging as it does to the poetics of impersonation, could figure as an interesting ground for the analysis of both the issues of female acting authorship, and the cultural construction of gender norms, as well as the means and outcomes of their performative subversion.

7

“Opus oratorium”. Between rhetoric and acting in the Middle Ages

88%

Bering P.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2015

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vol. 25

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issue 1

81-89

PL

The following article deals with a possibility of finding some parallels between oratory art and staging. They are often hidden in a text structure, but also an old practice allows us to point many similarities between both arts. Some ancient, medieval treatises were chosen for the further analysis.

8

Aktor jako cyfrowa marioneta, czyli Edward Gordon Craig w kinie przyszłości

75%

Hendrykowski M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 21

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issue 30

PL

Screen actor as a digital puppet? From one point of view, that potentially becomes an interesting platform for modern way of spectacularity and for communications. From another, it’s something destructive and dangerous for the film art. Marek Hendrykowski’s essay analyzes possible consequences of new era of digital actorship in the shadow of its fundamental question and challenge: what happens with man in this form of moving pictures creation.

9

Pięć pytań o postać w konwencji STAND UP COMEDY na podstawie przedstawień Seks, prochy i rock and roll i Czołem wbijając gwoździe w podłogę*

75%

WROCŁAWSKI B.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2016

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vol. 19

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issue 28

61-68

EN

Five questions on the character within the STAND UP COMEDY convention – based on the following shows: Sex, drugs and rock’n’roll, and Head-hammering nails into the floor The author presents the circumstances related to role construction, which can be formulated in the following questions: who, when, where, why, what for and how. The author utilizes the technique of five questions created by Konstanty Stanisławski to develop his own method designed for the STAND UP COMEDY convention. He analyses various theatre roles, taking into account time and space, as well as the other characters’ motives for action.

10

Broadway in Hollywood: film producer David O. Selznick and his theatrical ties in the 1940s

63%

Hain M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2023

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vol. 26

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issue 2

157-174

EN

This article examines the theatrical activities and connections of famed Hollywood film producer David O. Selznick. Based on a study of archival materials and articles in the contemporary U.S. press, the author reconstructs Selznick's relationship to the theatre and argues that it was characterised by ambiguity. On the one hand, the producer used the theatre as a source of acting talent and a training ground for honing the skills of his contract actors; on the other hand, the theatre represented a burden in terms of time and financial resources, and its positive impact on Selznick's business and creative activities was limited, given its relatively modest audience appeal, especially compared to the mass appeal of mainstream Hollywood cinema.

11

Wątki egzystencjalne w twórczości Bergmana

63%

Mróz J.

Internetowy Magazyn Filozoficzny Hybris

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2020

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vol. 50

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issue 3

44-74

EN

Ingmar Bergman contributed his own specific aesthetics and language to the discussion on art. I will try to figure out if by means provided by cinematic techniques Bergman conducted his own reasoning on the matters of philosophical existentialism. In analyzing Prison, The Seventh Seal, Wild Strawberries, Winter Light and Cries and Whispers I am referring to director’s utterances, researcher’s interpretations and existential philosophy – Kierkegaard, Sartre, Heidegger and Jaspers. I take a look at his artistic output in a broad perspective. Based on the opinions expressed by Höök and Bergom-Larsson I assume that entire work of Bergman constitutes a coherent wholeness. Such perspective provides me with possibility to present the connection between Bergman’s movies and existential philosophy as well as his philosophical point of view.

PL

Ingmar Bergman wniósł do dyskusji o sztuce własną estetykę i autorski język. Zastanowię się, czy wykorzystywał filmowe medium do filozofowania w duchu egzystencjalizmu. Analizując Więzienie, Siódmą pieczęć, Tam, gdzie rosną poziomki, Gości Wieczerzy Pańskiej i Szepty i krzyki odwołuję się do: wypowiedzi artysty, interpretacji badaczy jego filmów i filozofii egzystencjalnej – Kierkegaarda, Sartre’a, Heideggera i Jaspersa. Perspektywa interpretacyjna, którą przyjmuję jest panoramiczna. Zakładam za Höök i Bergom-Larsson, że twórczość Bergmana stanowi spójną całość. W takiej perspektywie nie tylko ujawniają się związki filmów Bergmana z filozofią egzystencjalną, ale również jego filozoficzny punkt widzenia.

12

Odpowiedzialność w ujęciu filozoficznym jako przyczynek do rozważań o odpowiedzialności przedsiębiorstw

63%

Mizdrak I.

Zeszyty Naukowe Uniwersytetu Ekonomicznego w Krakowie

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2013

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issue 917

5-20

PL

Tematem artykułu jest odpowiedzialność, która spośród wielu ontycznych warunków jej aktualizacji (np. odpowiedniej kwalifikacji etycznej, dyspozycji intelektualnej czy racjonalności działania) zakłada przede wszystkim wolność, która konstytuuje wszelką aktywność podmiotów, zarówno osobowych, jak i formalno-prawnych. Oddziałuje przeto w specyficzny sposób na kształtowanie wewnętrznej struktury jednostki ludzkiej czy organizacji. Podjęto próbę dookreślenia kategorii odpowiedzialności na podstawie koncepcji w ujęciu R. Ingardena i K. Wojtyły pod kątem możliwej aplikacji ich koncepcji do współczesnego pojmowania etycznego przedsiębiorstwa. Okazuje się, że filozoficzne rozróżnienia na odpowiedzialność „przed czynem” i „po czynie” R. Ingardena oraz odpowiedzialność za kogoś i za samego siebie według K. Wojtyły mogą służyć za swoisty „elementarz” w rozmaitych formach zarządzania i w podejmowaniu strategii biznesowych. Głównym przedmiotem dociekania staje się kwestia wskazania, że współczesna polaryzacja stanowisk w kwestii odpowiedzialności przedsiębiorstw (choć poparta złożoną argumentacją) jest w rzeczywistości dość jałowa, a może nawet pozorna. Istotne bowiem jest nie to, czy i jaką osobowość posiada spółka, ale co jest istotą jej odpowiedzialności i co jest jej podstawową odpowiedzialnością.

EN

The topic of this paper is responsibility, which has many ontic conditions, including, among many others, appropriate ethical qualification, intellectual disposition and rationality of action, but whose primary one is freedom, which is constitutive of all activity by subjects, both personal and legal ones. Freedom, therefore, has a special effect on the inner structure of an individual or organisation. My first aim is to define more closely the category of responsibility, on the basis of the most important intuitions of Roman Ingarden and Karol Wojtyła, and to consider the applicability of their ideas to the modern understanding of the ethical business. It becomes clear that Ingarden’s philosophical distinction between responsibility “before the act” and “after the act” and Wojtyła’s concept of responsibility “for” someone and for oneself can serve as fundamental reference points in various forms of management and in the choice of business strategies. I argue that the current polarisation of views on the responsibility of businesses (even though supported by complex networks of arguments) is sterile, or perhaps even spurious. What truly matters is not the legal status of a company, but what its basic responsibilities are and the essence of its responsibility.

13

Výuka herectví na JAMU v době "povinného Stanislavského": rozhovory s absolventy

63%

Rieger L.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2023

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vol. 26

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issue 2

59-81

EN

Before 1989, the Stanislavsky system was compulsory in Czech theatre schools. The author attempts to capture the real effects of its formal inclusion in the school curricula by conducting interviews with eleven acting or directing graduates, who had been studying at the Janáček Academy of Performing Arts in Brno between 1951 and 1987. The paper captures the changes in the pedagogical environment at the time: its ideological colouring, the level of its personnel, and the students’ lingering impressions of the effectiveness of the teaching. It maps the pedagogical personalities who were active at the school at the time and the way in which they approached the Stanislavsky system; it presents the reservations and observations of the then students and their opinions on the following impact of the system on their careers as theatre practitioners.

CS

Systém K. S. Stanislavského byl před rokem 1989 na českých divadelních školách povinný. Autor se pokouší zachytit reálné vlivy jeho formálního zařazení do školních osnov tím, že vede rozhovory s jedenácti absolventy herectví nebo režie studujícími v letech 1951–1987 na Janáčkově akademii múzických umění v Brně. Studie zachycuje proměny tehdejšího pedagogického prostředí: jeho ideologické zabarvení, personální úroveň, přetrvávající dojmy studentů z účinnosti výuky; mapuje pedagogické osobnosti, které tehdy na škole působily, a to, jakým způsobem k systému Stanislavského přistupovaly; uvádí výhrady a postřehy tehdejších studentů a jejich názory na vliv systému v jejich pozdější divadelní praxi.

14

„Dojechałaś do końca, kochanie”. O dojrzewaniu i umieraniu teatru

63%

Żurawski M.

Didaskalia. Gazeta Teatralna

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2023

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issue 174

186-202

EN

Duszyczka (A Little Soul) by Tadeusz Różewicz was the penultimate production staged by Jerzy Grzegorzewski and at the same time the director’s last production, included in the repertoire of the National Theatre for seventeen years after his death. The author, a theatre historian and archivist, researcher of Grzegorzewski’s work and a multiple viewer of Duszyczka, attempts to describe the life of the play, which despite being deprived of the director’s care, nevertheless retained the shape given to it by the author to the end. He draws attention to how the aging of the performance, both in the metaphorical and quite literal sense (the physical aging of actresses and actors, the wear and tear of the stage objects) may have affected its reception. To this end, he confronts the surviving archival documentation of the performance with the personal experience of a multiple viewer. Despite the author’s declared reluctance towards this methodology, the article can be categorised as part of the current of the so-called affective archive.

15

Z CZEGO NIE MOŻNA ZREZYGNOWAĆ PODCZAS UCZENIA SIĘ W DOROSŁOŚCI? O MYŚLENIU, DZIAŁANIU I UWAŻNOŚCI

63%

Wajsprych D.

Edukacja Dorosłych

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2018

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vol. 2(79)

43-58

EN

The article focuses on the adult education, mainly academic, which is still accused of a transmissive character (conservative content and forms of academic functionalism) and neoliberal entanglement (privatised, instrumental, market, entrepreneurial cognitive interests). It is suggested to take a different look at the Academy as a place where learning is an event, a slow reflection on reality, a return to the sources of pedagogy – its philosophical core and reflection on oneself. The possibility of such studying is brought up by thinking and action combined with it, as an intentional activity. The article is an attempt to answer the question of how to become a „deliberate perpetrator”, how to start careful, non-instrumental study at the university? Reconstruction of the thinking and action category was made using mainly the analyses of Hanna Arendt, in the context of Makary Stasiak’s concept of an intentional delinquent.

PL

Artykuł skupia się wokół uczenia się w dorosłości, głównie edukacji akademickiej, której zarzuca się wciąż transmisyjny charakter (konserwatywne treści i formy akademickiego funkcjonalizmu) oraz neoliberalne uwikłanie (sprywatyzowane, instrumentalne, rynkowe, przedsiębiorcze interesy poznawcze). Proponuje się w zamian inne spojrzenie na Akademię jako miejsca, w którym uczenie się jest wydarzeniem, powolnym namysłem nad rzeczywistością, powrotem do źródeł pedagogii – jej filozoficznego jądra i refleksji nad samym sobą. Możliwość takiego studiowania daje myślenie i połączone z nim działanie, umyślna aktywność. Artykuł jest próbą odpowiedzi na pytanie, jak stać się „umyślnym sprawcą”, jak rozpocząć uważne, nieinstrumentalne studiowanie na uniwersytecie? Rekonstrukcji kategorii myślenia i działania dokonano posiłkując się głównie analizami Hanny Arendt, kategorii uważności w kontekście koncepcji Makarego Stasiaka o sprawcy umyślnym.

16

Jerzego Ziomka teoria aktora i aktorstwa

63%

HENDRYKOWSKI M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2016

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vol. 19

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issue 28

5-14

EN

Jerzy Ziomek’s theory of the actor and acting Marek Hendrykowskis article presents Jerzy Ziomeks pioneering theory of the way that the actor functions in the system of signs, which was published nearly half a century ago in the “Dialog” [Dia- logue] monthly. It refers both to the history and the contemporary development of the performing arts.

17

„Ci, co pomarli, widzą nas, widzą nasze grzechy i nasze cierpienia”, czyli o Głosie z tamtego świata Stanisława Różewicza

63%

Śmiałowski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 20

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issue 29

161-177

EN

Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.

PL

‘Those who have died see us, see our sins and our suffering’: The voice from the other world of Stanisław Różewicz Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.

18

Due regine per un’attrice: Maria Stuarda e Elisabetta I nell’interpretazione di Adelaide Ristori

63%

Simoncini F.

Italica Wratislaviensia

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2019

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issue 10.2

223–237

EN

The essay analyses some scenes from Friedrich Schiller’s Mary Stuart and from Paolo Giacometti’s Queen Elizabeth I of England, performed by Adelaide Ristori. Through a careful comparison between textual sources (memoirs, scripts, testimonies) and iconographic sources (paintings, photographs, engravings), the scene movements and gestures used by the great actress are reconstructed.

IT

Il saggio analizza alcune scene di Maria Stuarda di Friedrich Schiller e di Elisabetta I regina d’Inghilterra di Paolo Giacometti interpretate da Adelaide Ristori. Attraverso un’attenta comparazione tra fonti testuali (memorie, copioni, testimonianze) e fonti iconografiche (quadri, fotografie, incisioni) vengono ricostruiti i movimenti di scena e la gestualità usati dalla Grande Attrice per delineare e rendere scenicamente i caratteri e le psicologie delle due regine rivali.

19

Ignacjanska formuła contemplativus in actione jako skuteczna pomoc w nowej ewangelizacji

51%

Małysa A. J.

Roczniki Teologii Duchowości

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2013

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vol. 5(60)

77-89

EN

The present article is an attempt to look at new evangelization paying special attention to efficiency on the side of the subject conducting it. The disposition that is singled out here is the contemplative attitude when acting. Of all the examples in history of spirituality the figure of St Ignatius of Loyola seems to be the most proper one to show such a style of life. As a point of reference his Spiritual Exercises are used that constitute an especially useful tool for preparing apostles, who amidst various evangelizing undertakings never lose sight of what is most important – the very Lord, who, as the only One, may make what is sown grow and obtain the desired fruit.

20

Druga Reforma Teatru – Prolegomena

51%

Braun K.

Tematy i Konteksty

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2023

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vol. 18

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issue 13

315-337

EN

The history of theatre in the 20th century distinguishes two theatre reforms. The first took place from the final years of the 19th century to the late 1930s. The second was from the mid-1950s to the late 1980s. These were movements of renewal and modernization of the art of theatre. Started by individual artists and small groups, assisted by playwrights and theorists, who were often the artists themselves, both reforms gradually reached wider areas of theatre life. The Second Reform was a reformist movement of young, avant-garde, rebellious, experimental, and searching theatre. The movement was born in the 1950s in Poland within student and alternative theatres and in the United States, as Off-Broadway and then Off-Off-Broadway. It reached tremendous expression in the 1960s in the work of Jerzy Grotowski’s Laboratory Theatre, Bread and Puppet Theatre, Living Theatre and several other companies in many countries around the world. It matured in the seventies, bringing out the powerful theatre of Tadeusz Kantor, and extremely original “Gardzienice” of Włodzimierz Staniewski.However, it did not reach some areas of theatre at all. Throughout the West, in South America, Australia, in Japan, the Second Reform was a challenge and an alternative to commercial, popular, traditional theatre. In this part of Europe, which was under the control of the Soviet Union, the Second Reform was a challenge to totalitarian regimes; it undermined totalitarian censorship and tore the communist iron curtain. Its productions were manifestations of freedom. In the field of a performance’s creation, the Second Reform brought out and accentuated the communality and processuality of theatre art. In the field of directing, the Second Reform decisively placed the director at the head of the team of creators preparing and executing a theatrical performance. In the field of acting, the Second Reform introduced “acting of being” in place of “acting of character.” In the field of space, the Second Reform sought to integrate the playing area and the observation area of the show; its lasting achievement became a theatre with variable space – “The black box”. In the field of literature, the Second Reform questioned the underlying function of drama in the theatre, practiced “writing on stage,” with the actors themselves “creating” the text of the show, and the director “adapting” existing dramas. The author of this article witnessed, chronicled and participated in the Second Theatre Reform. He published books about it and created production in its spirit.

PL

Historia teatru XX wieku wyróżnia dwie reformy teatru. Pierwsza z nich toczyła się od końcowych lat XIX wieku do końca lat trzydziestych XX w. Druga zaś od połowy lat pięćdziesiątych do końca lat osiemdziesiątych tegoż wieku. Były to ruchy odnowy i uwspółcześnienia sztuki teatru. Rozpoczynane przez indywidualnych artystów i niewielkie grupy, wspomagane przez dramatopisarzy i teoretyków, którymi byli często sami twórcy, obie reformy stopniowo docierały do coraz szerszych obszarów życia teatralnego. Pierwsza z tych reform zwana była przez wiele lat „Wielką Reformą Teatru”, a otrzymała tę nazwę przez analogię z „Wielką Wojną”, lub „Wielką Wojną Światową”, jak zwana była wojna lat 1914-1918. Gdy w roku 1939 wybuchła i stopniowo rozszerzała się na cały świat następna wielka wojna, uzyskała ona nazwę „Druga Wojna Światowa”. A wtedy ta poprzednia, „Wielka Wojna” zaczęła być nazywana „Pierwszą Wojną Światową”. Analogicznie, gdy w latach pięćdziesiątych narodził się nowy ruch odnowy teatru, który obejmował stopniowo wiele krajów, narastała świadomość, że jest to kolejna, już druga w XX wieku, reforma teatru. W tej sytuacji „Wielka Reforma Teatru” zaczęła być nazywana „Pierwszą Reformą Teatru”, zaś ta następna reforma „Drugą Reformą Teatru”. Mówimy więc o „Pierwszej (Wielkiej) Reformie Teatru” i o „Drugiej Reformie Teatru”. (W dalszym ciągu tych rozważań nie będą już potrzebne cudzysłowy). Pierwsza Reforma Teatru uznała widowisko teatralne za dzieło sztuki, podobnie jak dzieła sztuk plastycznych egzystujące niezależnie od obserwującego go widza. Druga Reforma Teatru taktowała widowisko jako międzyludzki proces ukształtowany artystycznie. Mówiąc o tych dwóch reformach – mówimy o teatrze, którego już nie ma. Tym bardziej należy utrwalać pamięć o nim.

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