Search results

1

To Play, To Imitate, To Embody. On Acting in a Biographical Film

100%

KOŁOS S.

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

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2016

|

vol. 19

|

issue 28

75-94

PL

Kołos Sylwia, To Play, To Imitate, To Embody. On Acting in a Biographical Film What does an actor do in a biographical film? This question may seem inane, or at least less than serious; however, the terms frequently used to describe and assess the actors work in general - to embody a character, to play them, to play a role - suggests the existence of a certain designatum, which is the point of reference for the role. In the case of a fictional story, we may ignore the semantic multivalence of such terms. In a biographical film, however, the existence of a real originator of the role gives additional, almost ontological meaning to phrases such as “embodying a character” or “playing a role”. In my reflections, I use as my starting point the assumption that the actors performance in a biographical film and the “conception of a character” result from two basic components: 1. Interpretation of the role - constituting a proposal to analyse the heros character. It is usually supposed to extract more profound meanings and senses out of the biography. To put it more simply, the interpretation of the role is supposed above all to help the viewer to answer the question of who the hero was (what they were like) and why? 2. Adaptation - this includes the physicality of the character: their appearance, body language, facial expressions, voice (the tone, modulation, accent, phrasing, dialect - if the authentic person used one, etc.) In my article I try to answer the questions: Where should we seek the essence of biographic acting? How can we avoid exaggeration and falsehood, which could kill the role?

2

Reflections on Art

80%

Şerban A.

Human and Social Studies

|

2013

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vol. 2

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issue 1

11-21

EN

The following study presents some considerations on different subjects regarding the field of art, from the art of using sounds in theatre and the importance of the Greek tragedy to the subtle differences between opera and theatre. The sound experiment is to be approached knowing that the audience is, in some way, deaf. The renewal of the sounds, even of those coming forth from the remote ages, is part of the author’s lust for a theater that celebrates real contact and real feeling, with a unique expression of force, of intense colors and sharp energies. The main goal is to discover the actor’s or the opera singer’s work with the sounds, with the vibration of the words in his body, thus investigating the “meanings” of the pure sound.

3

Fascynacje. Peter Brook*

70%

CZOP I.

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

|

2016

|

vol. 19

|

issue 28

69-74

EN

Fascinations. Peter Brook The author analyses various aspects of acting in the context of Peter Brooks theory of acting. This discussion takes into account role construction, the authenticity and originality of the character, the problem of the actors identification with the character and the importance of cooperation between the actor and the director in the pre-production process and on the shoot.

4

Dramat - scena - aktor*

70%

SARNA A.

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

|

2016

|

vol. 19

|

issue 28

35-46

EN

Drama – stage – actor The author discusses the issue of acting and theatrical stage in the context of Józef Tischner’s philosophy, which sees the stage as the platform for freedom, and the meeting and parting of people, as well as their relationship with the Absolute. The language of the character is created by: the actor, screenplay, costumes, lighting and music. He introduces the idea of objectifying the stage and familiarising onself with role, the basis of which are relations between the plays characters.

PL

Drama – stage – actor The author discusses the issue of acting and theatrical stage in the context of Józef Tischner’s philosophy, which sees the stage as the platform for freedom, and the meeting and parting of people, as well as their relationship with the Absolute. The language of the character is created by: the actor, screenplay, costumes, lighting and music. He introduces the idea of objectifying the stage and familiarising onself with role, the basis of which are relations between the plays characters.

5

Fascynacje. Peter Brook*

70%

CZOP I.

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

|

2015

|

vol. 17

|

issue 26

69-74

EN

The author analyses various aspects of acting in the context of Peter Brooks theory of acting. This discussion takes into account role construction, the authenticity and originality of the character, the problem of the actors identification with the character and the importance of cooperation between the actor and the director in the pre-production process and on the shoot.

6

O przemieniającym życie mroku postaci

70%

WIERZCHOWSKI M.

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

|

2016

|

vol. 19

|

issue 28

47-60

EN

On the darkness of the character that transforms lifeThe author analyses the relationship between the actor>s life and the character they create on stage. He points to the interdependencies between the actor and their role. He determines the conditions in which the role should be constructed and also discusses the on- and off-stage circumstances that determine the value of a particular role. This analysis is supported by the authors own experience as a theatre director.

7

The Life of Jesus by Bruno Dumont

70%

VON HORN M.

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

|

2016

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vol. 19

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issue 28

300-330

PL

The thesis will focus on analysing what “ The Life Of Jesus” is about and how this is portrayed through the main character, Freddy. It will discuss the concept of the filmie character as a “common human being”, who does not have access to intellectual reflection and verbal articulation of emotional conflict and crisis, but who, at the same time, is capable of feeling a great deal. He feels the emotional conflict and crisis that make up the story. I will also attempt to step inside the same filmic character itself and analyse how to visualize the morals, ethics and emotions that the character cant verbalize or communicate in any direct or intellectual way. Bruno Dumont speaks about filming the inside of a person as his highest dream. I will discuss film directing using The Life Of Jesus as an example, but I will also draw on my own experiences as a filmmaker.

8

Jestem twój

70%

CZOP I.

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

|

2016

|

vol. 19

|

issue 28

199-210

EN

I’m yoursThe author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.

9

Praca nad rolą - Ryszard III*

70%

KAŁUŻYŃSKI M.

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

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2016

|

vol. 19

|

issue 28

211-230

EN

Working on the role –Richard III The author describes the contexts for working on the title role of Shakespeares Richard III. He points to specific stages in working on the role: familiarising oneself with the original text and associated literature (research), creating the character (concealing intentions, plans and emotions from other characters in the play, the characters internal struggle, perceiving psychological truths); developing relationships with the director and other actors; the use of scenography, costumes, lighting and music to create characters for the stage, considering the meaning of translation and rapport with the audience.

PL

Working on the role –Richard III The author describes the contexts for working on the title role of Shakespeares Richard III. He points to specific stages in working on the role: familiarising oneself with the original text and associated literature (research), creating the character (concealing intentions, plans and emotions from other characters in the play, the characters internal struggle, perceiving psychological truths); developingrelationships with the director and other actors; the use of scenography, costumes, lighting and music to create characters for the stage, considering the meaning of translation and rapport with the audience.

10

Scientific Ethics in Teaching of Social Sciences in Iran

70%

Qarakhani M., Mirzaie S. A.

Academicus. International Scientific Journal

|

2018

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issue 18

73-82

EN

The ethic of education is a set of professional rules and regulations agreed upon by the scientific community that obliges actors to comply with codes of conduct in the science education process. This article is asking about levels and types of academic dishonesty and recognizing factors affecting it in Iran’s social sciences education. The data were collected using semi-structured interviews with Ph.D. students of public Universities in Tehran were analyzed with qualitative content analysis. Research findings show that academic dishonesty and factors affecting it are evident in the education of social science at two levels of micro and macro. At the micro or actor’s level, individual characteristics and personality traits of students and professors impact on the occurrence of academic dishonesty. Moreover, at the macro or structural level, the way of distribution of resources and rules in the education paves the way for and facilitates the occurrence of academic dishonesty. Consequently, dishonesty in the education of Iran’s social sciences and factors affecting it can be explained in the light of a structuration approach.

11

Pudełko ze szminkami. Warsztat charakteryzatorski aktora w XIX wieku

70%

Jarzębek-Wasyl D.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 3-4(255-256)

143-179

EN

The nineteenth-century actor was the creator of his art, i.e. the role, in its entirety. The actors and actresses were responsible not only for the elocution they adopted, but also for the costumes and external transformation of their bodies they employed. The art of theatrical makeup, which encompasses makeup, hairdressing and the overall physical transformation of the actor’s body, is the subject matter of this article. The text commences with an analysis of the products used for theatrical makeup. While at the beginning of the 19th century, the typical makeup box of an actor had only three containers (for white face powder, rouge, and black), a hundred years later the artists of the stage could choose from a wide array of factory-made cosmetics, makeup and makeup removal products, supplied, for example, by the Leichner company in Germany. The course of typical and necessary treatment of the face is another matter. Beautifying cosmetic procedures were followed by sophisticated hairdressing, wig attachment and even elements of moulding and sculpting. Application of artificial noses, chins, cheeks, ears, foreheads, or bald spots was a mask-making technology of sorts. All these actions had ideological foundations; e.g. thick hair on a man was a cultural sign of elegance and seriousness, while a white feminine complexion signified delicacy and gracefulness of the fair sex. The way that face features of a character were modelled out relied not so much on empirical observation guided by an intention to “sculpt the man” from the outside as on the contemporary anthropological knowledge, a framework of aesthetic and axiological concepts that defined how human beings were perceived. Finally, there is yet another issue: the act by which the actor is putting on makeup before going onstage constitutes an ambiguous ritual with dangerous consequences.

12

Aktor w teatrze radiowym

70%

Pawlik A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2012

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vol. 17

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issue 3

81-94

EN

The article focuses on the intricacies of radio drama acting. It shows the similarities and differences between radio and TV drama, and describes the distinctive features of acting in radio drama in relation to other media. The article also focuses on the methodology of the Teatr Polskiego Radia directors’ work with actors during radio drama rehearsals and recording sessions.

13

Performatywność reprezentacji

70%

Krajewska A.

Przestrzenie Teorii

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2017

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issue 28

7-18

EN

Starting from a reference to René Magritte`s painting “The Images of Treachery”, the introductory article focuses on a performative understanding of representation. Pointing to the perspective of this painting, literary fiction, acting and masks, it refers to dramatic views in literary studies.

14

Aktorzy i Szekspir. O pewnym motywie w polskim filmie

61%

Jazdon M.

Przestrzenie Teorii

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2019

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issue 32

15-44

EN

Jazdon Mikołaj, Aktorzy i Szekspir. O pewnym motywie w polskim filmie [Actors and Shakespeare or About a Certain Motif in Polish Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 15–44. ISSN 1644-6763. DOI 10.14746/pt.2019.32.1. This article deals with various references to William Shakespeare’s plays in Polish postwar films, both theatrical and television ones. There are no Polish film adaptations of Shakespeare’s works except for television dramas made for the Television Theater on state TV. There are, however, Polish films (mainly from 1962–1989) about actors and performing arts with fragments and motifs from Shakespeare plays. Their characters are often actors deprived by fate (or History) of the chance to play a Shakespeare role on stage and forced to play it in life instead.

15

Maska jako aktorka

61%

Kocur M.

Prace Kulturoznawcze

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2017

|

vol. 21

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issue 3

47-58

EN

This paper proposes a performative analysis of a mask in order to research its agency, an active role in initiating world events. I will study four, in my opinion, basic “doings” of the mask: transformation, inspiration, transmission, and relocation. I am going to look at ancient masks as well as at Japanese, African and Asiatic ones. Of course, in a short paper the complete discussion of so complex subject matter is impossible. So, I will refer to selected case studies that most clearly expose the mask’s agency. I will use my own field research, my experience of directing plays and relevant scholarship — following a renown British social anthropologist Alfred Gell and archaeologist Ian Hodder.

16

Medzigeneračné vzťahy v optike sociologickej teórie

61%

Ondrejkovič P.

Sociální pedagogika (Social Education)

|

2013

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vol. 1

|

issue 1

48-63

EN

The issue of relations between the generations is one of the important factors of the dynamics of social development. Intergenerational relationships are affected by the characteristics of youth, the process of individualization, the loss of traditional certainties, "tribalism" and "nomadism", insecurity and violence. Permanently generating new tensions and insecurity, as well as fear and anxiety associated with finding new certainties, are often connected with escape from reality. The issues of globalization and ambivalence, including the opposites, are becoming the central living paradigm of the young generation. The ambivalence stems from the growth of the possibilities of social action, on one hand, and the incoming threats and risks arising from the need to manage and overcome the ever more complex and difficult life tasks, without any support in previous forms of socialization, on the other. Teachers, psychologists and social workers should be properly educated with fresh knowledge on the younger generation and the new situation that can be characterized as a megatrend.

17

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

61%

Hendrykowski M.

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

|

2017

|

vol. 21

|

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.

18

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

61%

WROCŁAWSKI B.

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

|

2016

|

vol. 19

|

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.

19

The Circulation of Knowledge in Humanities: A Case Study from the Perspective of Actor–Network Theory

61%

Markiewka T. S.

Avant

|

2018

|

vol. 9

|

issue 3

81-95

EN

There are many case studies showing the benefits of the conceptual framework of Actor– Network Theory (ANT). It is enough to mention the classic texts by Bruno Latour on the Amazon forest and Michel Callon on scallop fishing. However, there are not many case studies discussing the circulation of knowledge in the humanities with the use of vocabulary taken from ANT. This text tries to partially fill the gap, analyzing a case encompassing the areas of both literary studies and philosophy. The main topic of the paper is the circulation of Jacques Derrida’s views – or the views attributed to Derrida – as exemplified by one of his theses. The purpose of the text is not to reflect on the value of Derrida’s reflections, but only to show how the knowledge of his thought spread from France, through the USA, to Poland, from the 1960s to the beginning of the 21st century. Besides proving that the ANT vocabulary is suitable for studying the phenomenon of the circulation of knowledge in the humanities, the case study also shows that this vocabulary should be enriched. The author of the text proposes the concept of symbolization to better understand how Derrida and the ideas attributed to him have been perceived in various texts.

20

Intersemiotyczny przekład mitu antycznego w spektaklu „Fedra” Mai Kleczewskiej

61%

Budzowska M., Czerwińska J.

Collectanea Philologica

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2017

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issue 20

153-174

EN

The present paper tends to analyze the procedure of intersemiotic translation of ancient myth of Phaedra, in its written version by Euripides (Hippolytus), into the contemporary stage production of Phaedra by Maja Kleczewska. The analysis of the performance is preceded by the extended introduction regarding reception of myth in general, and reception of Phaedra myth in particular. In this context, theories of Hans Blumenberg and Gilbert Durand are recalled in order to establish the understanding of myth’s transformation. Myth of Phaedra is scrutinized diachronically and synchronically within the background of Maurice Merleau-Ponty’s idea of body and sexuality. The theatre production is explored with reference to its textual basis (Euripides, Seneca, Tasnádi, Enquist) on the one hand, and in relation to the contemporary theories of actor’s body (Erika Fischer-Lichte, Hans-Thies Lehmann). The overarching goal of the paper is to analyze the procedure of intersemiotic translation of the mythical core of Phaedra myth (defined in terms of body) into actor’s body on stage (defined in its phenomenology).

PL

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To Play, To Imitate, To Embody. On Acting in a Biographical Film

Reflections on Art

Fascynacje. Peter Brook*

Dramat - scena - aktor*

Fascynacje. Peter Brook*

O przemieniającym życie mroku postaci

The Life of Jesus by Bruno Dumont

Jestem twój

Praca nad rolą - Ryszard III*

Scientific Ethics in Teaching of Social Sciences in Iran

Pudełko ze szminkami. Warsztat charakteryzatorski aktora w XIX wieku

Aktor w teatrze radiowym

Performatywność reprezentacji

Aktorzy i Szekspir. O pewnym motywie w polskim filmie

Maska jako aktorka

Medzigeneračné vzťahy v optike sociologickej teórie

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

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

The Circulation of Knowledge in Humanities: A Case Study from the Perspective of Actor–Network Theory

Intersemiotyczny przekład mitu antycznego w spektaklu „Fedra” Mai Kleczewskiej