Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  avant-garde theatre
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Technicism in the Ukrainian avant-garde theatre: a clash of meanings and forms

100%
Veselovska H.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2022
|
vol. 25
|
issue 1
27-43
EN
The article examines the impact of technicism on the Ukrainian avant-garde theatre and how the subject of industrialisation was treated on stage as a result. Based on performances directed by Boris Glagolin (Ukraine), Les Kurbas (Ukraine), Erwin Piscator (Germany), Alexander Tairov (Russia), Igor Terentiev (Ukraine) and stage designed by Oleksandr Khvostenko-Khvostov (Ukraine), Vadym Meller (Ukraine), Anatol Petrytsky (Ukraine), and others, the author analyses the two varied trends on stages, both of which were a product of the evolving ideological tasks facing the European and Ukrainian theatres in the 1920s–1930s. A tendency that arose at some point among the aforementioned avant-garde directors to make a parody out of technicism-related ideas is also discussed.
2
Publication available in full text mode
Content available

Meyerhold Bound: Montažstroj's “Vatrotehna (2.0)” and the Barbaric Discipline of the Machine

88%
Rafolt L.
Colloquia Humanistica
|
2017
|
issue 6
EN
Meyerhold bBound: Montažstroj's Vatrotehna (2.0) and the Barbaric Discipline of the MachineThe paper deals with Montažstroj’s two versions of Vatrotehna performance, inspired by Aeschylus’ Prometheus Bound and Meyerhold’s tragic execution. Context of both performances is analyzed, especially in the light of re-performability in post-sociorealist and neo-capitalist conditions. Montažstroj’s performances are, hence, seen as radical in situ performance praxis, community oriented, and deeply rooted in traditions of avant-garde theatre. Therefore, questions like iterability, social proxemics and political engagement of the performance arise as most important. Aeschylus’ plot intertekst and Meyerhold’s performative intertext thus function as a platform for re-examining and re-performing in a rigid, utmost barbaric biomechanical mode, furthermore – in totally mediatized and mechanicocentric society. Skok Meyerholda: Vatrotehna (2.0) grupy Montažstroj i barbarzyńska dyscyplina maszynyArtykuł analizuje dwie wersje widowiska Vatrotehna, inspirowanego Prometeuszem skowanym Ajschylosa i tragicznością interpretacji Meyerholda w wykonaniu grupy Montažstroj. Przedstawiony został kontekst obu wykonań, a zwłaszcza perspektywa re-performatywności w warunkach postsocrealistycznych i neokapitalistycznych. Wykonania Montažstroju uznane są za radykalną in situ performatywną praxis, zorientowaną na wspólnotę i głęboko zakorzenioną w tradycjach teatralnej awangardy. W związku z tym kluczowe okazały się takie kwestie jak iteratywność, proksemika społeczna i polityczne zaangażowanie widowiska. Fabularny intertekst Ajschylosa i performatywny intertekst Meyerholda stają się platformą ponownego zbadania i ponownego wykonania w surowym, niemal barbarzyńskim trybie biomechaniki, co więcej – w totalnie zmediatyzowanym i maszynocentrycznym społeczeństwie.
3
Publication available in full text mode
Content available

Attrici d’avanguardia e teatro femminista a Roma negli anni Settanta: nuovi luoghi e linguaggi

63%
Giacobbe Borelli M.
Italica Wratislaviensia
|
2019
|
issue 10.2
257–273
EN
This essay is based on one of the ORMETE (Oralità Memoria Teatro: www.ormete.net) projects: Donne di teatro a Roma ai tempi della mobilitazione femminista (1965–1985). The research shows the inter-relations between the feminist movement and the actresses of the avant-garde scene in Rome. The focus of each of the women’s personal narrations is characterised by its strong and definite feminist or anti-conformist identity and by its determination to channel its own imagery in the experimental scene of the avant-garde. Many of the women gathered in feminist companies or joined collective groups; some ventured the road of dramaturgy, while still others dared more alternative, experimental kinds of solo performances. This text sheds light on a variety of alternative spaces for performances in Rome. It is there where these new forms of theatrical expressions were born.
IT
L’intervento, che attinge a una ricerca in corso nel quadro di ORMETE (Oralità Memoria Teatro: www.ormete.net) Donne di teatro a Roma ai tempi della mobilitazione femminista (1965– –1985), cerca di mettere a fuoco gli intrecci fra mobilitazioni femministe e protagonismo delle attrici a Roma, fra il 1974 e il 1979. L’affermazione di un’identità femminile forte e anticonformista caratterizza il racconto di tutte queste donne, determinate a trovare la strada per esprimere il proprio immaginario e la propria diversa presenza nel mondo romano della ricerca teatrale. Molte si sono associate in compagnie o collettivi, alcune hanno tentato la strada della drammaturgia, altre hanno scelto la forma della performance più trasgressiva. L’indagine mette l’accento sui molti luoghi di Roma dove i diversi linguaggi scenici hanno trovato la luce.
4
Content available remote

Otakar Zich and Prague's 'Semiotic Stage' : reading performance avant la lettre

51%
Ambros V.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2020
|
vol. 23
|
issue 1
13-29
EN
Zich's unique views of dramatic work initiated a performance theory avant la lettre. It was, however, as I argue a collective effort of Prague School theorists, whose polemics with Zich and among each other recognized the inherent semiotic potential of Zich's work. Often related to contemporary stage experiments, Zich's ideas explored topics like the mobility and hierarchy of signs, their respective functions, and the position of dramatic text, the concept of the 'actor's figure'. Zich and the discussions he incited are also useful for ideas of transitions between theatre and ceremony that enrich the current approach to the audience, space, and characters on the contemporary stage.
5
Publication available in full text mode
Content available

“The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)

51%
Sakowska A.
|
2014
|
vol. 11
|
issue 26
45-63
EN
How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.