Search results

1

Wanda – między misterium a librettem

100%

Sokalska M.

Studia Norwidiana

|

2018

|

vol. 36

95-116

PL

Artykuł „Wanda” – między misterium a librettem poświęcony został operowym filiacjom twórczości Norwida. Z jednej strony są to zapożyczone z formy operowej formy, które wpłynęły na strukturę dramatu (jak chóry i konstrukcja scen zbiorowych, partie solowe o charakterze quasi-recytatywnym lub aryjnym, kompozycja finałów aktów), z drugiej jednak Norwidowskie dzieło zinterpretowane zostało w szerokim kontekście XIX-wiecznych librett operowych, których bohaterką jest Wanda. Oprócz zrealizowanych oper (Vanda A. Dvořáka), legendę o krakowskiej księżniczce adaptowano w licznych librettach (fragmenty w opracowaniu L.A. Dmuszewskiego, całe libretta G. Olizara i W. Bełzy, operowa przeróbka tragedii F. Wężyka). Fakt, że większość z tych tekstów nie została nigdy opracowana muzycznie, zachęca do namysłu nad ich pogranicznym i niedookreślonym statusem dzieła literackiego.

EN

The article discusses the operatic filiation of Norwid’s works. On the one hand, these are forms borrowed from opera, which influenced the structure of the drama (e.g. choirs and the construction of collective scenes, solo parts of a quasi-recitative character or similar to arias, the composition of the finales of acts); on the other hand, Norwid’s work was interpreted in a broad context of 19th-century opera libretti, whose protagonist is Wanda. In addition to the produced operas (Vanda by A. Dvořák), the legend about the Krakow princess was adapted in numerous libretti (fragments in the work by L.A. Dmuszewski, the entire libretti by G. Olizar and W. Bełza, an operatic remake of the tragedy by F. Wężyk). The fact that most of these texts have never been musically elaborated encourages reflection on their borderline and indeterminate status as a literary work.

2

Wanda – between the mystery and the libretto

100%

Sokalska M.

Studia Norwidiana

|

2018

|

vol. 36 English Version

103-124

PL

Artykuł „Wanda” – między misterium a librettem poświęcony został operowym filiacjom twórczości Norwida. Z jednej strony są to zapożyczone z formy operowej formy, które wpłynęły na strukturę dramatu (jak chóry i konstrukcja scen zbiorowych, partie solowe o charakterze quasirecytatywnym lub aryjnym, kompozycja finałów aktów), z drugiej jednak Norwidowskie dzieło zinterpretowane zostało w szerokim kontekście XIX-wiecznych librett operowych, których bohaterką jest Wanda. Oprócz zrealizowanych oper (Vanda A. Dvořáka), legendę o krakowskiej księżniczce adaptowano w licznych librettach (fragmenty w opracowaniu L.A. Dmuszewskiego, całe libretta G. Olizara i W. Bełzy, operowa przeróbka tragedii F. Wężyka). Fakt, że większość z tych tekstów nie została nigdy opracowana muzycznie, zachęca do namysłu nad ich pogranicznym i niedookreślonym statusem dzieła literackiego.

EN

The article discusses the operatic filiation of Norwid’s works. On the one hand, these are forms borrowed from opera, which influenced the structure of the drama (e.g. choirs and the construction of collective scenes, solo parts of a quasi-recitative character or similar to arias, the composition of the finales of acts); on the other hand, Norwid’s work was interpreted in a broad context of 19th-century opera libretti, whose protagonist is Wanda. In addition to the produced operas (Vanda by A. Dvořák), the legend about the Krakow princess was adapted in numerous libretti (fragments in the work by L.A. Dmuszewski, the entire libretti by G. Olizar and W. Bełza, an operatic remake of the tragedy by F. Wężyk). The fact that most of these texts have never been musically elaborated encourages reflection on their borderline and indeterminate status as a literary work.

3

Adaptacja libretta operowego na potrzeby realizacji scenicznej – kilka uwag od tłumacza

94%

Muszyńska‑‑ Andrejczyk A.

Między Oryginałem a Przekładem

|

2013

|

vol. 22

27-44

EN

The paper presents my reflections concerning translations of two operatic librettos from different ages: Lorenzo da Ponte’s text to Così fan tutte by W.A. Mozart and Giovacchino Forzano’s to Suor Angelica by G. Puccini. Both texts, in spite of the time difference between them, are united by an interpreter’s idea: adapting to the needs of the specific stage presentation and the director’s vision, i.e. translation with adaptation. To make such a translation effective, one should in my opinion make two basic operations on the text: to condense it according to the rules of audiovisual translation and to use the linguistic style characteristic to the time period chosen by a director. That kind of operations may influence positively the reception of an opera and its communication with audience.

4

Mozartowski Don Giovanni – przegląd wybranych przekładów librett i kwestia stylizacji

94%

Muszyńska‑Andrejczyk A.

Między Oryginałem a Przekładem

|

2015

|

vol. 29

99-105

EN

The paper presents selected translations of Don Giovanni’s libretto originally written by Lorenzo da Ponte (translations by: K. Konopacka/L. René, G. Janiak, A. Księżopolska‑Makuracka, S. Barańczak) and discusses various types of stylization present in them.

5

Libretto baletowe jako gatunek tekstu?

94%

Wybraniec M.

Językoznawstwo

|

2016

|

vol. 10

201-207

EN

The ballet libretto as the kind of the text? The libretto is the text type, theoretical category which is the component of communicative competence ballet artists. That text is independent communications unit lying between species. The sentence can be seen as a kind of closed statement but the text itself is not closed.

6

Wanda – between the mystery and the libretto

94%

Sokalska M.

Studia Norwidiana

|

2018

|

vol. 36 English Version

103-124

EN

The article discusses the operatic filiation of Norwid’s works. On the one hand, these are forms borrowed from opera, which influenced the structure of the drama (e.g. choirs and the construction of collective scenes, solo parts of a quasi-recitative character or similar to arias, the composition of the finales of acts); on the other hand, Norwid’s work was interpreted in a broad context of 19th-century opera libretti, whose protagonist is Wanda. In addition to the produced operas (Vanda by A. Dvořák), the legend about the Krakow princess was adapted in numerous libretti (fragments in the work by L.A. Dmuszewski, the entire libretti by G. Olizar and W. Bełza, an operatic remake of the tragedy by F. Wężyk). The fact that most of these texts have never been musically elaborated encourages reflection on their borderline and indeterminate status as a literary work.

7

Literatura i literaci w życiu i twórczości Stanisława Moniuszki

84%

WYPYCH-GAWROŃSKA A.

Edukacja Muzyczna

|

2019

|

issue 14

77-126

EN

The present article concerns the place and significance of literature in the life and works of Stanisław Moniuszko, a composer who created different musico-literary genres, songs, operas, can- tatas as well as stage music for dramas. Moniuszko’s correspondence, which often featured litera- ture-related topics, constitutes the basis for the analysis of literary contexts of his works. The com- poser wrote about his favourite books, poets and writers as well as the lyrics to songs and librettos. Above all, however, his letters contain evidence of his search for new librettos in the existing liter- ary texts and numerous traces of his attempts to invite contemporary writers, poets and playwrights to collaborate on musico-dramatic works. The letters written to several eminent representatives of mid-century Polish literature are a testament to Moniuszko’s ambitious intentions. The contents of those letters also confirm that it was difficult for the composer to find a writer who would collabo- rate with him as the author of the lyrics to a musico-dramatic piece. The article also presents a collection of Moniuszko’s librettists, which includes the best writers and playwrights of the time. The most remarkable of Moniuszko’s works are well-written in terms of lyrics, which is a proof of the effectiveness of the composer’s efforts and, in the context of the popularity of his works, also of the significance of his achievements, not only for music, but also for the literature and literary culture of the nineteenth century.

PL

Artykuł dotyczy miejsca i znaczenia literatury w życiu i twórczości Stanisława Moniuszki, kompozytora tworzącego różne gatunki literacko-muzyczne – pieśni, opery, kantaty, oraz piszącego muzykę sceniczną do dramatów. Podstawą do analizy kontekstów literackich twórczości Moniuszki jest jego korespondencja, w której pojawiały się tematy literackie. Kompozytor pisał o ulubionych lekturach, poetach i pisarzach, o tekstach pieśni i librettach. Przede wszystkim pozostały w listach dowody na poszukiwanie librett wśród istniejących tekstów literackich oraz liczne ślady prób zaproszenia do współpracy przy dziełach dramatyczno-muzycznych pisarzy, poetów i dramatopisarzy współczesnych Moniuszce. Listy pisane do kilku wybitnych przedstawicieli literatury polskiej połowy XIX wieku świadczą o ambitnych zamiarach Moniuszki. Treść tych listów potwierdza również, jak trudno było kompozytorowi pozyskać do współpracy pisarzy w roli autora tekstu do utworu dramatyczno-muzycznego. W artykule przedstawiona została galeria librecistów Moniuszki, wśród których znaleźli się najlepsi pisarze i dramatopisarze epoki. Najwybitniejsze dzieła Moniuszki są utworami z udaną warstwą literacką, co jest dowodem na skuteczność zabiegów kompozytora, a w kontekście popularności jego twórczości – także na znaczenie dorobku Moniuszki nie tylko dla muzyki, ale również dla literatury i kultury literackiej.

8

O warstwie treściowej spektakli baletowych – wokół problemu recepcji i transformacji kulturowych tematów libretta

84%

Reglińska-Jemioł A.

Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej

|

2020

|

vol. 26: ERRARE HUMANUM EST. BŁĘDY W BADANIACH HUMANISTYCZNYCH, ICH RODZAJE I KONSEKWENCJE

314-328

EN

The connection between dance and the written word (literature) in classical ballet performances seems particularly close. The starting point for the production of such events could be a literary idea. This is because it is the written libretto which constitutes the dramatic foundation of ballet. The development of the art of ballet saw the emergence of a dominating tendency to shorten and simplify action, so that it captures the attention of the viewer and keeps tension up until the end, thus maintaining a continual interest in the meaning of the dance. Over time, the libretto itself would turn out to be a certain form of inspiration for free choreographic interpretations. The complexity and evolution of ballet themes become apparent in the context of cultural shifts, social attitudes and the aesthetics of a given era. In theatre criticism, it is notable that the status of libretto is inadequately specified, as its reviews seem to be based on ambiguous criteria. This is why, from a scholarly perspective, it is interesting to explore loose adaptations and distant reminiscences of these topics. Such an exploration provokes questions relating to possible ‘fortunate errors’, and the effects thereof, in the context of interpretation.

9

Strategie polskich tłumaczy włoskich librett w XVIII wieku

83%

Miszalska J.

Między Oryginałem a Przekładem

|

2013

|

vol. 22

11-25

EN

Polish dramatic writers of the 18th century very often referred to the European repertoire. The majority of Polish dramas in fact were translations or adaptations of foreign texts. Among Italian sources opera and oratorio librettos were the most important. The paper is an attempt to review Polish translations of Italian librettos in the 18th century, to reconstruct the translators’ motivation and to discover their translation strategies. In the first half of the 18th century a huge part of translated dramas were created by the Jesuits in order to be presented on school stage. Apart from this kind of texts at that time there were also Polish translations whose aim was to accompany performances in Italian language as texts „for reading”. Only in the late 18th century translation were used in performances with original music. Specific circumstances and finality of translations would have a decisive impact on translation strategies which could affect the story, the ideology but also the form of dramas and usually resulted in change of genre. These modifications prove that the translation of theater texts is especially submitted to a pressure of target system cultural context because the target text has to establish a direct contact with the public. Examining the history of translations and the evolution of translator’s approach helps to reconstruct an important share of the history of Polish dramaturgy and to indicate its sources.

10

Ile jest "Oniegina" w "Onieginie"? Libretto opery Piotra Czajkowskiego a tekst poematu Aleksandra Puszkina

83%

Walczak J.

Slavica Wratislaviensia

|

2011

|

vol. 154

73-85

EN

The article treats of a literary work adaptation for an opera libretto purposes by analysing sort and effect of text operations done by the author of the libretto and the composer. The libretto of the opera Eugene Onegin composed by Tchaikovsky is the exception in the history of music and literature in respect of treating the original text. The lyric is based on excerpts from the literary archetype left in the original wording: significant musical episodes and essential stages of a psychological drama connect with the poems of Pushkin. The effect of libretto analysis done by the author of the article is the afterthought on intertextual correlations when convention, linkage system and logic of the composition are considered.

11

Libretto jako (u)twór. Zagadnienia genologiczne i metodologiczne – zarys problematyki

83%

Walczak J.

Przestrzenie Teorii

|

2014

|

issue 22

89-100

EN

This article deals with issues connected with defining the libretto in the light of genre classification and the function that libretti perform as part of musical compositions. Libretti, which are marginalized by both literary theory and musicological research, are considered to be dependent texts even though most libretti are compositionally complete and can be analyzed by using the concepts of literary theory. At the same time, although the libretto is not an independent genre, it has its own subgenres which are identified based on the subject matter, function and structural properties (e.g. tragedy, comedy and farce).

12

Integrating Music with Fiction: Ian McEwan’s Libretto for Michael Berkeley’s Opera For You

83%

Popiel M.

Anglica. An International Journal of English Studies

|

2013

|

issue 22/1

45-56

EN

The article undertakes to prove that Ian McEwan is an ambitious and versatile writer who is not afraid of experimenting with forms which are on the borderline of literature and other arts. It presents McEwan as a literary artist having a wide professional knowledge of music. The analysis focuses on McEwan’s opera libretto For You which is a problematic work for any literary analysis as, being a multimedia narrative text type, it stands on the borderland between literature and music. The article analyses the interdependence of these two spheres considering the libretto as a complex artistic text – which refers to music at various interpretation levels: the language, style, plot and construction – and sheds new light on the narrative complexities of the text/music interaction.

13

La buona figliuola Carla Goldoniego a Czekina albo cnotliwa panienka Wojciecha Bogusławskiego

83%

Grzywaczewska E.

Kwartalnik Młodych Muzykologów UJ

|

2015

|

issue 2(25)

15-27

EN

La buona figliuola (The Accomplish’d Maid) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel Pamela, or Virtue Rewarded. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and La buona figliuola took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. La buona figliuola was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it Czekina albo cnotliwa panienka (Czekina or a Virtuous Maid). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – Czekina or a Virtuous Maid, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.

14

The Paramount Role of Translation in Modern Opera Productions

83%

Ożarowska A.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

258-272

EN

Opera is undoubtedly a particularly high and traditional genre of art, but recently there have been numerous attempts at breaking this stereotype and presenting opera in a contemporary light. The most popular way of achieving this aim is either staging modernized opera productions, i.e. transferring their plot from their traditional setting to the here and now, or considerably changing their interpretation. Staging modernized productions involves, first of all, the issue of stage design, and an alteration in the traditional interpretation is mostly created by acting, but nowadays it is also the translation shown in the form of surtitles that creates the significance of operatic productions.

15

The Paramount Role of Translation in Modern Opera Productions

83%

Ożarowska A.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

258-272

EN

Opera is undoubtedly a particularly high and traditional genre of art, but recently there have been numerous attempts at breaking this stereotype and presenting opera in a contemporary light. The most popular way of achieving this aim is either staging modernized opera productions, i.e. transferring their plot from their traditional setting to the here and now, or considerably changing their interpretation. Staging modernized productions involves, first of all, the issue of stage design, and an alteration in the traditional interpretation is mostly created by acting, but nowadays it is also the translation shown in the form of surtitles that creates the significance of operatic productions.

16

O możliwościach czytania dzieła operowego

82%

Wypych-Gawrońska A.

Przestrzenie Teorii

|

2015

|

issue 24

377-389

PL

Elżbieta Nowicka’s book Zapisane w operze. Studia z historii i estetyki opery (Wydawnictwo Poznańskie 2012) [Written in opera. The studies from history and aesthetics of opera] is an attempt to read the ideas, myths and idioms of culture enshrined in works of opera from the 17th to the 20th century. This process of registering takes place on several levels of operatic works: in the librettos, the music and in their staging. It is thanks to these that operas often prove to be the most interesting expression of the presence of myths and ideas in culture, and Elżbieta Nowicka’s book encourages the reader to return to such works.

17

Robinsonada na scenie albo dzieje nieudanej adaptacji

82%

Maleszyńska J.

|

2019

|

vol. 25

|

issue 2

113-126

EN

The article discusses Jacques Offenbach’s operetta Robinson Crusoe, whose libretto is based on the great 1719 novel by Daniel Defoe by the same title. The adaptation by French librettists in the late 19th century is a far cry from the original narrative. The novel, an epic hymn to human resourcefulness and resilience, became a light comedy with a trite story line and without a deeper message. The analysis of two formally very different texts with the same protagonist brings about a conclusion of an innate impossibility of translating a grand novel to a comedy stage.

PL

Artykuł Robinson na scenie czyli dzieje nieudanej adaptacji dotyczy opery komicznej Robinson Crusoe Jacquesa Offenbacha, której libretto powstało w oparciu o fabułę wielkiej powieści Daniela Defoe. Adaptacja, dokonana przez francuskich librecistów w drugiej połowie XIX wieku, daleko odbiegła od epickiego pierwowzoru i z powieści będącej epickim hymnem na cześć ludzkiej zaradności i siły przetrwania uczyniła błahą komedię z banalną akcją i bez głębszego przesłania. Porównanie dwóch różnych gatunkowo tekstów o tym samym bohaterze przynosi wniosek o organicznej nieprzekładalności monumentalnej powieści, szczególnie na komedię, przeznaczoną na scenę muzyczną.

18

Libretto w przestrzeni kultury — o relacjach międzytekstowych na przykładzie Diabłów z Loudun Krzysztofa Pendereckiego

71%

Kotłowska B.

Aspekty Muzyki

|

2011

|

vol. 1

83-100

EN

An opera libretto can be thought of as another text in the area of interpersonal communication, which enters into relations with other texts — not only literary works, but also cultural texts in a broader sense. The taking into account of relations between genre of interest here and others that are parallel with it in terms of construction, expressivity, and subject matter, leads to one of the descriptive categories of 20th century literature: intertextuality, often referred to in musicological research, especially by those who use the method of integral interpretation. The aim of the present article is to place the libretto of The Devils of Loudun by Krzysztof Penderecki in a cultural context. First, literary texts have been analysed (J. Michelet, La Sorcière, J. Iwaszkiewicz, Matka Joanna od Aniołów, A. Huxley, The Devils of Loudun, J. Whiting, The Devils), and also other cultural texts (philosophical works by Leszek Kołakowski, and fi lms). Penderecki adds his own vocal-instrumental version of the events in Loudun. Being aware of the range of the subject, its literary tradition and roots in the European culture, the composer introduces modifi cations and retouches to Whiting’s play that are crucial for the autonomy of the libretto — a peculiar text, by means of which he takes up a dialog with texts not only from the past, but also from the present. His capacious form of the libretto, as well as the musical and staging concepts, not only seem to be an invitation to make a great effort to concretize that which is proposed within the work, but also a challenge to the contemporary audience.

19

Inojezična kazališna radionica: prednosti trivijalnoga žanra u dramsko-kazališnom pristupu

71%

Kodrić Gagro A.

Slavia Meridionalis

|

2018

|

vol. 18

EN

Theatre workshop as a foreign language teaching tool: advantages of “trivial literature” in the dramatic-theatrical approach The aim of this paper is to demonstrate the advantages of dramatic-theatrical approach to foreign language teaching as exemplified by the use of popular culture, namely an adapted television format (soap opera). In order to achieve this aim, the paper presents the characteristics of the genre that render it useful in foreign language education. The genre’s usability in practical work is exemplified by two successfully implemented theatre workshops. The first one was organized in the Croaticum Centre for Croatian as a Second Language at the Faculty of Humanities and Social Studies, University of Zagreb, in 2006, for students of Croatian as a foreign language. The second workshop was held in 2010 at the Institute of Western and Southern Slavic Studies at the University of Warsaw for students of Bulgarian as a foreign language. Both workshops achieved excellent results in raising language competencies of foreign language speakers. Considering the continued presence of the mentioned genre in popular culture, its use in teaching does not lose its relevance. Warsztat teatralny w nauczaniu języka obcego: zalety literatury popularnej w podejściu dramatyczno-teatralnym Celem artykułu jest wykazanie zalet dramatyczno-teatralnego podejścia do nauki języków obcych na przykładzie kultury popularnej, czyli adaptowanej formy telewizyjnej – telenoweli. Aby osiągnąć ten cel, przedstawiono cechy gatunku przydatne w nauce języków obcych. Przykładami użyteczności podejścia w praktycznej pracy są dwa pomyślnie zrealizowane warsztaty teatralne. Pierwszy z nich został zorganizowany w Centrum języka chorwackiego jako obcego „Croaticum” na Wydziale Nauk Humanistycznych i Społecznych w Zagrzebiu w 2006 roku dla studentów języka chorwackiego jako obcego, a drugi w Instytucie Slawistyki Zachodniej i Południowej Uniwersytetu Warszawskiego dla studentów języka bułgarskiego jako obcego w 2010 roku. Oba warsztaty osiągnęły doskonałe wyniki w podnoszeniu kompetencji językowych osób posługujących się językami obcymi. Biorąc pod uwagę stałą obecność wspomnianego gatunku w kulturze popularnej, jego użycie w nauczaniu nie traci znaczenia.

20

Od postaci do głosu. O librettyzacji współczesnego dramatu

71%

Karasińska M.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2022

|

issue 42

77-96

EN

The analyses presented in the article reverse the traditional course of studies which assume that the poetics of a dramatic text is instrumentally superior to that of the libretto. In order to adapt the hypothesis that contemporary drama is increasingly libretto-like, inserted into its structure is, excerpted by opera theatre researchers, the libretto poetics treated as a genealogical directive specific to the genre which differentiates it from the “third kind” in its classical expressions. The breakup of the basic categories constituting a drama ( character, dialogue and plot ) brings it visibly closer to the traditional operatic libretto with features characterised by Albert Gier, among others. The post-dramatic aesthetics adapted by contemporary opera and drama, which removes the character or reduces it to a voice treated merely as a medium, absolutising the way a word sounds and the poetics of a transsystemic remix all result in the emergence of a common aesthetics of the stage chimaera genre.

Refine search results

Wanda – między misterium a librettem

Wanda – between the mystery and the libretto

Adaptacja libretta operowego na potrzeby realizacji scenicznej – kilka uwag od tłumacza

Mozartowski Don Giovanni – przegląd wybranych przekładów librett i kwestia stylizacji

Libretto baletowe jako gatunek tekstu?

Wanda – between the mystery and the libretto

Literatura i literaci w życiu i twórczości Stanisława Moniuszki

O warstwie treściowej spektakli baletowych – wokół problemu recepcji i transformacji kulturowych tematów libretta

Strategie polskich tłumaczy włoskich librett w XVIII wieku

Ile jest "Oniegina" w "Onieginie"? Libretto opery Piotra Czajkowskiego a tekst poematu Aleksandra Puszkina

Libretto jako (u)twór. Zagadnienia genologiczne i metodologiczne – zarys problematyki

Integrating Music with Fiction: Ian McEwan’s Libretto for Michael Berkeley’s Opera For You

La buona figliuola Carla Goldoniego a Czekina albo cnotliwa panienka Wojciecha Bogusławskiego

The Paramount Role of Translation in Modern Opera Productions

The Paramount Role of Translation in Modern Opera Productions

O możliwościach czytania dzieła operowego

Robinsonada na scenie albo dzieje nieudanej adaptacji

Libretto w przestrzeni kultury — o relacjach międzytekstowych na przykładzie Diabłów z Loudun Krzysztofa Pendereckiego

Inojezična kazališna radionica: prednosti trivijalnoga žanra u dramsko-kazališnom pristupu

Od postaci do głosu. O librettyzacji współczesnego dramatu