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1
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Dogonić świat. Musical i teatr muzyczny w Polsce po 1989 roku

100%
Mikołajczyk J.
Postscriptum Polonistyczne
|
2011
|
issue 2(8)
111-122
EN
Musical theatre in Poland entered a new stage in its history after 1989. Being forced to exist in a new economical situation, it had to develop a new organization model, different from the one it was using for last 45 years. Managing directors of such theatres as Musical Thea-tre in Gdynia, Musical Theatre Roma in Warsaw or Musical Theatre in Wrocław reformed their institutions, introducing strategies present in the Western theatrical world, for example castings for performers, giving up permanent theatrical groups etc. In theatres in Gdynia, Warsaw and in Rozrywka Theatre in Chorzów many Polish premieres of worldwide known musicals took place. Artistic and technical quality of Musical Theatre Roma in Warsaw reached the levels of European theatres of that type. Theatre in Wrocław, that has changed its name into Musical Theatre Capitol, became the leading centre of sophisticated musical theatre. Wojciech Kościelniak, connected with theatres in Gdynia and Wrocław, has directed many new and original musicals, based usually on outstanding literary works. Kościelniak is one of the most interesting personalities of contemporary Polish musical theatre.
2

Muzykol – kulturowa metafora PRL

80%
Piotr F.
Kwartalnik Filmowy
|
2015
|
issue 91 Film między muzyką pop a popkulturą
121-140
PL
Artykuł jest próbą wykorzystania kategorii musicalu jako narzędzia opisu dla społeczeństwa Polski Ludowej. Peerelowski musical filmowy zostaje tu ukazany jako zjawisko rzadkie, lecz symptomatyczne. Autor reinterpretuje teorię Ricka Altmana w odniesieniu do socjalistycznej kultury masowej, przepisując dualizm wartości kulturowych i kontrkulturowych na konflikt między interesami niechcianej władzy a niespełnionymi oczekiwaniami obywateli. Pokazuje, jak analizowane filmy odbiegają od modelu hollywoodzkiego w nastawieniu do pracy i rozrywki, a także w jaki sposób wypełniają zadania propagandowe i kompensacyjne. W rezultacie peerelowski musical okazuje się czymś więcej niż nieudolnym naśladownictwem – staje się „muzykolem”, kulturową metaforą PRL.
EN
The article is an attempt to use the category of the musical as a tool for describing the society of the Polish People’s Republic (PPR) era. PPR film musical is shown here to be a rare phenomenon, but a symptomatic one. The author reinterprets the theory of Rick Altman in relation to socialist mass culture, ascribing the duality of cultural and counter-cultural on to the conflict between the interests of disliked powers and the unfulfilled expectations of the citizens. He shows how the analysed films differ from the Hollywood model in the attitude towards work and entertainment, and how they fulfil propaganda and compensatory functions. As a result, the communist musical turns out to be something more than an inept imitation – it becomes a “muzykol” [locally made musical like film, that is not up to Western standards], a cultural metaphor for the communist era in Poland.
3
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Próba przejścia do rynkowego modelu zarządzania publiczną instytucją kultury na przykładzie Teatru Muzycznego w Poznaniu

71%
Kieliszewski P.
Prakseologia
|
2015
|
vol. 157/2
271-301
PL
Zmiana modelu zarządzania instytucją kultury – Teatrem Muzycznym w Poznaniu bazuje na założeniu, że nowoczesny musical zalicza się do przemysłów kultury, którymi w znacznej mierze kierują prawa rynku. Przemysły kultury, angażując ogromne rzesze widzów, mają znaczący wpływ na rozwój miast i mogą stanowić ważny element ich polityki kulturalnej. Przy czym ryzyko finansowe, podobnie jak w branży filmowej, jest niwelowane przez dotacje ze środków publicznych. Przekształcenie działającej w starych strukturach instytucji kultury w nowoczesny teatr muzyczny nie jest łatwe. Niestety nie jest wsparte właściwymi rozwiązaniami prawnymi w zakresie np. elastycznych kontraktów pracowniczych, posiada więc wrogów w postaci choćby związków zawodowych. Tym bardziej zmiana taka wymaga umiejętnego zarządzania. Winna zmierzać do dopasowania metod działania instytucji publicznej do warunków konkurencji rynkowej i zakładanych, spektakularnych efektów.
EN
The change of the management model of a cultural institution, i.e. Teatr Muzyczny [Musical Theatre] in Poznań, stems from the assumption that the modern musical belongs to the realm of cultural industries, which, to a large degree are governed by the rules of the market. Engaging vast groups of spectators, cultural industries play a significant role in the process of town development, and can constitute an important element of their cultural policies. The example of Teatr Muzyczny „Roma” lets one conclude that in Poland this cultural industry sector has entered a path of dynamic development. Greatest musical productions, whose budgets run into millions of zlotys and are comparable to those in the film industry, can yield return, while public subsidies, similarly to the film sector, alleviate financial risk. Transformation of a cultural institution still operating within the old structural framework into a modern musical theatre is not an easy task. Unfortunately, the process lacks support in the form of appropriate legal solutions concerning flexible contracts of employment, and thus it is invariably opposed by various groups, e.g. trade unions. All this steps up managerial skill requirements even more. The process of transformation should be aimed at adjusting the methods of operation of a public institution to the conditions of market competition, as well as the expected results. To achieve this, a convenient location of the theatrical venue is necessary, as is modern infrastructure to provide technical effects able to arrest spectators, as well as a flexible team of talented, enthusiastic people determined to simultaneously pursue their own individual careers and follow the vision of the leader. The vision also opposes wasting public resources, as well as the potential of public institutions of culture, which, in their organisational aspect, have moved away in recent years from the rest of the dynamically developing competitive economy.
4
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O specyfice musicalu rockowego

71%
Bernatowicz W.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
|
vol. 114
|
issue 2
150-161
EN
This article discusses various aspects of rock musical, focusing on its relationship with the aesthetics of rock music. The introduction provides a methodological approach to this type of a musical theatre work. The existing concepts related to this term are presented, a distinction is made between the category of rock opera and rock musical, and an original definition of this subgenre is proposed. The next section explores the relationship between rock music and rock musical in terms of authenticity. Differences and similarities in the performing practice are presented for both artistic forms along with their sound representations. The final section of the article analyses two prominent musicals created in the early stages of the subgenre development – Hair and Jesus Christ Superstar. Having set certain boundary conditions for fusing rock with theatre, both productions are analysed for their structural components appropriate for the musical form (musical elements, dramatic elements of the work) in combination with rock aesthetics and the performance of this type of work on stage.
5
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Śpiewać niewyśpiewalne? Miejsce musicalu w edukowaniu o Holokauście

71%
Roszak J.
Narracje o Zagładzie
|
2018
|
issue 4
349-361
EN
The author of the article focuses on the position and possibilities of theatre education – more specifically, the musical – in Holocaust education, which is a significant element of peace education. Wishing to widen the scope of Betty Reardon’s tetrad which identifies the following foundations of ideal education for peace: personal, political, pedagogical, poetic, the author proposes to add one more “p” – performative. Two musicals interpreted in the article, Imagine This and Korczak are convergent in multiple aspects; among others, both share the motif of theatre within theatre, and their location is the Warsaw ghetto of 1942.
PL
Autorkę artykułu interesuje miejsce i możliwości edukacji teatralnej – a konkretniej: musicalu – w nauczaniu o Zagładzie, będącej istotnym elementem edukacji propokojowej. Do tetrady Betty Reardon, uznającej za fundamenty idealnej edukacji na rzecz pokoju to, co: personalne, polityczne, pedagogiczne i poetyckie, proponuje ona dołączyć jeszcze jedno P – performatywne. Przedmiotem interpretacji uczyniono dwa musicale: Imagine This oraz Korczak, ujawniające zresztą wieloaspektowe zbieżności, m.in. występuje w nich motyw teatru w teatrze, akcja obu rozgrywa się w warszawskim getcie w 1942 roku.
6

Religion and Cultural Identity in Shakespeare’s Romeo and Juliet and the Musical Works it Inspired

70%
Bottez A.
Messages, Sages and Ages
|
2016
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vol. 3
|
issue 1
46-59
EN
Protean Shakespeare thrives not only in the theatre, but also through what Bolter and Grusin call remediation. This article analyses the religious stances in the play and then shows how opera, symphony and musical have been adapting the veteran Elizabethan drama since the 18th century. Its main approach is comparative and relies on the history of mentalities. Adaptation is dictated by cultural context, the conventions of the lyrical theatre, social and political factors, and reception. The confusing religious configuration of Shakespeare’s England is reinterpreted kaleidoscopically. The article demonstrates, for instance, that Berlioz and Gounod reread it according to staunch Catholicism in 19th century France, while Bernstein’s West Side Story moves the action to New York in the mid- 50’s, the Capulets and Montagues are replaced with rival Polish and Puerto Rican gangs and religion with cultural identity.
7
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Sceniczne adaptacje komiksów. Strategie przekładania historii obrazkowych na język teatralny

70%
Dąbrowska Z.
Didaskalia. Gazeta Teatralna
|
2023
|
issue 175-176
277-304
EN
Comic books are increasingly being used as a material for creating theatre plays. In Poland, first theatre adaptations of comics appeared in the mid-20th century, but on Broadway, comic strips have provided source material for theatre plays since its outsets in the late 1800s. In this paper I present a short history of the most important comic book adaptations for the theatre in Poland, with an emphasis on plays based on a Henryk Jerzy Chmielewski’s series Tytus, Romek i A’Tomek. I ponder upon the connotations between comic books and music, and bring into consideration many different forms that comic book adaptations can take. Above all, I analyse in details a few examples (Polish productions Staś i Zła Noga [Staś and the Bad Leg] by Bartłomiej Błaszczyński and Kajko i Kokosz by Marta Ogrodzińska, and an American production Spider-Man: Turn Off The Dark by Julie Taymor) for the purpose of discussing the strategies of putting the comic book stories onto the stage and the difficulties involved with the process.
8
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On a Romantic Island: Shakespeare and Mamma mia

70%
Wild J. B.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2019
|
vol. 20
|
issue 35
151-161
EN
The paper concerns the blockbuster musical film Mamma mia, loosely using some of Shakespearean patterns, topoi and plots. Set on a small Greek island, idylic and exotic, the film offers a contemporary romantic story with new/reversed roles in terms of gender, parenthood, sexuality, marriage and age, pointing to a different cultural paradigm. While the Shakespearean level is recast, remixed and probably less visible, the priority is given to the utopia of the 1970s and to the question of its outcome and transformation.
9
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“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen

70%
Barker A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
241-257
EN
Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the con­nection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy.
10
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“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen

70%
Barker A.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
241-257
EN
Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the con­nection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy.
11
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Tmou za láskou. Renarracja Quo vadis w słowackim musicalu

70%
Szargot B.
Tematy i Konteksty
|
2019
|
vol. 14
|
issue 9
599-609
EN
The paper is a description of the Slovak musical based on Henryk Sienkiewicz’s novel Quo Vadis. The analysis has been made  on the basis of the categories of intertextual research proposed by George Genette. Transferring Sienkiewicz’s story into the world of pop culture in case of this musical is done by changing its main subject: now it is love in all its meanings. Looking at this, we can see which elements of the author’s creation seem appealing for the contemporary culture: the word (the widely quoted hipotext), the plot  in a broad outline and the emotion it carries.
12
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Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”

61%
Lecińska-Ruchniewicz M.
Slavia Occidentalis
|
2017
|
issue 74/2
51-64
PL
The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
13
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The optimal piano teacher: Sosniak’s model versus Polish teachers from public music schools

61%
Chmurzyńska M.
Interdisciplinary Studies in Musicology
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2011
|
issue 10
111-130
PL
The author deals with the relationship between a piano teacher and her/his pupil/student at different stages of development. The relationship is defined in the literature as one of the most important features determining musical-artistic achievements. She describes the American research into the nurturing of pianists’ talent, and presents the optimal model of piano teacher devised by L. Sosniak, based on interviews with 20 young American pianists with high and significant achievements. The model indicates that the best conditions for artistic development are the sequence of three different teachers, or three different pedagogical strategies, adjusted to the stages of development of young musicians: (1) music teacher for the youngest pupils, whose task is to arouse interest and provide intrinsic motivation and passion for music and piano-playing; (2) instructor teacher (for teenagers), whose task is to help students to build a solid métier, acquire the necessary motor skills and piano technique, and to improve their artistic performance; (3) master teacher for young adult pianists, whose task is to help them to integrate the skills gained previously, to shape their artistic personality. This sequence turned out to be extremely favourable for the later achievements of the interviewed pianists. The author then provides an analysis of statements by Polish pianists from the older generation, and an observation of the behaviour of piano teachers from Polish public music schools. These show that in our piano pedagogy there exists only one type of teacher, the instructor teacher who, compared to Sosniak‘s model, places the greatest emphasis on technical skills and avoids the issue of expression.
14
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Postać jako wehikuł adaptacji: musical „Kapitan Żbik i żółty saturator”

61%
Woźniak M.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2022
|
issue 42
295-310
EN
The article presents an analysis of the adaptation idea for the musical Kapitan Żbik i żółty saturator (Captain Żbik and the yellow carbonator) directed by Wojciech Kościelniak. The direct inspiration for the show created in 2020 in the Syrena theatre in Warsaw was the comic book series published between 1968 and 1982. The interpretation of the cultural significance of the colourful books forms the introduction to the analysis of the show. The author also presents how the literary genre of the source affects the screenplay and the characters. The stage and costume design, the spoken texts and songs and the acting style all refer back to the comic books. The article is an attempt at determining how similar the staged Captain Żbik is to its source and what adaptation tools have been used to adjust the comic book language to the requirement of a theatre stage.
15
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„Opera mleczana”: Między teatralnym komiksem a musicalem

61%
Regiewicz A.
Pamiętnik Teatralny
|
2023
|
issue 2(285)
85-102
EN
This article offers an analysis of the performance Opera mleczana (Milk Opera), directed by Mikołaj Grabowski, which premiered on 9 March 2003 at Narodowy Stary Teatr im. Heleny Modrzejewskiej (Helena Modrzejewska National Old Theatre) in Kraków. Its libretto and music by Stanisław Radwan were based on satirical drawings by Andrzej Mleczko. Using the theory of intermediality, the author interprets not only the content of the performance, but also the various forms and means of expression it employs, borrowed from opera, musical, film, soap opera, and comic strips. It is argued that the show’s hybridity contributed to its popularity, as it made it easier for the actors to connect with a multigenerational audience.
16

ХАРАКТЕРИСТИКА ТЕХНОЛОГІЧНО-ДІЯЛЬНІСНОГО КОМПОНЕНТА НАУКОВО-ДОСЛІДНИЦЬКОЇ КУЛЬТУРИ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИКИ

51%
Тушева В.
Педагогічні науки: теорія, історія, інноваційні технології
|
2016
|
issue 6(60)
118-129
EN
In the article the question of the relative technological mechanism of the research culture of the future music master, that comes forward as an invariant core, presents a research tool, a technology of scientific cognition, is considered in the article, that is determined by existent scientific style of pedagogical society, formed professional-pedagogical culture of a future teacher, researcher, musician and combined with the emotionally-vivid and artistic understanding of musical art. The comprehension of cultural, psychological, pedagogical and study of art sources on the issue of research made it possible to define research culture of the future music master as a dynamic, integrated quality of a personality that appears in a capacity for analytical, inductive-deductive intellection and emotionally vivid understanding of musical art, embodiment of a scientific-artistic, aesthetic, musical, pedagogical ideal in the research, application of scientific (pedagogical and study of art) knowledge in pedagogical activity as well as theoretical (explanatory) and structurally-technological (converting) function. In accordance with logic of our reasoning on the basis of cultural approach technological, personality and creative components of axiology of research culture of the future music masters are outlined. Activity conception allows to examine the technological component of the research culture of the future music master as such, that represents the methodology (methods, receptions, procedures, algorithms, charts, norms, standards, research logic) of receipt of scientific knowledge and gives an idea about organization of research process and implementation in the certain sequence of research executions, that in the totality (to the system) create technology of research activity, that corresponds to a certain culture and “scientific mentality”. The special value is acquired by creative approach in realization of research strategies in the sphere of musical and pedagogical education, as well as its main dominants – artistic, aesthetic and spiritual, creative. In this context the research activity of the music master must be examined as such, that is determined, on the one hand, by scientific norms, values and methodological reference-points, on the other hand, – by requirements and tasks of musical, pedagogical education, by its maintenance.
17

Realistyczny musical? Allen – Resnais – von Trier

51%
Koschany R.
Kwartalnik Filmowy
|
2011
|
issue 75-76
199-208
EN
In musical realism has many faces; as a category, it has many meanings and is subject to change. It is also dependent on the genre (e.g. in backstage musicals or in films about artists music, song and dance are quite justified). However it is not a constitutive feature of the genre in question and it is simply a convention. Nonetheless Koschany points to certain poetics and concepts that do not fit with this view and habits of the audiences. The article presents the analysis of three exceptional films by three directors: Woody Allen’s Everyone says I Love You (1996), On connaît la chanson (Same old song) by Alain Resnais (1997) and Dancer in the Dark by Lars von Trier (2000). For the directors in question, their musicals were important experiments – self reflective tales about the status of the genre and the possibility of its realistic version.
18
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Jiří Fukač and his contribution to popular music research

26%
Opekar A.
Hudební věda (Musicology)
|
2022
|
vol. 59
|
issue 2-3
214-245
EN
Jiří Fukač (1936–2002) was one of the most prominent Czech musicologists. His ability to approach topics in classical music from a complex perspective in wide artistic and societal contexts was a characteristic feature of his work. He was known as a prolific author of journal articles and scholarly studies, a skilful orator, a charismatic debater, as well as an inspiring teacher. His contribution to the field of research in popular music, being spread over a number of individual works, has not been, however, all that visible up until now. The present study maps the individual stages of Fukač’s interest in this field, analyses his contributions in the form of shorter journal articles, more extensive essay writing and scholarly research. The sources used for the investigation included published texts in journals, books, and other media, as well as publications related to Fukač’s musicological legacy published after his untimely death, including entries in encyclopaedias and the personal memories of his colleagues. The study confirms that Fukač focused a significant amount of his scholarly activities on research into popular-music culture. The highlights of his legacy are a taxonomy of music providing an option for terminological delimitation of art music and popular music, elaborated in cooperation with Ivan Poledňák, and the appeal to integral and equal incorporation of both spheres of musical culture in all the existing disciplines of musicology.
CS
Jiří Fukač (1936–2002) byl jedním z nejvýznamnějších českých muzikologů, charakteristický schopností komplexního vidění problémů klasické hudby v širokých uměleckých i společenských kontextech. Byl znám jako plodný autor publicistických článků a vědeckých studií, obratný řečník, charismatický diskutér i inspirativní pedagog. Jeho přínos pro výzkum populární hudby však byl dosud do jisté míry skryt, rozprostřen do množství dílčích prací. Předložená studie mapuje jednotlivé etapy Fukačova zájmu o tuto problematiku, analyzuje jeho přínos pro drobnou publicistiku, širší esejistiku i pro vědecký výzkum. Zdrojem zkoumání byly publikované texty v časopisech, knihách a dalších médiích i statě týkající se muzikologova odkazu, publikované po jeho předčasné smrti, včetně encyklopedických hesel, i osobní vzpomínky jeho kolegů. Studie potvrzuje, že Fukač věnoval výzkumu populární hudební kultury značné penzum své vědecké energie. K vrcholům jeho odkazu patří taxonomické členění hudby s možnosti terminologického uchopení hudby artificiální a nonartificiální, rozpracované společně s Ivanem Poledňákem, stejně tak jako apel na integrální rovnoprávné zahrnování obou sfér hudební kultury do všech již existujících muzikologických disciplín.
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