Search results

1

Recenzja książki Jean Marie Pradiera Ciało widowiskowe. Etnoscenologia sztuk widowiskowych, przekł. Kinga Bierwiaczonek, (Wydawnictwo Naukowe PWN, Warszawa 2012)

100%

Kencki P.

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2012

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vol. 61

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issue 3-4(243-244)

203–214

2

Przyczynek do poszukiwań performatyki we współczesnych praktykach politycznych

80%

Dorota Furtak-Masica D.

Prace Kulturoznawcze

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2016

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vol. 19

113-124

EN

According to Jon McKenzi almost every aspect of human life today is driven by a pressure to perform. It is, therefore, understandable, why both past and current political practices are analysed using the tools offered by performativity. Performativity, however, has never been considered a homogeneous field. This is why I will present the reasons I decided to choose the current of it that exposes the theatrical genealogy of contemporary cultural and organisational performances (theatrimogeneous field. This is why I will present the reasons I decided to choose the current of it that cality of politics was discussed by Bertolt Brecht). I truly believe that research tools offered by this current will create an optimal opportunity to describe strategies presently used in both politics and the political (which is Chantal Moufee’s conception). It is my intention to apply the initial theoretical concepts to particular examples of political practices in Poland.

3

Społecznie konstruowane ciała i performatywna magia: Teoria socjologiczna Pierre’a Bourdieu w badaniach performatywnych

80%

Kopciewicz L.

Studia Litteraria et Historica

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2017

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issue 6

EN

Social construction of the body and the performative magic: Pierre Bourdieu’s sociological theory in performance studiesPerformance studies are a developing field of social science which draws on the insights of sociology, ethnography, cultural studies, cultural anthropology, theatre studies and communication studies. The object of performance studies is human activity seen as expression which constitutes the process of production and reproduction of subjectivity. In this text the author analyses Pierre Bourdieu’s sociological theory from the perspective of performance studies: of questions about social agency, understood as constructing the subject within a specific field of power. The author focuses particularly on the following aspects of individual and collective practices as described by Pierre Bourdieu: spatial practices, bodily practices, and masculine domination. Społecznie konstruowane ciała i performatywna magia: Teoria socjologiczna Pierre’a Bourdieu w badaniach performatywnychPerformatyka jest rozwijającą się dziedziną badań społecznych, która korzysta z dorobku socjologii, etnografii, studiów kulturowych, antropologii kulturowej, teatrologii, studiów nad komunikowaniem. Przedmiotem badań performatywnych jest aktywność ludzka rozumiana jako ekspresja, która stanowi proces wytwarzania i reprodukowania podmiotowości. W niniejszym tekście autorka analizuje teorię socjologiczną Pierre’a Bourdieu w perspektywie performatyki: pytań o społeczną sprawczość rozumianą jako konstruowanie podmiotu w określonym polu władzy. Szczególnemu namysłowi autorka poddaje następujące aspekty indywidualnych i zbiorowych praktyk opisane przez Pierre’a Bourdieu: praktyki przestrzenne, praktyki cielesne, męska dominacja.

4

Performans w lodach

80%

Szpakowska M.

Pamiętnik Teatralny

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2020

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issue 4(276)

171-180

EN

This article discusses Tomasz Kubikowski’s book Zjadanie psów [Dog-Eating] (Warszawa 2019), which combines the story of nineteenth-century polar expeditions – by John Ross, William Edward Parry, John Franklin, Elisha Kane and Fridtjof Nansen – with the concept of performance as “restored behaviour,” taken expertly from Richard Schechner. Excellently written, almost like a travel-adventure novel, the book presents Arctic exploration as a sequence of performances that owed their social significance to stories; without a story, getting to the pole was hardly worth the trouble, and all the above-mentioned explorers left such accounts. Kubikowski treats them as anthropological narratives, “stories of someone else’s experience”; he also reads in them what their authors were not aware of: for example, that the natives and their culture were completely invisible to the adventurers. The theoretical background of the book is rather complex, as the author has engaged with performance studies for almost twenty years, yet the book is (deliberately) written in such a way as to be enjoyed also by those who do not care for theory.

5

Burza – Szekspirowskie simulacra

80%

Kencki P.

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2014

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vol. 63

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issue 3(251)

36-48

EN

The introductory part of the essay brings an account of Jean Baudrillard’s theory of simulation with the aim of appropriating it for the theory of theatre. The author, referring to his previous reflexions on the sphere of spectacles, this time attempts to define it not only in reference to the categories of spectacularity and performativity but also to that of simulacrity. Thus, a triangular model is created. Close to its vertices, phenomena that may be defined through one of the said categories can be located; along the triangle’s edges phenomena that need to be described in reference to two such categories would be situated; and finally, within its plane, one could place phenomena defined by all three categories. The phenomenon of theatre, as based on the combination of spectacularity, causal performativity and simulation, needs to be located in the centre of the diagram. The second part of the essay presents an analysis of The Tempest by Shakespeare and applies the conceptual tools described above. The analysis takes into account that the comedy, charged with a strong meta-theatre element, is located at the interpretational mezzanine of sorts and reveals its full meaning only through staging. Only then do its spectacular and performative aspects appear in sharp light, e.g. when actors as characters watch other actors (spectacularity), or when Prospero acts as a performer. The proposed reading of The Tempest, however, puts special emphasis on the problem of simulacra. As can be seen, their structure in Shakespeare’s work is quite peculiar (the title tempest): they are embedded in the meta-theatrical tradition (the clothes that simulate the change of status of their new wearers) and, significantly, appear as metaphors in other works by the Stratford playwright (the motif of ivy). It is easy to see that the presence of simulacra in the world portrayed in The Tempest allows the characters to free themselves from the appearances. The same chance is offered to the readers of the comedy and to the audience of the play as well.

6

Fermentacja. Slavs and Tatars i performatywna propozycja dla polskiej kulturowej komparatystyki

71%

Iwanczewska Ł.

Porównania

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2020

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vol. 26

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issue 1

345-358

EN

The article is a view of Polish comparative culture studies through the prism of performance science understood as the study of performative processes of establishments. The author shows that performance can become a proposal for comparative methodologies. By analyzing the strategies of the artistic and scientific collectiveSlavs and Tatars, she shows how knowledge and history are produced in a performative way, how dependencies and relationships between disciplines of knowledge and cultural texts are created.

PL

Artykuł stanowi spojrzenie na polską komparatystykę kulturową przez pryzmat performatyki rozumianej jako badanie procesów performatywnych ustanowień. Autorka pokazuje, że performatyka może stać się propozycją dla metodologii komparatystycznych. Analizując strategie kolektywu artystyczno-naukowego Slavs andTatars, pokazuje, jak w sposób performatywny produkowana jest wiedza, historia, jak tworzą się relacje i zależności pomiędzy dyscyplinami wiedzy i tekstami kulturowymi.

7

Dramat, dramaturgia, dramatologia – retroperspektywy

70%

Kosiński D.

Przestrzenie Teorii

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2021

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issue 36

17-32

EN

The article is an attempt to reconsider, reinterpret and, at the same time, summarize the concepts of dramaturgy and dramatology as they were developed by the author mainly in his research realized within the framework of the Chair of Drama and then the Chair of Performance Studies at the Jagiellonian University. Despite the fact that efforts to establish a broad understanding of drama and dramaturgy that is not restricted to art but is used to analyse and interpret performative aspects of social life were not fully successful, the main goal of the article is to support this idea by claiming the need for a ‘return to dramatology’.

8

Znaczenia nie da się oddzielić od ciała

70%

Dworakowska Z.

Didaskalia. Gazeta Teatralna

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2021

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issue 163/164

28-51

EN

The text is a proposal to analyse the film Symphony of the Ursus Factory from three different perspectives: performance studies, qualitative research, and participatory art. Departing from a quote by the director, Jaśmina Wójcik, where she reminisces about her first encounters with the former employees of the factory, the author focuses on the issue of embodied knowledge. Through discussing different moments of the film and its visual and audial strategy, the author also shows how theatricality mixes with documentality in the production. The author also refers to different events and activities from the nine-year-long Factory Ursus Project to show it as a long-term process grounded on different modes of participation and collaboration, without which the movie could not have been possible and which legitimates its artistic form.

9

Nowe formy w dramaturgii Witkacego i wynikające stąd spory O „rozmowach istotnych”

70%

Kurowska S.

Didaskalia. Gazeta Teatralna

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2021

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issue 161

227-254

EN

The article attempts to present essentiality – one of the concepts used most frequently by Witkacy – as a performative category. The artist was aware that essentiality would not have the final form in the dictionary of intellectual concepts, that it could not be fixed within stable definitions, but continued his efforts to push the boundaries of the human mind as far as possible. The paper analyses Witkacy’s epistemological tactics using Anna Krajewska’s dramatic theory of literature, which draws, among other things, on the achievements of performative discourse. Seen in this perspective, Witkacy’s ‘essential conversations’ can be regarded as dramatic forms which establish essentiality in constant motion and give it the character of a processual event – of something uncertain in a state of unreadiness, something attempted.

10

The Signifier Cannot Be Detached from the Body

70%

Dworakowska Z., Rusek M.

Didaskalia. Gazeta Teatralna

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2021

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issue English Issue 2021

90-112

EN

The text is a proposal to analyse the film Symphony of the Ursus Factory from three different perspectives: performance studies, qualitative research, and participatory art. Departing from a quote by the director, Jaśmina Wójcik, where she reminisces about her first encounters with the former employees of the factory, the author focuses on the issue of embodied knowledge. Through discussing different moments of the film and its visual and audial strategy, the author also shows how theatricality mixes with documentality in the production. The author also refers to different events and activities from the nine-year-long Factory Ursus Project to show it as a long-term process grounded on different modes of participation and collaboration, without which the movie could not have been possible and which legitimates its artistic form.

11

Wyjść z teatru i w nim pozostać Nikołaj Jewreinow – spojrzenie z XXI wieku

70%

Osińska K.

Didaskalia. Gazeta Teatralna

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2021

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issue 161

176-226

EN

Nowadays the growing interest in the work of Nikolai Evreinov, especially in the idea of the theatralization of life, provokes the question: Was Evreinov really ahead of his time, as Erika Fischer-Lichte suggests? What do his ideas mean today, in the era of performance studies? The article discusses Evreinov's most important concepts – such as the theatralization of life (on the example of human sex life, among others), monodrama, theater for oneself – as well as his works on the origins of theater which he saw in the scapegoat rituals, folk rituals, and public executions. Evreinov's ideas are juxtaposed with his work as a director (as the co-creator of the Ancient Theater in St. Petersburg, and the director of the mass spectacle The Storming of the Winter Palace) and with his dramatic works (on the example of the following dramas: The Beautiful Despot, In the Stage-Wings of the Soul [also known as: Theatre of the Soul], the parody The Inspector General [also known as: The Government Inspector] and The Chief Thing).

12

W zgodzie z sobą i Ewangelią. Czy możliwy jest dzisiaj udany performans religijny?

70%

Rotengruber P.

Człowiek i Społeczeństwo

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2022

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vol. 54

117-131

EN

There is no doubt that the Catholic Church is in a deep crisis. On the one hand, it is internally divided between supporters of the changes initiated during the Second Vatican Council (1962–1965) and conservatives opposing these changes in the name of the (Counter-Reformation) decisions made during the Council of Trent (1545–1563). On the other hand, the Church is involved in a number of political, financial, paedophile, etc. scandals. They prove the progressive loss of contact of this institution with the world as a place to preach the Gospel. For both of these reasons, the number of believers in countries considered Catholic is steadily decreasing. The purpose of this article is to correct or supplement this diagnosis. Historically, the Catholic Church – like many other religious organizations – has never been „spotless”. However, this did not prevent Catholics from identifying themselves with this institution as the depository of the Revealed Truth. Today is different. Many of them are experiencing an identity crisis. They cannot reconcile the Gospel (which takes the form of religious dogma) with the existential and moral challenges they face every day. The subject of the research undertaken in this article is to find answers to the questions (1) about the skills that allow them to reconcile one with the other and (2) about the role of the Church in the education of the community of the faithful.

13

Zwrot performatywny w poznańskim teatrze alternatywnym po roku 1989

61%

Grenda M.

Tematy z Szewskiej

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2014

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issue Performatywność 1(11)/2014

30-45

PL

Głównym celem artykułu jest opis zwrotu performatywnego na obszarze teatru alternatywnego po roku 1989, przejawiającym się zarówno w twórczości poznańskich artystów, jak i w refleksji teatrologicznej, opisującej nowe zjawiska artystyczne związane z teatrem niezależnym. Pierwsza część artykułu opisuje zwrot performatywny w naukach humanistycznych, druga ukazuje cechy zwrotu performatywnego na postawie konkretnych przykładów projektów i przedsięwzięć poznańskich grup teatralnych, tworzących w Poznaniu po roku 1989

EN

This article deals with issues of performative turn, observable both in humanities and independent theater field. At the beginning, paper analyses performative turn in academic reflection (terms like performance and performance studies), than concentrates on performative turn in artistic performances of theaters groups from Poznań, founded and works after 1989 year (TBP, TSC, TPC, T2XU, TUUR). In their performances, the artists consciously use the distingue components of performative turn.

14

On Spillikin – A Love Story: Issues around the Humanoid Robot as a Social Actor on Stage

61%

Stamboliev E.

Avant

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2017

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vol. 8

EN

The inclusion of media technology in theatrical plays (Saltz, 2013) follows a contingent fascination and entanglement between human actors, technology and automata (Reilly, 2011) on stage. The contemporary play Spillikin – A Love Story places a new digital ‘actor’ in this debate: the humanoid robot as a socially interactive agent (Breazeal, 2002; Fong, Nourbakhsh, & Dautenhahn, 2003) and caring companion. This paper discusses the exhibition of sociability through the robot’s humanlike gestures and its ability to decipher human gestures on stage. The aim is to point to the ethical consequences for the audience concerning the robot’s implied autonomy to interact socially.

15

On Spillikin – A Love Story: Issues around the Humanoid Robot as a Social Actor on Stage

61%

Stamboliev E.

Avant

|

2017

|

issue 8

EN

The inclusion of media technology in theatrical plays (Saltz, 2013) follows a contingent fascination and entanglement between human actors, technology and automata (Reilly, 2011) on stage. The contemporary play Spillikin – A Love Story places a new digital ‘actor’ in this debate: the humanoid robot as a socially interactive agent (Breazeal, 2002; Fong, Nourbakhsh, & Dautenhahn, 2003) and caring companion. This paper discusses the exhibition of sociability through the robot’s humanlike gestures and its ability to decipher human gestures on stage. The aim is to point to the ethical consequences for the audience concerning the robot’s implied autonomy to interact socially.

16

Błąd Epimeteusza? Teatr w sieci technik i technologii

61%

Duda A.

Pamiętnik Teatralny

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2022

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issue 1(280)

121-137

EN

This article presents William B. Worthen’s latest book: Shakespeare, Theatre, Technicity (Cambridge, 2020), which offers a reflection on staging Shakespeare in the age of digital media domination. This publication by the renowned Shakespeare scholar is an important voice in the discussion of theatre as a hypermedium, that is, a medium that reaches for other media in order to establish its historical version in a particular period. Worthen’s concept is anchored not only in media theories, but above all in the philosophy of Bernard Stiegler, who regards the human being is a technical being, using material and technical prostheses to transcend his/her being-towards-death and to be able to exist beyond purely biological conditions. One of Worthen’s crucial arguments for considering theatre as a hypermedium is his extensive analysis of the practices, myths and dilemmas concerning the reconstruction of traditional Elizabethan theater; he defines them as remediation practices.

17

Sound Art: materialność dźwięku

51%

Sitko A.

ER(R)GO: Teoria – Literatura – Kultura

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2016

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issue 33

EN

Sound art is a term used to classify works which incorporate sound as the main artistic means of communication with the audience. If we look at the presence of sound in art from a historical viewpoint, our attention can be drawn by Cabaret Voltaire and the performances of Dadaist on its stage. Sound became also an element of performances, and constituted an integral part of many of them. However, it only accompanied the artworks and was not an independent object of art. The text focuses on materiality which is an integral part of Sergei Tcherepin’s sound artworks. In his artworks, a material object and sound constitute a specific unity.

PL

Sound art to pojęcie określające prace, w których dźwięk jest dominującym środkiem artystycznym. Z historycznego punktu widzenia, naszą uwagę może przyciągnąć Cabaret Voltaire i występy dadaistów na jego scenie. Dźwięk stał się też elementem performansów i stanowił integralną część wielu z nich. Jednakże stanowił element „towarzyszący”, a nie był samodzielnym „obiektem” sztuki. Artykuł skupia się na materialnym elemencie towarzyszącym pracom Sergeia Tcherepina, amerykańskiego artysty, którego twórczość zaliczana jest do sound art. W jego pracach materialny obiekt i dźwięk stanowią swoistą jedność.

18

Próba performatywnego odczytania opisu stworzenia (Rdz 1–2, 4)

51%

Jaworecki K.

Łódzkie Studia Teologiczne

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2017

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vol. 26

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issue 3

13-21

EN

Focusing on the first couple of verses in Genesis (Gen 1–2:4), one can discover its amazingly performative character. The Word of God is creative and has effective power; it can be subject to the analysis of performative utterances by Austin, which seems to stress its significant character. Reading this text in light of deconstruction theory by Derrida leads us onto the path of fully performative interpretation of culture texts. Of course it is just an attempt, which is a little far-fetched but it still remains interesting and scientifically stimulating.

19

Wykorzystanie performatywnej funkcji języka w dyskursie publicznym na przykładzie sporu o legalizację związków partnerskich

51%

Bartoszewicz J.

Warszawskie Studia Teologiczne

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2017

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vol. 30

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issue 2

204-219

EN

Language has a creative role, which establishes new language quality and through its performative function it influences the creation of reality, relations and public mood and, as a consequence, also legislative processes. In this article I assume that language does not solely play the role of an information transmitter. Thanks to its performative function it also influences human behaviour. In the article, on the basis of discourse analysis concerning the registered partnerships legalisation, I will outline the issue of discourse participants’ language behaviours as well as the means of commenting on a given event. I will also present language features characteristic for a given group participating in a communication process.

20

PERFORMANS I PERFORMANS POETYCKI W ARTYKUŁACH UKRAIŃSKICH BADACZY

51%

Hładun D.

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2021

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vol. 9

|

issue 1

145-155

EN

The article examines the formation process of the scientific field of performance studies in Ukraine since the second half of the 20th century. Analytical and synthetic methods are used based on papers by A. Bakanurskyi, D. Honcharenko, T. Hridyayeva, N. Khoma, O. Kochubeinyk, L. Komarnytska, T. Kornieieva, O. Lachko, N. Marenych, I. Nechytalyuk, M. Pashkevich , Yu. Pochynok, Ya. Shumska and I. Yatsyk. The article is part of wider research on the key terms and concepts in poetry performance theory discussed in the publication Introduction to Ukrainian Poetry Performance Theory. The History of Performance Theory. It is considered to be the case that the majority of Ukrainian scientists tend to borrow views on both performance theory and key aspects of performance history from their North American and West-European colleagues.

PL

Artykuł przedstawia proces wytyczenia pola badań naukowych performansu w Ukrainie od drugiej połowy XX wieku z wykorzystaniem metod analityczno-syntetycznych (na podstawie artykułów A. Bakanurskiego, D. Honczarenki, T. Gridiajewej, L. Komarnickiej, T. Korniejewej, O. Koczubejnyk, O. Laczko, N. Marenycz, I. Neczytaliuk, M. Paszkewycz, J. Poczynok, N. Homy, J. Szumskiej i I. Jacyk). Artykuł jest częścią szerszego opracowania na temat kluczowych pojęć teorii performansu poetyckiego, w ramach którego ukazał się tekst Wprowadzenie do teorii performansu poetyckiego na Ukrainie. Historia teorii performansu. Uważa się, że w dużej mierze wielu ukraińskich badaczy zapożyczało poglądy północnoamerykańskie i zachodnioeuropejskie dotyczące nie tylko teorii, ale także historii sztuki performansu.

Refine search results

Recenzja książki Jean Marie Pradiera Ciało widowiskowe. Etnoscenologia sztuk widowiskowych, przekł. Kinga Bierwiaczonek, (Wydawnictwo Naukowe PWN, Warszawa 2012)

Przyczynek do poszukiwań performatyki we współczesnych praktykach politycznych

Społecznie konstruowane ciała i performatywna magia: Teoria socjologiczna Pierre’a Bourdieu w badaniach performatywnych

Performans w lodach

Burza – Szekspirowskie simulacra

Fermentacja. Slavs and Tatars i performatywna propozycja dla polskiej kulturowej komparatystyki

Dramat, dramaturgia, dramatologia – retroperspektywy

Znaczenia nie da się oddzielić od ciała

Nowe formy w dramaturgii Witkacego i wynikające stąd spory O „rozmowach istotnych”

The Signifier Cannot Be Detached from the Body

Wyjść z teatru i w nim pozostać Nikołaj Jewreinow – spojrzenie z XXI wieku

W zgodzie z sobą i Ewangelią. Czy możliwy jest dzisiaj udany performans religijny?

Zwrot performatywny w poznańskim teatrze alternatywnym po roku 1989

On Spillikin – A Love Story: Issues around the Humanoid Robot as a Social Actor on Stage

On Spillikin – A Love Story: Issues around the Humanoid Robot as a Social Actor on Stage

Błąd Epimeteusza? Teatr w sieci technik i technologii

Sound Art: materialność dźwięku

Próba performatywnego odczytania opisu stworzenia (Rdz 1–2, 4)

Wykorzystanie performatywnej funkcji języka w dyskursie publicznym na przykładzie sporu o legalizację związków partnerskich

PERFORMANS I PERFORMANS POETYCKI W ARTYKUŁACH UKRAIŃSKICH BADACZY