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1
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“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen

100%
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.
2
Publication available in full text mode
Content available

“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen

100%
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.
3

The New Romanian Shakespeare Series on the Move: From Page to Stage and Screen

86%
Volceanov G.
Messages, Sages and Ages
|
2016
|
vol. 3
|
issue 1
38-45
EN
This article aims at presenting the impact that the New Romanian Shakespeare edition launched in 2010 by George Volceanov has had on the literati and theatres so far. It is, therefore, a stocktaking exercise and its main goal is to provide Shakespeare scholars with an initial data base for further investigation of theatrical productions which use the new translation as significant moments in the history of Shakespeare’s reception in Romania and, on the other hand, to occasion some reflective remarks on the six years of the series now at its tenth volume and 26 plays plus the Sonnets.
4
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Screenshot jako narzędzie praktyki poetyckiej – na przykładzie graficznych postów Tomasza Pułki na art blogu Cichy Nabiau

61%
Chorzewska P.
Forum Poetyki
|
2019
|
issue 18
50-63
EN
I analyze graphic posts by Tomasz Pułka (posted by the author on the Cichy Nabiau blog) which also contain Pułka’s poems published in printed poetry collections. I examine two medialities of Pułka’s poetry, concentrating on the screenshot – a digital artistic practice used by Pułka to introduce his poetry (i.e. metaphorical texts) into the spaces of various interfaces (which are also metaphorical in their design).
PL
Artykuł zawiera analizę graficznych postów Tomasza Pułki (zamieszczanych przez autora na art blogu „Cichy Nabiauł”), w których tekstowej warstwie pojawiają się wiersze Pułki, publikowane także w drukowanych książkach poetyckich. Autorka zestawia dwa porządki medialne funkcjonowania poezji Pułki. Główną osią analizy jest screenshot – cyfrowa praktyka artystyczna, służąca Pułce do wprowadzania własnej poezji (a więc wypowiedzi metaforycznej) w przestrzenie interfejsów (które również w swej konstrukcji mają charakter metaforyczny).
5
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NAJNOWSZE NOWE MEDIA I STARE NOWE MEDIA Spór o definicję nowych mediów

58%
Konik R.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2016
|
vol. 22
20-39
EN
The Newest Media and Old-New Media: the Dispute Over the definition of new media The analysis of new media is a difficult task, mainly because of the lack of a uniform definition of new media. The term ‘new media’ has been in use for at least forty years and means that we encounter a new quality media. However, in many cases, such theoretical assumption of a definition does not go any further and does not indicate what is this new category, what is new in the media. This difficulty should be primarily overcome by drawing a clear boundary between old and new media. Some kind of difficulty in the study of aspects of the new media is precisely their novelty. Analyzing the new is always related to uncertainty, lack of distance, hypotheses, forecasting. Focusing solely on the media which are totally new at the time of analyses may be a certain kind of methodological trap. At the rapid development of technology such kind of ad hoc hypotheses may turn out completely useless and having no meaning, something that can be treated as a fleeting attempt of analyses. When exploring new media we should take into account the broader historical context, point wider consequences of media attention, take into account the context of the relationship of technology and culture and the consequences that result from this interdependence. Only then will the research on the issue of media attention go from the level of local insights onto the level of deep, broad scientific analysis, which will allow to organize the so-called archeology of new media and to answer the
6
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From painted decoration to the screen. The turn in stage illusion in the late 20th and early 21st century

58%
Raszewska M., Łarionow D.
Art Inquiry. Recherches sur les arts
|
2015
|
vol. XVII (XXVI)
291-307
EN
The painted decoration discovered in the Renaissance dominated the European stage for almost 300 years. In the second half of the nineteenth century, the so-called Great Reforms theater challenged this tradition, but it has survived in various guises until the present day. Today we perceive this form as anachronistic, as a quote from the past or an awkwardness of the set designer. Changing the perception of reality on the screen has also led to a change in the treatment of illusion and stage space. The screen has become not only an element of decoration, but it also shows or in extreme cases replaces reality. The impact of the new media on theatre today results not only from the introduction of technology, but also from the entrance into theater of artists from the world of the media. The new relationship leads in extreme situations to the denial of the basic definition of theater as an interaction between the creator and the recipient. The purpose of the paper is to show the interrelationships between the actor and the spectator, illusion and disillusionment. It seems that the described change will determine the direction of further development of theater. It remains an open question how the relationships between all of the participants in the interaction will be impacted by the use of screens and other electronic media. Describing and naming the attempts at qualitative change in the structure of the stage is important for the formation of new methodology for analyzing theatrical reality.
PL
System malowanych dekoracji, wynaleziony w późnym renesansie, zdominował sceny europejskie na 300 lat. Co prawda w II połowie XIX wieku zjawisko tzw. Wielkiej Reformy Teatru zanegowało tę tradycję, jednak przetrwała ona w różnych odsłonach aż po dzień dzisiejszy. Współcześnie mamy zdecydowane poczucie anachronizmu tej formy, wręcz odczuwamy ją jako cytat z przeszłości lub nieporadność scenografa. Zmiana sposobu postrzegania świata z realnego na oglądany za pośrednictwem ekranu spowodowała również zwrot w traktowaniu iluzji i przestrzeni scenicznej. Ekran stał się nie tylko nośnikiem dekoracji, ale również realnym elementem świata przedstawiającego lub w skrajnych przypadkach go zastępuje. Zwrot multimedialny dokonuje się dziś nie tylko dzięki obecności techniki, ale również poprzez wejście do teatru twórców ze świata mediów. Nowa zależność w skrajnej sytuacji doprowadza do zanegowania podstawowych definicji spektaklu teatralnego rozumianego jako współobecność twórcy i odbiorcy. Celem naszego tekstu będzie pokazanie zwrotu, jaki zachodzi w relacji aktor/widz, iluzja/deziluzja. Wydaje się, że ta zmiana wyznaczy kierunek dalszego rozwoju teatru. Otwarta pozostanie kwestia, jaką relację interpersonalną pomiędzy wszystkimi uczestnikami widowiska wytworzą ekrany czy inne media elektroniczne. Opisanie i próba nazwania przemiany jakościowej w strukturze dzieła scenicznego jest istotna dla kształtowania się nowych metodologii analizy rzeczywistości teatralnej.
7
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Immersja. Studium antropologii obrazu

51%
Hendrykowski M.
Przegląd Humanistyczny
|
2015
|
vol. 59(1 (448))
93-102
PL
From the perspective of cultural anthropology, immersion is a psychosocial phenomenon consisting in absorbing consciousness of a viewer completely fascinated by a perceived message. Deceptive impression of communing with reality is a psychosomatic illusion offered as a standard by digital extensions: the internet communications, computer animation, artificial world of video games of various kinds, as well as films of the new and the latest generation. Extension transference (a term used by Edward T. Hall) is nothing new. However, constantly expanding macro-social scale of this process is something new. As a result, the growing effects of contemporary digital extension transference from the 2.0 cyberspace became, as never recorded before, widespread and massive. Today’s societies experience one of its most dangerous effects which turns out to be snowballing immersion. Immersion considered in a comprehensive manner in the light of: communication theory, semiotics and cultural anthropology opens a new field of research not only on the characteristics of artistic works (resp. the art of moving images), but also all categories of audiovisual works. Studying this phenomenon, which is now more and more common among the information age societies, enormously expands the “space of theory” and the scope of communication potential of non-verbal categories of languages, to start with the language of moving images. In an analysis of this phenomenon Marek Hendrykowski advocates linguistic and cultural orientation in the study on complex mechanisms of immersive disorders, emphasizing not only the individual (referring to the life of the individual), but also the social effects of digital frene.
8
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Zmiany percepcji w wyniku oddziaływania nowych mediów i nowych modeli odbioru dzieła filmowego

41%
Mróz K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2013
|
vol. 13
|
issue 22
242-251
EN
Medialized way of perceiving and continual stuffing of reality with moving images have substantial impact on viewer’s perception, and thus on the interpretation of cinematic work. We cannot create contemporary cinema without understanding changes that the film and audiovisual audiences currently undergo. Contemporary audience has become nomadic more now than ever, and the spectator takes part in a grand spectacle that shapes their identity.
PL
Zmediatyzowany sposób postrzegania i sukcesywne wypełnianie naszej rzeczywistości ruchomymi obrazami mają znaczący wpływ na percepcję odbiorcy, a co za tym idzie na interpretację dzieła filmowego. Nie możemy być twórcami współczesnego kina nie rozumiejąc zmian, jakie zachodzą obecnie w widowni filmowej i audiowizualnej. Współczesna widownia stała się bardziej niż kiedykolwiek nomadyczna, a widz uczestniczy w wielkim spektaklu formującym jego tożsamość.
9
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Оперы Генделя в контексте современной режиссуры: к вопросу о претворении приёмов современных медиа

37%
Консон Г., Консон И.
Ars inter Culturas
|
2019
|
vol. 8
259-278
EN
The article is based on the interaction of two genres, namely travel notes, including the author's impressions of a trip to the German cities of Halle, Bad-Lauchstedt and Bernburg, as well as reviews of modern productions of Baroque operas. Halle is famous as the birthplace of the outstanding composer Georg Friedrich Handel (1685-1759). The international Handel music festival is held here every year, which also includes an international scientific Symposium dedicated to the study of the great Saxon and his contemporaries. The concept of this year's Symposium, "Sensitive, heroic, sublime: Handel's women," was to study the female images embodied in his operas. The authors traveled to Halle as journalists to describe their impressions of both the trip and the contemporary productions of Handel's stage works. But in considering the history and cultural events of this city, we were able to go beyond ordinary observations into the sphere of scientific generalizations and come to the conclusion that the directors’ understanding of these operas through the integration of musical drama with related arts was unusually expanded. To study this phenomenon, we turned to the scientific tools developed in Russia by two Soviet researchers who have become seminal in their field. One of them was the psychologist Lev Vygotsky, who, exploring the spiritual world of the hero in fiction, revealed his psychological contradictions, expressed in the conflict of the narrative and the plot. The other, Sergei Eisenstein, who knew Vygotsky’s manuscript of his study "Psychology of Art" and, with some influence from these ideas, created his own "psychology of art", which is set out in the pages of his works of different years. The core of this concept was "the transition from the Expressive Movement to the image of a work of art... as a process of the interaction of layers of consciousness", which allowed for multiple entries into the artistic image. Such entries are also supported by some features of the cinematograph where the first among equals is the principle of intellectual editing, based on Eisenstein's montage theory. In Eisenstein's theory, other types of editing—linear, parallel, associative—have been generalized and developed into a large-scale system of the psychology of heroes in art. In this article, the identification of the essence of these processes made it possible for the authors to discern the phenomenon of increasing the meaning in the Halle directors' interpretations of Handel's operas, which arises from the merger of two seemingly irreconcilable and conflicting layers of consciousness: Baroque and eclectic modern, which developed at the turn of the last century.
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