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1
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Budowanie relacji. Teatr Ziemi Mazowieckiej i jego publiczności

100%
Morawski P.
Didaskalia. Gazeta Teatralna
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2021
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issue 163/164
62-105
EN
The article is an attempt to examine the archive of letters written to the Teatr Ziemi Mazowieckiej and to reconstruct the theatre’s practices aimed at giving voice to its audience. The preserved letters allow us to ask questions about the ways of building relations with the audience by the theatre, which inspired their creation and also used them in its programmes. The content of the letters and the strategies used by their authors allow us to pose a hypothesis that the theatre’s management constructed a discourse different from that of the reviewers, who disdained the work of the theatre. The archive also allows us to postulate a counter-criticism which, unlike the hierarchically establishing criticism, uses the rhetoric of enthusiasm and care, locating a political potential in kindness and seeing in it an ability to make things happen.
2
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Strukturalistická stopa Olgy Srbové

72%
Stehlíková E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 1
181-200
EN
The name of Olga Srbová (16. 7. 1914–14. 4. 1987) has almost fallen into oblivion, as she stopped to use her maiden surname after she entered into marriage with actor Jaromír Spal, being known as Olga Spalová since then. Therefore, she is mostly known for her later, post-war engagement in radio; but the first stop in her career, and her life’s love, was theatre. Olga Srbová started her university studies in 1933, receiving Ph.D. degree from Czech and French Language and Literature at the Faculty of Arts, Charles University in 1937 (dissertation: “The Characteristics of the new Czech historical novel”). Among her teachers were, according to her student’s record book, J. Mukařovský, A. Pražák, F. X. Šalda, M. Weingart, V. Tille and others. Firstly, she thought of devoting herself to theatre theory; while only a few theoretical studies can be found in the scope of her works, they nevertheless testify that Srbová mastered the methods of her teachers with skill and understanding: “The Character in New Drama” (Word and Verbal Art 3 (1937): 4: 221–226) contributes to the changes of the concept of a character in the contemporary theatre; in the “Authorial Stage Directions” (Life 15 (1937): 3–4: 98) she explores the influence of the contemporary stage practice on the nature of stage directions. As many others of her generation she admired the new media – film and radio; to the latter she devoted a booklet Radio and Verbal Art (Praha: Vyšehrad, 1941), even now valued as one of the most important works of the time. Until 1946 she wrote mostly theatre reviews, having started publishing in the renowned Students’ Journal in 1927. There she published her first poems and short stories, and in a short time (from 1930 on) also essays on theatre and theatre reviews. She published in other periodicals too (in more than 30 between 1931 and 1976), the height of her career as a critic being the cooperation with the daily newspaper Práce (after 1945). Being well versed in the whole of the contemporary theatre, both Czech and European one, she could comment with equal expertise on drama, stage speech, verse speaking, character building, direction, set design, actors training, and theatre theory. However, the most interested she was in actors’ work; the indisputable top of her attempts at portraying actor is the Theatre or the Book of Dreams (Praha: Odeon, 1975), the story of the actor’s career of Eduard Kohout.
3
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Institutional heritage and 'that Shakespearean hazard' 1989-2019: the case of the Katona József Theatre and SzFE's Ódry Theatre

58%
Pikli N.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue Special_Issue
65-82
EN
The present study focuses on Shakespearean productions by two institutions which played a significant role in shaping the Hungarian theatrical scene between 1989 and 2019. The Katona József Theatre, Budapest, has been a preeminent artists' theatre since 1982. Its leading director, Gábor Zsámbéki, also actively participated in training future generations of actors at the University of Theatre and Film Arts (SzFE), where Shakespeare forms an important part of the curriculum. The change of political regime after 1989 necessitated changes in theatremaking attitudes, which was reflected in Zsámbéki's innovative Shakespearean productions of the early 1990s. On the other hand, the University of Theatre and Film Arts and its own theatre, Ódry, began to present fresh and daring Shakespeare productions after the 2000s, in part occasioned by the influence of Sándor Zsótér. This article provides a brief overview of all Shakespeare productions at these venues between 1989 and 2019, discussing two in more detail: Zsámbéki's Julius Caesar (1993) at Katona and Zsótér's The Merchant of Venice (2018) at Ódry. Special attention is devoted to fresh takes on 'traditional' Hungarian Shakespeare, and how professional theatrical criticism of the period proved largely unable to recognise and appreciate 'that Shakespearean hazard'.
4
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„Teatr musi być komunikatywny” – Waldemar Krygier jako dyrektor i reżyser Teatru Ludowego w Nowej Hucie

51%
Sadlik M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2019
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vol. 19
209-223
RU
This paper presents the period of artistic activity of Waldemar Krygier in Nowa Huta. Krygier was a director and manager of the Ludowy Theatre from 1971–1974 and before that time he founded a famous student’s theatre, Studio 38, and also cooperated with Jerzy Grotowski. The author briefly analyses those performances by Krygier which became interesting for theatre critics, especially Biesy – his greatest theatrical achievement. As a manager and director, he ambitiously searched for the repertoire. During his term, the stage Nurt 71 was created – an interesting niche initiative.
5
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Die schönen Künste als ‚Gesundheitsmittel‘ oder tödliches Gift. Empfindungsästhetik und Theaterkritik bei Sulzer und Rousseau

51%
Düwell S.
Studia Germanica Gedanensia
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2021
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vol. 44
9-23
EN
The article examines the connection between discourses of sensation aesthetics and theatre criticism. In the second half of the 18th century, such concepts as illusion or passion address both the effects of anthropological aesthetics and effects qualified as psychologically and socially endangering. The focus is on Johann Georg Sulzer’s thematization of the affective effects of theatre and art in general in their healing potential, as well as on Jean-Jacques Rousseau’s theatre criticism, which Sulzer resolutely opposes. Based on the concept of ‘dark ideas’, Sulzer postulates that only strong sensations, not reason, can influence people morally and psychologically. Extreme or pathological mental states provide Sulzer with a model for art production and effect.
DE
Der Beitrag untersucht die Verbindung von wirkungsasthetischen und theaterkritischen Diskursen. Begriffe wie Illusion oder Leidenschaft beschreiben in der zweiten Halfte des 18. Jahrhunderts sowohl Wirkungsziele einer anthropologischen Asthetik als auch Effekte, die als psychisch und sozial gefahrdend qualifiziert werden. Im Fokus steht die Thematisierung affektiver Wirkungen des Theaters bzw. der Kunst allgemein in ihrem heilsamen Potential durch Johann Georg Sulzer sowie die Theaterkritik Jean-Jacques Rousseaus, gegen die sich Sulzer dezidiert wendet. Ausgehend vom Konzept der ‚dunklen Vorstellungen‘ postuliert Sulzer, dass nur starke Empfindungen, nicht aber die Vernunft den Menschen sittlich und seelisch beeinflussen konnen. Vielmehr liefern extreme oder pathologische seelische Zustande ein Modell fur Kunstproduktion und -wirkung.
6
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Zwischen Hamlet, Hanswurst und dem Andrucktermin um 22.30 Uhr – Der Alltag der Theaterkritik

44%
Oesterreich V.
Wortfolge. Szyk Słów
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2020
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issue 4
1-18
PL
Krytycy, skarykaturowani na scenie, w filmie czy też na rysunkach, nie należą do rzadkości. Za jeden z pierwszych przykładów takich karykaturalnych wyobrażeń mogą posłużyć komentarze widzów w Szekspirowskim Snu nocy letniej. Karykatur nie brak także w filmie Arszenik i stare koronki czy też animacji Ratatuj. Twierdzenie, iż krytykę teatralną zapoczątkowała dopiero publikacja Dramaturgii hamburskiej Lessinga, nie znajduje swojego uzasadnienia. Bez krytyki nie do pomyślenia są ani starożytne konkursy dramatopisarskie, ani Poetyka Arystotelesa. Pod względem czysto stylistycznym krytyki teatralne noszą silny ślad oralności, szczególnie u Ludwiga Börnego, Theodora Fontanego, Alfreda Kerra i Friedricha Lufta. Twierdzenie Kerra, że krytyka, obok liryki, dramatu i epiki, to czwarty z podstawowych rodzajów literackich, miało cel autokreacyjny. Inni krytycy nie podzielali jego opinii. Kontekst medialny stawia przed dzisiejszymi krytykami teatralnymi wciąż nowe wyzwania: Internet powoduje wzrost konkurencji i presję aktualności; także różnorodność formalna (teatr postdramatyczny, teatr postmigrancki, Site Specific Theatre, kwerendy w teatrze, dekonstrukcja tradycyjnych tematów etc.) wymaga od krytyka, aby wciąż na nowo określał swoją pozycję.
EN
Critics are often caricatured on stage, in movies and in drawings. One of the first examples are the viewer comments in Shakespeare’s A Midsummer Night’s Dream. Caricatures are also found in Arsen und Spitzenhäubchen [Arsenic and Old Lace] and the computer-animated film Ratatouille. The claim that theatre criticism began with the publication of Lessing’s Hamburgischer Dramaturgie must be rejected. Without theatre criticism, neither the ancient playwright competitions nor Aristotle’s Poetics are thinkable. From a purely stylistic perspective, theatre criticism is very heavily inclined towards orality, especially with Ludwig Börne, Theodor Fontane, Alfred Kerr and Friedrich Luft. Kerr’s claim that criticism should be considered the fourth major literary genre next to epic, drama, and poetry, served the purpose of self-establishment; other critics do not share this point of view. In the context of media, contemporary theatre critics are faced with new challenges: on the one hand, the pressure to be up to date has risen sharply as a result of online competition, on the other hand the formal diversity (post-dramatic theatre, post-migrant theatre, site-specific theatre, research projects, deconstruction of traditional themes, etc.) constantly demands new positions to be taken.
DE
Kritiker werden häufig karikiert: auf der Bühne, im Film und natürlich in gezeichneter Form. Ein frühes Beispiel bilden Shakespeares Zuschauer-Kommentare im Sommernachtstraum. In Arsen und Spitzenhäubchen oder dem Animationsfilm Ratatouille findet man ebenfalls Karikaturen. Die Behauptung, die Theaterkritik existiere erst seit Lessings Hamburgischer Dramaturgie, muss zurückgewiesen werden. Ohne Kritik sind weder die antiken Dramatiker-Wettbewerbe noch die Poetik des Aristoteles denkbar. Rein stilistisch betrachtet sind Theaterkritiken von einem starken mündlichen Duktus geprägt, speziell bei Ludwig Börne, Theodor Fontane, Alfred Kerr und Friedrich Luft. Kerrs Behauptung, die Kritik stünde als vierte Gattung neben der Lyrik, Dramatik und Epik diente der Selbststilisierung, andere Kritiker teilen diese Auffassung nicht. Im medialen Kontext stellen sich für heutige Theaterkritiker ständigneue Herausforderungen dar: Zum einen ist der Aktualitätsdruck durch die Online-Konkurrenz stark gestiegen, zum anderen verlangt die formale Vielfalt (postdramatisches Theater, postmigrantisches Theater, Site Specific Theatre, Rechercheprojekte, Dekonstruktion überlieferter Stoffe etc.) ständig neue Positionsbestimmungen.
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