Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  theatre in Poland
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Z dziejów żydowskich widowisk rozrywkowych we Lwowie przed 1945

100%
Szydłowska M.
Pamiętnik Teatralny
|
2014
|
vol. 63
|
issue 1-2(249-250)
77-152
EN
Entertainment played a major role in the cultural life of the Jewish community that constituted about one third of the population of Lvov before the Second World War. The article discuses a broad array of such shows, from popular folk performances to artistic cabarets and outdoor stage concerts. The folk current, especially strong before the First World War, was represented by klezmer musicians and the legendary Broder singers who came to Lvov with songs about the hardships of life of indigent Jews. Their performances in pubs, inns, and gardens attracted poor and uneducated audiences while being shunned by the intelligentsia. Jewish audiences, this time intellectual elites as well, enjoyed kleynkunst performances, or artistic cabaret shows modelled on their Polish and Russian counterparts, staged with care for their high literary and artistic merits, but infused with Jewish folklore and everyday experience of the community. Lvov never had its resident Jewish cabaret, but it was visited by Warsaw and Łódź kleynkunst theatres, such as Sambation, Azazel, Scala, Ararat, Di Idisze Bande, and others that formed just to play in the summer season. These theatres created their own stars, who toured with their own recitals; among them were the diseuses Hilda Dulickaja and Chajele Grober, the Ola Lilith and Władysław Godik duet, and the dramatic singer Wiktor Chenkin. The outdoor stage acts included also soloist dancers, students of Lvov dance schools, reciters, including the world-famous Herc Grossbart, and cantors. These numerous and varied entertainment shows were part of the local colour of Lvov, one of the greatest centres of Jewish culture in the world.
2
Publication available in full text mode
Content available

Filmowe rejestracje teatru - opis i problematyzacje zjawiska

88%
DOMALEWSKI A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2016
|
vol. 18
|
issue 27
332-338
EN
Film Recordings of Theater – Description and Problematisations The paper attempts to distinguish film recordings of theater from the TV theater genre. The decisive criterion for this distinction proposed by the author is the chronology of the production process - film recordings of theater performances provide a record of pre-existing theater performances, whereas TV theatre includes all theatre-like productions created for the small screen and which do not have their own stage ‘odginali In each of these cases there are different tasks and difficulties facing producers and executors. The next part of the article focuses on film recordings of theater: the reasons for which they are made (documentation, dissemination, promotion) and the differences between their types. Referring to the work of Jacek Wachowski, the author also presents a brief discussion about the possibilities and consequences of technical mediation of any performances, not only theatrical shows. The article concludes with an attempt to define the status of the film recording of a performance in relation to its original theatrical nature (the “residuum of the theater”).
3
Content available remote

Villa dei Misteri. Andrzeja Kreuz Majewskiego biografii część pierwsza

88%
Koecher-Hensel A.
Pamiętnik Teatralny
|
2012
|
vol. 61
|
issue 1-2(241-242)
223-266
EN
The article is a shortened version of two first chapters of the monograph entitled Od malarstwa i scenografii do teatru autorskiego. Andrzej Kreutz Majewski. Biografia artysty (From Painting and Stage Design to Author’s Theatre. Andrzej Kreutz Majewski. A Biography of the Artist) written thanks to a scholarship received from the Polish Ministry of Culture and National Heritage. Andrzej Majewski, since 1999 using the name Kreutz Majewski, who was the major stage designer of the Wielki Theatre from 1966 to 2005 and passed away on 28 February 2011, was a versatile artist. Having completed more than 200 stage designs, including those to visually grand productions, in collaboration with various directors in Poland and abroad, at the end of the 1970s Majewski came to a point in which he felt ready for his own theatre productions: a production of Pasja wg św. Łukasza (The Passion According to St Lukas) by Krzysztof Penderecki in 1979, and then Król Roger (King Roger) by Karol Szymanowski in 1983 at the Wielki Theatre in Warsaw. First and foremost, however, Majewski was a painter. He debuted as such in 1955 and remained faithful to this form of artistic creation throughout his life. The painting, being an autonomous art, enabled him to express himself in a personal, intimate manner. What he could not express through the fine arts and theatre, he wrote down: scraps of visions, fragments of dreams, memories, reflexions on the books he was reading, artistic experiences, notes on his work on theatre productions. His Notatki malarskie (A Painter’s Notes), written regularly since 1984, were published as Dziennik 1984–2004 (Diary 1984–2004) in 2005. In 1990, a traumatic experience of discovering the truth about his father and unravelling the mystery of his parentage, which led him to add his true family name Kreutz to the previous Majewski surname, inspired him to write a scenario of his own theatre production entitled Narcissimo/Lotczyk. The play is a poetic autobiographical drama of Romantic and surreal character. In her article, Agnieszka Koecher-Hensel recounts and puts in order the facts related to the artist’s birth and sheds light on the causes of the family secrets which caused confusion in his biographical records and documents while making it difficult for him to define his own identity. The article focuses on Majewski’s childhood and early youth in an attempt to understand the sources of the most salient motifs in his art. Born in Brdów in 1934 (not in Warsaw in 1936, official documents notwithstanding), Andrzej Majewski was raised mostly by his grandmother Natalia. In his earliest childhood, he was surrounded by lakes, woods, and music: grandmother Natalia often sang various arias and played the piano, contributing to Majewski’s love of the opera. Those years had left imprinted on his mind the images of boats, kites, birds, wooden buildings, and fences which were later to become so prominent in his art. Then came the Second World War: Majewski spent most of it in Warsaw. He had learned to read from Andersen’s Little Mermaid, among burning buildings, bomb raids, and smoke.
4
Content available remote

Janusz Warminski i Teatr Ateneum w dokumentach Słuzby Bezpieczenstwa

88%
Kielak-Dudzik A.
Pamiętnik Teatralny
|
2012
|
vol. 61
|
issue 3-4(243-244)
107-150
EN
In the article “Janusz Warmiński and the Ateneum Theatre in the Documents of the Polish Secret Police”, the author has edited hitherto unpublished materials in the collection of the Institute of National Remembrance (Instytut Pamięci Narodowej) which concern Janusz Warmiński – founder of the Stefan Jaracz Ateneum Theatre in Warsaw and its manager in 1952–1996 (with a two-year break in 1958–1960). The articles analyses the documents, which testify that the secret police of the People’s Republic of Poland, the so-called SB, was interested in Warmiński in 1958–1970, collecting data about him in a separate personal file, case name: Homer) and in the Ateneum Theatre in 1971 (case file name Panteon). In order to complement the analysis, the author publishes secret police documents relating to the actress Aleksanda Śląska, one of the stars of the Polish stage of the second half of the 20th century, an actress of the Ateneum Theatre and Warmiński’s wife. Apart from the aforesaid documents’ publication, the article aims at analysing them in the context of Janusz Warmiński’s biography and the post-war history of the Ateneum Theatre.
5
Content available remote

Kilka urywków wspomnień o teatrze wileńskim z utraconego pamiętnika Gabrieli z Güntherów Puzyniny (1815–1869)

88%
Berkan-Jabłońska M.
Pamiętnik Teatralny
|
2012
|
vol. 61
|
issue 3-4(243-244)
5–18
EN
The article presents a few excerpts from the lost memoirs of Gabriela Puzynina, which were copied by hand by Mieczysław Rulikowski during the Second World War in 1940. The original manuscript, kept in the Przezdzieckis’ Archive, was destroyed in 1944, so these nine sheets of paper (1–6, 12–13), found now in Rulikowski’s archives, in addition to several other quotations from the memoirs previously saved by Czesław Jankowski, are a confirmation of the memoirs’ existence. The discovered fragment of Puzynina’s notes relates to the Vilnius theatre of the 1850s and 1860s. It also describes the circumstances in which Puzynina’s dramas were staged and shows the life of Vilnius actors and their social circles. The document from the middle of the 19th century mentions lesser-known theatrical events and brings a few emotional portraits of people from the past.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.