Search results

1

Teatrologia i okolice

100%

Wachowski J.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 1(253)

7-18

EN

The article brings a diagnosis of the current state of Polish theatrology while mapping out its place within the humanities. It describes both the object of theatre studies and the theatre scholars’ tools of research: their old habits and new perspectives opening up for their field of research. The latter, related to the discourse on performance and the developing reflexion on spectacles, offer a fresh outlook on theatre and its surroundings – one in which theatre be-comes a lodgement of epistemic strategies that go beyond the immanence of the work of thea-tre and does not dominate over other kinds of spectacle. In this sense, theatrology seems to be at a critical juncture (turning point). On the one hand, it wants to maintain its status of a discipline integrating varied kinds of discourse while, on the other hand, it tries to form alliances, in a broad sense of the word, with other fields of the humanities, cognitive sciences or tech-nology, driven by the conviction that they might provide it with a fresh look at its object of study and lead to its redefinition.

2

Nomina sunt odiosa, czyli performatyki i teatrologie

100%

Kosiński D.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 1(253)

19-32

EN

The article brings an attempt at taking stock of what performance studies has become in Po-land, what constitutes its area of research, and what its variants and alternative forms currently are. It provides a closer look at the two that, in the author’s opinion, seem to be the most important ones, i.e., the study of performances and the study of performativity. The first is the study of performances defined as being distinguished in numerous ways from the “flow of life” and constructed in reference to antecedent models out of sequences of more or less or-dered and staged actions which interactively and progressively produce new situations, novel ways of understanding what things are and how they feel, and new configurations of human relations. In reference to such study, the author maintains that researchers with knowledge and experience in the field of theatre have what it takes to fruitfully analyse and interpret events and processes that shape the reality outside art as well. The author proposes to distinguish such study of performances from the study of per-formativity understood as a philosophical category related to the progressive constitution of meanings and principal criteria that introduce order into the world of man. Such research does not have to, though it obviously may, deal with performance art, because it covers technology, science, text, media, popular culture as well as other areas where performativity plays an im-portant part. Its objective is to gain knowledge of a world progressively constructed, com-posed and performed with means, strategies, tactics and devices that we know better and grasp more easily in “fictitious” works of imagination. Finally, the author considers the possibilities of using performance studies in theatre research, sketching out a potential “performance-studies theatrology” that would focus on processes of spectacle’s self-constitution and on ways it impacts the audience and the reality outside theatre. The author is of the opinion that this kind of research would be a proper an-swer to the challenges of numerous contemporary artistic practices that theatrology now faces.

3

Teatrologia jako nauka o widowiskach. Rozważania wstępne

63%

Kencki P.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 1(253)

97-107

EN

The text elaborates on the postulate that theatrology turn into the study of spectacles. The author names three reasons for effecting such a change. The first is that the scope of theatre studies has already expanded to include not only theatre performances but some other kinds of spectacle as well. The second reason involves the strategy of academic research development. The strong position of performance studies – a discipline covering a larger group of spectacles – seems to be a threat for traditionally understood theatrology. One way of saving itself from this plight would be for theatrology to expand its area of research to encompass an even wider sphere of spectacle phenomena so that performance studies would function as its subdivision. The third reason, finally, has to do with etymology and the Greek concept of theatron, which, among other things, refers to spectacle. The argument involves an account of how theatrology and related studies have evolved and developed. The anthropological turn and new historicism are cited as examples of the expanding purview of theatre scholars. Then, the development of Polish performance studies is discussed. While discussing etymological issues, the 12th-century thinker Hugh of St Victor and his concept of “theatrics” is mentioned. The author of the article believes that as the Medieval “theatrics” was a practical knowledge of how to organise spectacles, today’s theatrology should become the theoretical study of phenomena that, apart from spectacles, would include performances and instances of simulation. It is, thus, the author’s belief that a broadly understood theatrology might become a discussion platform for researchers of various specialisations.

4

Recenzja książki The Routledge Companion to Puppetry and Material Performance, edited by Dassia N. Posner, Claudia Orenstein, John Bell (London and New York 2015, Routledge)

63%

Jurkowski H.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 1-2(257-258)

318-332

EN

Since the time UNIMA activists published the album titled The Puppet Theatre of the Modern World. An International Presentation in Word and Picture edited by Margareta Niculescu, there has not been any publication that would attempt at presenting the whole phenomenon of puppet theatre in all its diversity. Now there is a new book on the subject, and its very unusual and well worth reading. It is a selection of papers delivered at the Puppetry and Postdramatic Performance International Conference on Performing Objects in the 21 Century held at the University of Connecticut in April 2011. The book is edited by John Bell, Director of the Ballard Institute Museum of Puppetry, Claudia Orenstein, Associate Professor of the Hunter College Theatre Department, and Dossia N. Posner, theatre studies professor at Northwestern University. The volume contains texts by twenty-eight authors divided into three sections: 1. Theory and Practice, 2. New Dialogues with History and Tradition, 3. Contemporary Investigations and Hybridizations. The editors declare that it presents for the most part work of English-language scholars who look at the puppet and material performance from the viewpoints of philosophy, history and theatre. The book stands out not only because of the varied subject matter but also because of its methodological diversity. It is proof that contemporary puppet theatre and material performance attract outstanding researchers and intellectuals who deftly apply methods developed by contemporary psychology, philosophy, anthropology and theatre studies. It is the best possible recommendation for puppet theatre, which, so far, has been appreciated by a limited number of scholars.

5

Siedem życzeń Głos do dyskusji o strategiach badań teatrologicznych w Polsce i nie tylko

63%

Wołowski W.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 1(253)

77-96

EN

The present article is intended as an expression of the author’s subjective opinions in a wider-ranging debate concerning the current state of Polish drama and theatre studies and their fu-ture prospects. While formulating his “local” diagnoses (in comparison with what is going on abroad) and advancing some critical comments regarding some research paradigms and tendencies, the author (a Romance scholar and theatrologist) takes the position of “semio-structuralism” and, as far as ideology goes, champions a conservative conception of man, the world, and scientific activity (taking into account all aspects of the human condition: the spir-itual, the psychological, and the socio-material). The article contains – as indicated by its title – seven principal postulates whose aim is to improve the condition of Polish theatre studies: 1) to eschew pseudo-philosophy and con-fusions generated in the context of the performance-studies turn in the humanities (equating science with ideology and fiction with reality, disregard for theory and systematisation); 2) to make do with ephemeral academic fashions and to focus on realising key local research tasks instead; 3) to revitalise Polish theoretical thought and to boost methodological reflexion in historical studies; 4) to switch from “inward transmission” to “outward transmission”, i.e. from translating foreign works into Polish (to be collectively mesmerised by them later on) to translating Polish works into other languages; 5) to create and popularise interdisciplinary re-search tools (the article includes a table that contains a grid of analytical concepts and criteria proposed for multi-aspectual study of spectacles); 6) to carry on axiological reflexion and to make efforts to redefine the concepts of art and theatricality in the face of the current aesthet-ic and ethical degeneration; 7) to institute a “new” kind of theatre criticism that would focus on promoting works of high artistic and ethical merit.

6

Semiotyka antropologiczna a interpretacja aktorska. Przyczynek do dyskusji na przykładzie postaci Iwana Wojnickiego w „Wujaszku Wani” Antoniego Czechowa

51%

Boroch R.

Studia Interkulturowe Europy Środkowo-Wschodniej

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2016

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vol. 9

200-211

EN

The article discusses the problem of the actor’s interpretation (resp. working on the role) from the perspective of anthropological semiotics. In this context, an actor’s part is treated as a social construct of the specific referential chain. The exemplification materials are three actor’s interpretations of the figure of Wojnicki from dramatic play Uncle Vanya by Atnon Chekhov (Zamachowski, Hudziak, Gancarczyk) staged between 1993 and 1994 in the following theatres: Teatr Studio in Warsaw (1993), Teatr Stary in Kraków (1993) and Teatr TV (1994).

7

Dzieło teatralne w refleksji historyków teatru. Od badania artefaktów do wyzwań performatywnych

51%

Wachowski J.

Pamiętnik Teatralny

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2013

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vol. 62

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issue 2(246)

38-48

EN

The article is an attempt to view theatre history studies from a methodological stance, at the same time posing some key questions of this field of research: inwhat way do theatre historians describe their object of study and what instruments do they use to get their findings? It seems that there are several basic strategies,which have been adopted both in older and contemporary research. Some ofthem exhibit numerous connexions with the newest methodological views, which constitute a challenge for the humanities and give a chance to renew the discourse.An important impulse in this respect comes from the most outstanding theatre historians, like Prof. Julian Lewański, whose works read anew may be a source of numerous methodological inspirations.

8

Fenomenologia przedstawienia

51%

Szturc W.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 1(253)

32-48

EN

In his article, the author examines the possibility of undertaking a new way of conceptualising the theatre performance, the way defined as phenomenological theatrology. Admittedly, the methods and tools of phenomenology in reference to theatre have been discussed in theatre studies several times. Such reflexion drew inspiration from Roman Ingarden’s theory of the literary work of art (more often) and (less frequently) from his theory of the theatrical piece. Ingarden’s philosophy was discussed and applied only selectively, with emphasis on the so-called stratification of the work of art (Stefania Skwarczyńska, Sławomir Świontek, Tomasz Kubikowski), even though its influence made itself apparent in the way that the structure of perception was appropriated for the so-called “aesthetic situation” by Maria Gołaszewska or in the way drama theory was set in the context of Roman Ingarden’s theory of theatre as consti-tuting the multi-material works of art (Janina Makota). For many reasons, the author believes that a more comprehensive reflexion on the phenomenology of the theatrical piece has been brought by works reporting the state of phenomenological research on the spectacle (Małgor-zata Różewicz) or by synthetic studies of the whole oeuvre of the Polish phenomenologist that treat it as one of the key areas of cognition left by the 20th-century Polish aesthetic thought, with an epistemological import as well (Irena Sławińska). An important contribution of phenomenology as a “truly scientific philosophy” to the study of spectacle was the theory of perception (Merleau-Ponty’s phenomenology of commu-nication), the fact recently brought to attention by Dobrochna Ratajczak. What serves as its foundation is the intentionality indicating the model of experiencing the theatrical piece (a priori, but in relation to the subject’s intuition, stimulated by exposure to the work of theatre) where the piece is made up of unconcretised entities reduced to their basic sense that are be-ing further determined in the process of perception of the whole work. This point of view is, according to the author, just a prologue to constructing the communicative situation but it is not the proper ground for phenomenology itself as directed to cognition of the theatrical piece in all of its different shapes, including public rehearsals and various forms of performances. In devising his project of phenomenology of theatre performance (not “spectacle” or “theatrical piece”), the author harks back to the source texts by Edmund Husserl and Martin Heidegger (and, thus, omits the reflexions of Ingarden as insufficient for the study of theatre) and delineates a methodological model consistent with the programme of going “back to the things themselves” (without resentments, presuppositions, and interpretations) and based on the principle of intuition as a viable way of describing a performance that dictates its own order. Phenomenology of theatre performance starts out with cognition of the thing itself “given to watch” which, “unfolding before the viewer”, constitutes itself as a schema of the phenomenon that is being concretised as the experience progresses. In the profound study of Husserl’s methodology lies the key to restoring theatrology as a descriptive science laying foundations for the study of theatre as an a posteriori science based on a phenomenologically understood analysis of theatre performance.

9

Recenzja książki Mateusza Wernera Wobec nihilizmu. Gombrowicz, Witkacy (Warszawa 2009)

51%

Hernik-Spalińska J.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 1-2(249-250)

312-328

EN

The book Wobec nihilizmu by Mateusz Werner presents the problem of nihilism and its manifestations in two perspectives: a chronological and a historiosophical one: “these two languages of description, to a greater extent complementary than antagonistic, delineate the horizon for reflexion ‘diachronising’ the problem of nihilism”. Owing to such methodology, the author’s account of the history of the concept leads to a brilliant interpretation based on the assumption that nihilism is a concept identical to “modernity” (as the term is understood by Zygmunt Bauman). One of the questions that Werner poses is to what extent nihilism determines the phenomenon of “modernity” and to what extent that of “postmodernity”, given that the concepts of nihilism and modernity are bound with each other so inextricably that they “illuminate one another’s meanings as to create a circular knot of references”. The assumption of the book is that “the concept of nihilism in all of its historical modifications constitutes a product of the self-consciousness of an intellectual formation which, after Zygmunt Bauman, we would like to call modern, and within the bounds of the aforesaid self-consciousness it is a collective name for such attitudes, conceptions and ideas which, resting on the same foundations as modernity, constitute at the same time a threat to modernity’s established values, aims, and meanings”. Thus understood, the concept of nihilism serves as a starting point for analysis of intellectual positions towards modernity taken by Witold Gombrowicz and Stanisław Ignacy Witkiewicz. Both writers were equally well aware of the nature of the contemporary world, its rejection of old axiological bases, and threats that implementation of the modernity paradigm brought. At the same time, the attitudes that each of them assumed based virtually on the same diagnosis were quite different. According to Werner, Gombrowicz decided to turn the situation to his advantage. The adequate identification of the modern world’s nature enabled Gombrowicz to deploy this knowledge in his struggle for himself, for his legend, to show his worth and superiority as being the one who knew better and was right about the nature of the world all along. Witkacy, on the other hand, assumed the position of a warrior sounding the alarm, and when his warnings failed, he simply left. This difference between the outstanding creative individuals that Werner examines point by point in relation to modernity seems to be absolutely crucial when comes to conscious individuals, intellectuals, and their attitudes towards values. Does the social status of the intellectual come with an obligation to take action and fight for one’s values, or does it permit one to stand back and build one’s individual position of the one who knows what is going on but, as “Romantic irony” dictates, refrains from doing anything about it? In other words, what attitude should an intellectual, scientist, but also theatre artist, assume? Especially when it comes to the theatre which is now often based on the thought of the two outstanding Polish individualities who responded to nihilism so differently?

10

Korzenie teatru z perspektywy performatywno-medialnej

51%

Duda A.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 1-2(257-258)

75-96

EN

The article discusses the issue of cultural roots of theatre as analysed from the point of view of performance and media studies. Its starting point is a critical reading of the well-known book by Eli Rozik, The Roots of Theatre, as well as a debate with some theses held by anthropologists of spectacle, whereby the author is able to point out essential points of his own outlook on the origins of theatre. These are as follows: 1) theatre and ritual are live performances, and from the media studies perspective, they are human and iconic media; 2) the roots of theatre are manifold (polygenesis); 3) the roots of theatre should not be sought either in the psyche or in prehistory—in both cases, it is about performativity, not theatricality; 4) theatre emerges in sufficiently developed civilisations, in a specific performative environment from which it draws patterns of stage behaviour. It means that initially, theatre is a medium stitched from other media (in analogy to the rhapsodist stitching songs together). In ancient Greece, theatre as a religious and state medium emerged within the framework of the Dionysian festival, which functioned as a vortex of behaviour attracting other forms of rituals, spectacles and contests and afforded many pretexts for implementing various performance art conventions in theatre. Evidence of theatre’s heterogeneity in this respect can be found in Aristophanes’ comedies and in medieval performances.

11

Recenzja książki Robin Detje, Castorf, Prowokacja dla zasady, przeł. Mateusz Borowski i Małgorzata Sugiera (Kraków 2013)

51%

Duda A.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 1-2(249-250)

328-336

EN

The article by Artur Duda is a review of the Polish edition of Castorf. Provokation als Prinzip (translated by Małgorzata Sugiera and Mateusz Borowski) by Robin Detje, the first book in Poland devoted to the artistic director of the Volksbühne in Berlin. The author of the review critically examines the book, praising the colourful portrayal of the director’s life set against the background of his family relations, numerous love partners, and with a look into very interesting private and family documents as well as school archives and files of the Stasi, East German secret police. Of particular interest is the part titled East, which concerns Castorf’s artistic activity in the GDR. The author of the review draws attention to the director’s attitude toward the Communist state, his struggles with the regime, and his balanced views on vetting informants and unofficial collaborators of the Stasi (a digression about the case of Michael Schindhelm). In Andrzej Duda’s opinion, due to the lack of historical distance, the second part of the book, entitled West, does not make as much of an impression as the first one. The reviewer emphasises the book’s merits (behind-the-scenes details of how Castorf first met the actors that he worked with in Berlin; the heroic beginnings of the Volksbühne; the significance of rock music in his life and directing, especially as far as his contestation of the bourgeois theatre and culture is concerned) but points out that the reflexion on Castorf’s theatre aesthetics is somewhat fragmentary: in what sense is he a continuator of Stanislavski and Brecht? Is he really inspired by commedia dell’arte? What are the distinguishing features of acting in Castorf’s theatre? All the objections, however, do not change the fact that R. Detje’s book about a rebel director makes for fascinating reading. Finally, the reviewer highlights some Poland-related strands in Frank Castorf’s biography.

12

Polskie ludowe obrzędy świąteczne z perspektywy teatrologicznej

51%

Kencki P.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 1-2(257-258)

240-247

EN

The article brings an attempt at taking stock of and classifying Polish folk rituals related to yearly festivities as they may be accounted for from the point of view of theatrology. Its starting point is the author’s conception of theatrology that has not only the theatre but also other spectacles as its object, the conception that has been presented before. In accordance with this outlook, the folk rituals at issue are regarded as phenomena bearing characteristics of spectacles, performances and simulations. In effect, what emerges is an outline of a classification of the phenomena under discussion in relation to the varying degrees to which they display the elements of spectacularity, causality and simulation. It is also demonstrated that within the purview of theatrology may fall not only the phenomena perceived as spectacles and performances but also those in which the performative dimension is predominant. Finally, the reflection reveals an evolution of Polish folk rituals from their primitive causative character through spectacularity to simulations, which are only representations of old rituals.

13

Non stop dla gender w teatrze

51%

Duniec K.

Pamiętnik Teatralny

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2015

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vol. 64

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issue 1(253)

62-76

EN

Contemporary theatre, as it is conceived by theatre criticism, nowadays forces theatre scholars to apply feminist and gender theories. Gender-theory interpretation of Polish theatre tends to be sociologically oriented as well as interdisciplinary, multi-discursive, methodologically transgressive, whereas its symbolic paradigm is individualistic rather than universalistic, sub-jective rather than global and objective, and fragmentary rather than linear. The most popular in the theatre of today is Judith Butler’s theory of gender performativity, which employs thea-tre-related categories. Thus, theatre, moving towards gender and sexual identity discourse, has become a training area for emancipatory struggles, infecting theatre research with the gender virus. Abject-focused strategies promoting that which is rejected, excluded or culturally stig-matised result in constructing a physiological aesthetic exposing human frustrations, hidden obsessions and secret yearnings onstage. Liberated from the duty of representation, the theatre has come to think that the world is made up of bodies that are mostly non-normative, ignored, persecuted, weak, injured, colo-nised, and therefore always political. It uses the figure of desire either as a prime vehicle of emancipation or as a principle of a post-transformational political narrative about Poland after the collapse of Communism, which inscribes gender strategies in the area of political economy and neoliberalism. Identity constructivism in theatre makes it possible to subversively shield normativeness of the theatre itself. So, for example, in Apocalypsis cum figuris by Grotowski one can see a parable on patriarchal ideology. Queer and gender studies while dismantling the violence of sexual identity myths defuse civilisation mythologies as well, thus placing theatre in the domain of postcolonial criticism. Therefore, if queer theory is conceived not only as a current of gender studies but also as a theory of social difference, it turns out to be an instru-ment of cultural criticism, a revolutionary strategy opposed to neoliberal culture.

14

Semiotyka antropologiczna a interpretacja aktorska. Przyczynek do dyskusji na przykładzie postaci Iwana Wojnickiego w „Wujaszku Wani” Antoniego Czechowa

38%

Boroch R.

Studia Interkulturowe Europy Środkowo-Wschodniej

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2016

|

vol. 9

200-211

PL

The article discusses the problem of the actor’s interpretation (resp. working on the role) from the perspective of anthropological semiotics. In this context, an actor’s part is treated as a social construct of the specific referential chain. The exemplification materials are three actor’s interpretations of the figure of Wojnicki from dramatic play Uncle Vanya by Atnon Chekhov (Zamachowski, Hudziak, Gancarczyk) staged between 1993 and 1994 in the following theatres: Teatr Studio in Warsaw (1993), Teatr Stary in Kraków (1993) and Teatr TV (1994).

15

Presages of contemporary theatre studies theories in Vladimír Jindra's structuralist theory of scenography

38%

Havlíčková Kysová Š.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2023

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vol. 26

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issue 1

82-100

EN

The study provides detailed analysis of the work of Czechoslovak theoretician of scenography, Vladimír Jindra (1920–1979). It focuses on Jindra's at the time innovative taxonomy of scenography which substantially supported the shift in today's worldwide understanding of the notion of scenography as a complex theatrical discipline. The aim of the study is to connect Jindra's work with contemporary theoretical approaches to theatre, especially rooted in multimodal and cognitive analysis of scenography. Special attention is given to the elements of Jindra's work that predated Multimodal Metaphor Theory. The study shows that his conception of scenography is connected to the structuralists' understanding of the socalled 'stage metaphor'. This exploration should therefore show the reader not only the progressiveness of Jindra's thinking about scenography, but also outline a view on possible future research in the field of multimodal and cognitive approaches to theatrical scenography.

16

Strukturalistická stopa Olgy Srbové

32%

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.

17

Puppets, Dogs, and Vegetarian Angels: Ecocriticism in Jakub Krofta’s Polish Productions

32%

Lech K.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2015

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vol. 18

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issue 2

277-302

EN

This article explores the work of Czech theatre director Jakub Krofta in the context of ecocriticism. This discussion focuses on Krofta’s two productions directed for Polish puppetry theatres and aimed at young audiences: Daszeńka (Teatr Lalka, Warsaw, 2011), based on Karel Čapek’s book, and Pacan – historia o miłości (Pacan – a story about love; Wrocławski Teatr Lalek, Wrocław, 2012). My analysis is framed by Greta Gaard’s theories on ecopedagogy (GAARD 2009) and Paul Piris’s discussion on co-presence between the puppeteer and the puppet (PIRIS 2014). Building on their work, and combining it with performance analyses of both productions, this article explores how Krofta manages interactive relationships between performers, puppets, and spectators so as to engage his audiences with global discussions relating to human/environment relations. Krofta’s works achieve this through their exploration of the problematic status of animals in the contemporary world, invitation the renegotiation of relations between humans and animals, and facilitation of various degrees of engagement for both children and adults.

18

Was leistet die Kälte des Schauspielers bei LESSING und DIDEROT?

32%

Kaul S.

Convivium. Germanistisches Jahrbuch Polen

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2019

31-46

PL

W artykule przedstawiona jest debata dotycząca zasad gry aktorskiej, prowadzona w XVIII w. Brali w niej udział m.in. DIDEROT i LESSING. Spór dotyczył pytania, czy aktor powinien przekazywać autentyczne emocje i identyfikować się z przedstawianą postacią czy też powinien grać w sposób zdystansowany i opanowany, bez stapiania się z rolą. DIDEROT podawał wiele argumentów na rzecz ,chłodnego’ aktora, natomiast LESSING był zwolennikiem połączenia ognia i chłodu. Teza artykułu dotyczy funkcji ,gorącej’ lub ,chłodnej’ gry: chłód służy w wypowiedziach LESSINGA oświeceniowemu Common Sense Moral. Jest to teoria bliska tezom Adama Smitha. DIDEROT natomiast broni chłodu w imię wartości estetycznych, służących poziomowi artystycznemu przedstawienia. Spojrzenie w pooświeceniową przyszłość wiąże wnioski z tez o chłodnych i gorących uczuciach ze współczesnymi teoriami o emocjach.

EN

This article presents the debate on theatre theory that arose in the 18th century and in which DIDEROT and LESSING participated. The conflict revolved around the question whether an actor should convey authentic emotions and identify with the character he/she plays or whether he/she should act in an unemotional and controlled way without becoming absorbed in the role. While DIDEROT delivers many arguments for “the cold actor”, LESSING pleads for a mix of “fire” and “coldness”. The thesis of this article is that LESSING’S “coldness” is justified by an Enlightenment common sense morality that can be seen as akin to Adam Smith’s ideas, while DIDEROT defends the “cold” way of acting in the name of aesthetic values which serve to assure a high artistic level of performance. The article looks at how some implications of these statements about “cold” and “hot” feelings are critically related to contemporary emotion theories.

DE

In diesem Beitrag geht es um eine schauspieltheoretische Debatte, die im 18. Jahrhundert aufgekommen ist und an der sich auch DIDEROT und LESSING beteiligt haben. Soll ein Schauspieler seine ganze Leidenschaft in eine Rolle legen und sein, was er darstellt, oder soll er distanziert und beherrscht die Rolle spielen, ohne darin aufzugehen? Während DIDEROT viele Gründe für den kalten Schauspieler ins Feld führt, plädiert LESSING für eine Mischung aus Feuer und Kälte. Die These dieses Beitrags ist, dass die Kälte bei LESSING im Dienste einer aufklärerischen Common Sense Moral steht, die in der Nähe zu Adam Smith gesehen werden kann, während DIDEROTS Verteidigung der Kälte ästhetisch begründet ist und allein der Kunstfertigkeit der Darstellung dienen soll. In einem Ausblick werden einige Implikationen dieser Statements über kalte und heiße Gefühle kritisch mit der Emotionstheorie der Gegenwart in Beziehung gesetzt.

19

Věda jako jednání: Pražský lingvistický kroužek, kulturní aktivismus a myšlení o divadle

23%

Bernátek M.

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

9-36

EN

Structural approach to theatre was developed in the late 1930s and during the WW2 in frame of Prague Circle (“PLC”) as a result of an activist approach to scholarship and close collaboration between theatremakers and scholars. Although the connection between avant-garde aesthetic of 1930s and structuralist writing on theatre has been already described, there are more important relations beyond that generally acknowledged frame. Seminal structuralist essays on theatre were often written as polemics that were addressed, besides regular readers, to the opponents of PLC members. They were also written in the already changed cultural context, where the previous avant-garde model was the object of reflection and overcoming. Furthermore, this approach was driven by the need to explain Avant-Garde theatre to general public by terminology of modern scholarship. The so called Prague theatre structuralism could be therefore seen as a paradigm of scholarship that formulates its theories with respect to science popularisation as well as an attack against other “actors” in the field of theatre studies. The author focuses on the practical and organisational aspect of the PLC. Different modes of collective action in the public space as well as material conditions of existence and financial support are described. Attention is also paid to national and political (leftist) affiliation of the members of the Circle. From this perspective the PLC approach to theatre is analyzed as set of action rather than set o text and ideas.

20

Od sociálně-demokratické spirituality k socialistickému realismu: koncept lidovosti v myšlení Jindřicha Honzla o divadle

20%

Kunderová R.

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 1

188-215

EN

The study examines the concept of "the popular" in the thinking of theatre director and theorist Jindřich Honzl (1894–1953). By analyzing his essays and articles, the essay describes the changes in Honzl's approach to the popular as reflected in his critical writing during his theatre career and as placed within the context of politics and theatre history. Based on the discussion of existing Czech theatre historiographic literature about Honzl (the majority of which was published before 1989), the study offers novel findings and connections, many of which have been ignored, often for ideological reasons. The essay brings a close study of Honzl's sources of inspiration, from the beginnings of his work in the era of the so-called proletarian theatre, especially by embedding Honzl's thinking in the social democratic ideology and his knowledge of post-revolutionary Soviet theatre until 1925. The essay subsequently offers a characterization of the changes in Honzl's understanding of "the popular" during his Poetism and Surrealist phases, as well as after the Second World War, when he converted to Socialist Realism.

CS

Studie zkoumá koncept lidovosti v myšlení divadelního režiséra a teoretika Jindřicha Honzla (1894–1953). Prostřednictvím analýzy jeho studií a článků autorka pojmenovává proměny pojetí lidovosti v Honzlově uvažování během jeho divadelní kariéry a zasazuje je do divadelně-historického a politického kontextu. Na základě diskuse s dosavadní českou divadelně-historiografickou literaturou o Honzlovi, jejíž většina byla publikována před rokem 1989, přináší studie poznatky a souvislosti, které byly dosud – nezřídka z ideologických důvodů – opomíjeny. Autorka se podrobně zabývá Honzlovými inspiračními zdroji na počátku jeho divadelní činnosti v období tzv. proletářského divadla, zejména ukotvením Honzlova myšlení v sociálně-demokratické ideologii a jeho obeznámeností s porevolučním sovětským divadlem do roku 1925. Následně charakterizuje proměny Honzlova chápání lidovosti divadla v průběhu jeho poetistického a surrealistického období a po konci druhé světové války, kdy se přiklonil k socialistickému realismu.

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