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EN
The only comprehensive study inquiring into the life and work of the Jesuit dramatist and teacher Carolus Kolczawa (1656–1717) was written by Bohumil Ryba and published in 1926 under the title Literární činnost Karla Kolčavy [“Writings of Carolus Kolczawa”]. Ryba’s overall evaluation of Kolczawa’s work was negative, because he shared the traditional contempt of the Enlightenment for baroque literature, measuring it by classical and classicist standards. The present article challenges Ryba’s disparaging assessment of Kolczawa’s remarks pertaining to the theory of drama, especially his paraphrases of the Aristotelian definition of the tragic hero. Ryba did not take into account the development of the theory of drama and theatre practice from the 16th to the 18th centuries when the Aristotelian concept of αμαρτία – error underwent revisions, and theorists defended the view that pious and innocent martyrs could be protagonists of a tragedy. When criticising Kolczawa, Ryba referred to theoretical writings of the Italian Jesuit Alexander Donatus, but he knew them only indirectly and did not notice that Donatus, in fact, shared the same views as Kolczawa.
EN
Medieval chronicles often contain some included poems according to principles of varietas. It is consider worthy, why they are located in precise defined particular places. Probably medieval poetics can deliver an answer. Unfortunately rhetorical rules and terms are often not fully exhaustive and do not clarify all poems occurrences. In some cases the dramatic text organization can explain using of particular poetical sequences. They serve as a commentary or an enrichment of used argumentation. A different situation is related to bigger dramatically organized text passages, which should be consider as a closed drama. A splendid example can be found in Chronica Polonorum written by Master Vincentius (Kadłubek). In this case a relationship between drama, theatre and rhetoric should be carefully examined.
PL
Artykuł jest analizą postaci Polowania na karaluchy Janusza Głowackiego. Główny problem koncentruje się wokół relacji Anki i Janka, głównych bohaterów dramatu. Nieprzystosowani do życia w Nowym Jorku, cierpią na bezsenność. Ukryte pretensje, zaniedbania i rozczarowania stanowią podstawę codziennej konwersacji. Rozgrywki małżeńskie prowadzą do prawdy dość powszechnej – pragnienia bycia razem i jednocześnie wynikających z tego uprzedzeń i rozczarowań. Bohaterowie mają świadomość egzystencjalnej pułapki i tę świadomość próbują w sobie zagłuszyć. Do frustracji osobistych i zawodowych bohaterów dochodzi istotna kwesta – tożsamości emigranta. Ważnym aspektem jest problem jednostkowej tożsamości, ukształtowanej i zdeterminowanej uczestnictwem w określonym układzie ról społecznych.
EN
The main aim of the paper is to analyse the dramatic figures in Huntig for Cockroaches by Janusz Głowacki. The dramatic figure is a vital problem for the theory of drama and the theory of theatre. Author portrays contemporary figures, showing their existence and identities. He does it with irony and grotesque. An important problem that is posed is how emigrants try to find their place in a new society. Głowacki’s play is a reflection on wounded identity, both with regard to the human being in general and the author himself who is hidden within the characters
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