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

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  POLISH THEATRE
help Sort By:

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

ALEKSANDER BARDINI IN DRAMATIC THEATRE. THE DIRECTOR'S SILHOUETTE (Aleksander Bardini w teatrze dramatycznym. Sylwetka rezysera)

100%
Osterloff B.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 3-4(235-236)
179-272
EN
In 1995, when Aleksander Bardini was mourned, he was remembered and eulogised mostly as a pedagogue and actor, and not so much as a director. The authors of younger generation perceived his productions as legendary; this was especially the case with his Dziady (Forefathers' Eve), which had been the first Warsaw production of the drama by Mickiewicz after the Second World War. Since he last worked as dramatic theatre director twenty years before his death, at which time he directed Barbarians by Gorky, his accomplishments in this field were in time overshadowed by his acting and teaching. Barbara Osterloff in her study recalls the most important productions which Bardini directed at dramatic theatres from 1941 to 1975, as well as his Television Theatre spectacles. The author makes ample use of priceless, and previously unknown to theatre researchers, documents from Bardini's home archive, such as his director copies. Osterloff sketches the full silhouette of the director who throughout his life remained faithful to a theatre that was 'literature-centred', and who, while working 'on the text level', treated his actors as indispensible co-creators and partners.
2
Content available remote

ALEKSANDER BARDINI. CHRONICLE OF HIS LIFE AND ACTIVITIES (1913-1995) (Aleksander Bardini. Kronika zycia i dzialalnosci (1913-1995))

100%
Dworakowska M.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 3-4(235-236)
13-178
EN
Aleksander Bardini (b. 1913, Lodz - d. 1995, Warsaw), actor, director, and pedagogue. He graduated from two departments of the National Theatre Arts Institute - the Actors Department in 1935 and Directors Department in 1939. He worked at theatres in Lvov (1940-1941 and 1944-1945), Katowice (1945-1946), Münich, where he was the artistic manager, director and pedagogue at the Münchener Jiddisches Theater and became active at the Central Committee of Liberated Jews. He then emigrated to Canada but having failed to find work at theatre, he returned to Poland in 1950. For the rest of his life, he lived and worked in Warsaw as an actor, director, and pedagogue at Directors, Acting, and Stage Entertainers departments of the State College for the Dramatic Arts (PWST). He occupied prominent positions at the ZASP actors' union, at the Polish Centre of the ITI and its international Music Theatre Committee; he taught young actors at numerable workshops organised by the ITI abroad. Throughout his career he recorded programmes for the Polish Radio Theatre as an actor and director, and for his work received the highest radio award: Wielki Splendor (Great Splendour) in 1992. He was a demanding pedagogue appreciated and respected by his students, and his singing classes have become legendary in the PWST history. With his students, he prepared famous diploma performances: A Streetcar Named Desire by Tennessee Williams (1958), and Cwiczenia z Szekspira (Exercises in Shakespeare) twice, in 1971 and 1972. He directed outstanding opera productions in which he was able to combine theatre and music with great success: Mussorgski's Boris Godunov (1960), Verdi's Othello (1969), Electra by R. Strauss (1971), and Mozart's Cosi fan tutte (1975); among his dramatic theatre productions the most notable and memorable were Mickiewicz's Dziady (Forefathers' Eve, 1955), Dear Liar by Kilty (1962), John Gabriel Borkman by Ibsen (1976); among his TV Theatre productions were: Love of Don Perlimplín and Belisa in his Garden by Garcia Lorca (1965), Three Sisters (1977) and Uncle Vanya (1976) by Chekhov; his most memorable theatre roles included Emanuel Giri in The Resistible Rise of Arturo Ui by Brecht, and Mirador in The Story of Vasco by Schéhadé at the Wspólczesny Theatre in Warsaw; he appeared in numerous films (Krajobraz po bitwie directed by Wajda; Urzad and Sprawa Gorgonowej directed by Janusz Majewski; Dekalog directed by Kieslowski). He very much appreciated his collaboration with symphonic orchestras as a reciter in musical pieces by such composers as Baird, Schönberg, and Honegger; he performed the part of Wlóczega (Vagabond) in the oratorio Odys placzacy (The Crying Odysseus, 1973) by Szeligowski for more than twenty years. As a pedagogue, he shared his knowledge not only with professionals; he is remembered for his consultations given to amateurs in special television programmes, at numerous festivals and workshops. The public was very fond of his presence not only because of his artistic achievements.
3
Content available remote

VICTORIEN SARDOU'S PLAYS ON THE STAGE OF THE POLSKI THEATRE IN POZNAN IN 1875-1908 (Sztuki Victoriena Sardou na scenie Teatru Polskiego w Poznaniu, 1875-1908)

80%
Przybyszewska A.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 1-2(233-234)
23-52
EN
The choice of repertory in the 19th century Polish theatre poses an interesting research problem for a theatre historian, as the analysis of varied and rich repertories makes it possible to reconstruct the multifaceted reality of provincial theatre life. The essay presented here focuses on the repertoire politics of the Polski Theatre in Poznan in 1875-1908, with the special emphasis on plays by Victorien Sardou, which figured prominently in the company's repertory even before it constituted itself fully. It begs the question as to the causes of such extraordinary popularity of plays that are now completely forgotten and have never even been published in Polish. The starting point of the research is an analysis of the Poznan theatre's repertories and 19th century copies of Sardou's plays in the collection of the Raczynski Library in Poznan. They are a very important source of information that enables us to at least partially reconstruct the performances. As a result of the source analysis, we can appreciate the stage worthiness of particular dramas written by Sardou, and the staging opportunities and pitfalls within the structure of well-made plays.
4
Content available remote

ALEKSANDER BARDINI'S LIFE WITH MUSIC (Aleksandra Bardiniego zycie z muzyka)

80%
Komorowska M.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 3-4(235-236)
273-368
EN
Music filled a great part of Aleksander Bardini's life. He said: 'even though I am a man of theatre, it is easier for me to live without theatre than without music' (1981). In his hometown, Lodz, he was taught to play the violin, and he played in a string quartet. In Warsaw, at Directors Department of the National Theatre Arts Institute, his views on music were further shaped by Leon Schiller. Bardini had an advantage over other students because, as Schiller himself, he knew how to read sheet music. Among other things, he assisted Schiller in directing the opera film Halka (1937). From 1950 to 1977, he directed thirteen operas: in Bytom (Tchaikovsky's The Queen of Spades), in Warsaw (Dionizetti's Don Pasquale, Bartók's Duke Bluebeard's Castle, Dallapiccola's Il prigioniero, Moniuszko's Straszny dwór - The Haunted Manor, Baird's Jutro - Tomorrow), in Wien (Moniuszko's Halka), in Zagreb and Cologne (Samson and Delilah by Saint-Saëns), and in Amsterdam (Shostakovich's Katerina Izmailova). His excellent Warsaw productions of Mussorgski's Boris Godunov (1960), Verdi's Othello (1969), Electra by R. Strauss (1971), and Mozart's Cosi fan tutte (1975) became legendary for the Polish opera theatre. He directed operas off and on, leaving opera and coming back, discouraged by the specific opera milieu, but he got involved in bringing to life the vision of modern music theatre realized at Warsaw Opera which was headed by Bohdan Wodiczko (1961-1965). The style of his opera productions was influenced by stage designers: Teresa Roszkowska, Tadeusz Kantor, and Andrzej Kreutz Majewski. It was far from realism. Bardini strived to portray emotional truth and relations between characters that had been defined by music. He tried to achieve harmony between sound movement and score, movement, colours and lighting on stage. Some scenes were directed with the exactitude of up to a single measure. He was famous for choreographing group scenes in which the chorus singers were arranged with respect to both sound and colour. In his home archive (at Warsaw University Library) there are director's copies of piano reductions of operas, with a number of detailed notes made by Bardini on such points as the singers' acting. Bardini considered music to be the highest value of opera theatre, and even though he found only few works that had the quality of musical and dramatic unity that he looked for, these were the ones he chose to direct; most of them were masterpieces, and he generally collaborated with outstanding conductors. He paid much attention to singers' training. As vice- and then president of the Music Theatre Committee of ITI, he promoted the idea of comprehensive theatre education; he visited workshops and seminars all across Europe. He was a champion of full professionalism. He advocated for training music directors, and such a project was realized in 1975 at State College for the Dramatic Arts in Warsaw where he taught. While directing dramatic plays he made full use of music, often collaborating with composer Tadeusz Baird. In their production of Mickiewicz's Dziady (Forefathers' Eve, 1955) music was played on as many as 29 occasions. He was a master of songs; using different popular songs he composed excellent musical productions that were performed by State College for the Dramatic Arts students and professional theatres and showed on television (1959-1971). This part of his artistic activity brought about the production of Kofta and Malecki's musical Oko (The Eye) and the excellent diploma performance of Cwiczenia z Szekspira (Exercises in Shakespeare), which was called the Polish Hair and presented in the US. In 1975-1979, Bardini enjoyed television fame starring in the cyclic programme Spotkania z profesorem Aleksandrem Bardinim (Meetings with Professor Aleksander Bardini). It was also then that he became one of the founders of the Wroclaw Review of Stage Songs and many times presided over the jury. Since 1958 he performed as a soloist at philharmonic concerts and at festivals as a reciter in pieces of the 20th-century classics and avant-garde, by such composers as Schönberg, Baird, Szeligowski, Wiechowicz, and Penderecki. His concert performances had a similar character to what he did as an actor at radio, which he enjoyed immensely. His last public performance took place at Philharmonic; he was the narrator in Honegger's oratorio King David.
5
Content available remote

DIVADELNÉ HISTÓRIE AKO HISTÓRIE PREDSTAVENÍ: VARIÁCIE, MOŽNOSTI A VÝHĽADY

80%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 1
3 - 14
EN
One of the essential methods specific for theatre research is the method of reconstruction of a theatre production. It is a significant tool of studying the history of stage art. Practice shows that a series of reconstructions of key theatre productions presents a good point of departure for recounting the history of theatre to both expert and lay public. The paper suggests possibilities of how the stage history of a theatre can be related while focusing its attention mainly on two existing models: the Russian history of the Moscow Art Theatre (1898–1998), published on the occasion of the centennial of this world famous theatre company, and the current project of the Theatre Institute in Warsaw mapping out the two hundred and fifty years’ history of professional theatre in Poland (1765–2015). The experience of Russian and Polish theatre researchers expands the range of methods available for research into theatre art and offers interesting possibilities and prospects for developing and communicating the gained knowledge to society.
6
Content available remote

OPERA WITH SCHILLER'S 'BRAND' ON IT. TERESA ROSZKOWSKA'S AND ALEKSANDER BARDINI'S MEETINGS ON 'THE SCORE LEVEL' (Opera ze 'znakiem fabrycznym' Schillera - Teresy Roszkowskiej i Aleksandra Bardiniego spotkania 'na planie partytury')

80%
Stacewicz-Podlipska J.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 3-4(235-236)
368-296
EN
Teresa Roszkowska and Aleksander Bardini worked together on three opera productions: Boris Godunov by Modest Mussorgsky, Don Pasquale by Gaetano Donizetti, and Straszny dwór (The Haunted Manor) by Stanislaw Moniuszko. They made a good artistic duo, and their coherent theatrical vision introduced a new and valuable quality into Polish music theatre. Both of them were predisposed for opera, as their innate music talents were supplemented with great musical culture acquired at their family homes, and topped up with a thorough, many-level education. Their talents had already become evident while they had been studying at Directors Department of the National Theatre Arts Institute where they had been spotted and watched closely by Leon Schiller. They quickly became two of his favourite students, and he hoped they would carry on his theatre work. Indeed, the three collaborative meetings of the Bardini and Roszkowska duo at successive opera productions proved Leon Schiller's hopes to have been well founded.
7
Content available remote

FORGOTTEN NINETEENTH-CENTURY DRAMAS AS A SOURCE OF INFORMATION ON THEATRE (Zapomniane XIX-wieczne dramaty jako zródlo informacji o teatrze)

80%
Waszkiel H.
Pamiętnik Teatralny
|
2011
|
vol. 60
|
issue 1-2(237-238)
92-103
EN
Numerous theatrical plays feature autothematic motifs. Motifs of this kind can serve as an indirect source of knowledge on theatre life, actors, theatre entrepreneurs, audience behaviour and even repertories of a given epoch. The article analyses several examples of this sort, organised into three sets. The first group consists of dramas in which at least one character is a theatre man: an actor, an entrepreneur, a dancer, or even a playwright (for example: two plays by Ludwik Adam Dmuszewski, Aktorowie z Elizejskich Pól, 1801, and Slomiany czlowiek, czyli Teatr w Sochaczewie, 1821; Serdeczna przyjaciólka, 1852, by Stanislaw Boguslawski; Natura wilka wyciaga z lasu by Wladyslaw Syrokomla, 1860). The second group is made up of the dramas whose action takes place at a theatre (for example, Zareczyny aktorki by Józef Korzenowski, 1845). Finally, the third group comprises dramas in which there are specific references to theatre life, audience behaviour, repertories, or even particular performances (for example: Figlacki udany ojciec by Ludwik Adam Dmuszewski, 1819; Panna mezatka by Józef Korzeniowski, 1844; Stara romantyczka, 1837, and Stoliki magnetyczne, 1853, by Stanislaw Boguslawski).
8
Content available remote

ALEKSANDER BARDINI'S LETTERS TO ANDRZEJ MAJEWSKI (Listy Aleksandra Bardiniego do Andrzeja Majewskiego)

80%
Bardini A., Kreutz-Majewski A., Koecher-Hensel A.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 3-4(235-236)
404-408
9
Content available remote

FESTIVAL BOSKA KOMEDIA: SPOLOČENSKO-POLITICKÉ A ESTETICKÉ ASPEKTY POĽSKÉHO DIVADLA

70%
Laciaková D.
Slovenské divadlo (Slovak Theatre)
|
2023
|
vol. 71
|
issue 1
80 – 94
EN
This text reflects on the Fifteenth Divine Comedy International Theatre Festival in Krakow, which showcases the most interesting and most discussed Polish productions of the season. The author focuses on the socio-political context of the theatre productions, which is closely linked not only to the staging, but also to the festival itself. She introduces the crucial aspects of the socially dedicated activities of the previous years of the festival in the period after the 2015 parliamentary elections. The dramaturgy of the latest year of the festival layered tabooed topics and the selection of themes reflected the problematic socio-political situation. The paper contains critical reflections on some of the productions and monitors the topics connected with the festival productions as representatives of Polish theatre: taboo, responsibility, the procedurality of theatrical communication, theatre as a desacralized ritual, the (re-)politicization of theatre, configurations of the past and the contemporary, and the aesthetic aspects of a theatrical work.
10
Content available remote

FROM ALEKSANDER BARDINI'S CORRESPONDENCE (Z korespondencji Aleksandra Bardiniego)

41%
Bardini A., Kantor T., Korzeniewski B., Strzelecki Z., Jasiukiewicz S., Swinarski K., Sokorski W., Brandys K., Wyka K., Osiecka A., Fetting E., Dworakowska M., Kencki P.
Pamiętnik Teatralny
|
2010
|
vol. 59
|
issue 3-4(235-236)
409-436
EN
no abstract
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.