Search results - CEJSH

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Drama czy/i teatr. Aspekt procesualny i atrybutywny projektu dramowo-teatralnego "Bezsenność Jutki"

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Witerska K.

Nauki o Wychowaniu. Studia Interdyscyplinarne

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2018

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vol. 7

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issue 2

183-190

EN

Various educational activities of theatrical nature differ in the emphasis that is put on particular aspects of creativity. While the aspects of personological factors and stimulators/inhibitors are equally important in both drama and theater, the processual and attributive factors are essentially different. The article is an attempt to answer the question: what aspect of creativity is important in the case of a project combining two forms: drama and theater?

PL

Rozmaite działania edukacyjne o charakterze teatralnym różnią się akcentem, jaki jest kładziony na poszczególne aspekty twórczości. O ile aspekt personologiczny oraz stymulatorów/inhibitorów jest równie istotny zarówno w dramie, jak i w teatrze, to aspekty procesualny i atrybutywny zasadniczo się różnią. Artykuł jest próbą odpowiedzi na pytanie: jaki aspekt twórczości jest istotny w przypadku projektu łączącego dwie formy: dramę i teatr?

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„Balladyna”, czyli o próbie karnawalizacji literatury romantycznej

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Kurska A., Uniwersytet Jana Kochanowskiego w Kielcach I. F. P., Dr hab. p. n. w. Z. L. P. d. r. U. J. K. w. K. Z. s. p. w. l. r. i. n. p. e., annakurska@op.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 27

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issue 1

EN

The article presents Juliusz Słowacki’s attempts to free “Balladyna” from the pathos of the patriotic form. The poet achieves this by exploiting and confronting diverse strategies: Shakespearean and Ariostan irony as well as the carnivalization poetics. Not only do they allow Słowacki to expand his artistic freedom, but the drama also breaks free of the cultural shackles of pathos and solemnity. Moreover, these strategies make the drama more appealing owing to laughter which violates the ‘sacred’ status of a Romantic work. In “Balladyna”, Słowacki offers a carnivalistic formula of ‘play-literature’, challenging the stereotypical notions and expectations of the readership and striving to revolutionize native art. By means of irony and laughter, the poet distances himself from the ideas of Polish Romanticism, creating a new model of a literary work that aesthetically goes beyond the 19th century.

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There are motives of freedom, known to man’s heart and mind - a threefold look at freedom in Józef Tischner’s “Rekolekcje Paryskie”

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Mizdrak I.

The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II

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2016

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vol. 6

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issue 1

PL

In its analysis of human freedom, Józef Tischner’s philosophy poses fundamental questions about the essence of freedom, but also about the sense of preservation of freedom in one’s life. Freedom appears as a primary phenomenon, something that is part and parcel of human nature. Freedom as a structural element of human existence manifests itself perhaps most clearly in the sphere of human relations, which, immersed as they are in the eternal drama of good and evil, are played out in the space between salvation and damnation. The binary character of values, best seen in our use of freedom, keeps us for ever mindful of that unavoidable drama a man has to face, owing to his freedom, need not be helpless.Using such categories as election, space and health of the soul in his Rekolekcje Paryskie, Tischner approaches the definition of freedom through a succession of essential modifications which articulate some fundamental points concerning relations between people and man’s relations with God from an anthropological, axiological, ethical, social and theological perspective. Tischner proposes no definitive interpretation of freedom but, viewing the controversy over freedom as one of the most difficult problems in the philosophy of man, he tries to show what man’s inner freedom consists in and what achievements it makes man capable of.

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The Path to Mary’s Acquittal: Legal Solutions in the N-Town Cycle’s “Trial of Mary and Joseph”

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Wiącek T.

Anglica. An International Journal of English Studies

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2013

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issue 22/1

83-96

EN

In the ‘‘Trial of Mary and Joseph”, a play from the late fifteenth-century N-Town cycle, Mary and Joseph are tried for adultery and breaking a public oath. The trial is the result of an indictment brought about by the public rumour concerning the origins of Mary’s pregnancy and possibility that Joseph is not the father of the child. The setting of a contemporary fifteenth-century ecclesiastical court introduces a legal and procedural approach which cannot properly process such an extraordinary event as the miraculous origins of Mary’s pregnancy. As a result, Mary cannot be acquitted in accordance to the fifteenth-century regulations and a legal modification in the procedure must be implemented. However, a direct change would have a negative effect on the credibility of the play and the legal system it represents. Therefore, a subtle alteration is introduced: a transition from a strictly rational and commonsensical ecclesiastical ex officio trial to the common law trial by jury as outlined in the Assize of Clarendon, which legally utilized ordeal as a form of purgation. As a result, Mary could be legally acquitted, and the system’s credibility would not have suffered from an intentional and highly irregular alteration, while the audience of the play would have been assured that a medieval legal system could deal with cases even as extraordinary as a miraculous virgin birth. The argument will unfold through a detailed comparative study of both procedures, their similarities and disparities, presented in the context of the social and legal perceptions of a contemporary audience.

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Człowiek a Bóg w dramatach Amelii Hertzówny

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Nazarewicz A. A.

Dydaktyka Polonistyczna

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2019

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issue 5 (14)

46-57

EN

Amelia Hertz still is an unfamiliar play wright. Recently the papers on her works are being released more often. Researchers do not take an interest in the relation of man towards God, though. This relation is a crucial element of her dramas. The importance of this theme is presented by the very structure of respective works. Zburzenie Tyru is a staging of biblical events. Yseult o Białych Dłoniach is structured like a confession. The events of Wielki król are motivated by a constant fear of the Wrath of God, who will inflict justice upon Byzantium. The ultimate defeat of the heroes is summarised with the words Because only God is eternal. The main characters of the dramas in their relation towards God correspond to the Kierkegaard’s typology: the aesthetical man, the ethical man and the religious man. Hertz uses Kierkegaard’s philosophy Either/Or, showing different variants of the same story and what are the consequences of making decisions.

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«Кабаретная» драматургия П. П. Потемкина

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Брызгалова Е.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2011

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issue 4

17-23

EN

This article discusses studies of some works by Petr P. Potemkin, a poet and playwright of the Silver Age. His plays for revue theatres and cabarets have not been studied yet, and the author of the article suggests her understanding of this part of Potemkin’s artistic legacy. The article studies specific features of the one-act drama of the early 20th century.

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"Złowić wiekuistości niezmienne pierwiastki..." Baśń nocy swiętojańskiej Jana Kasprowicza

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Podstawka A.

Rocznik Przemyski

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2013

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vol. 49

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issue 2: Literatura i Język

37-63

EN

This study is an attempt to present the dramatic works of Jan Kasprowicz, which for a long time have remained in the shadow of his great poetic oeuvre. What he wrote for the stage, though an inherent part of a lot of academic research, still needs comprehensive examination. The Midsummer Eve Night’s Tale is not among the artist’s most highly estimated achievements. He was commissioned to write it as a theatre prologue, which gave it the mark of an occasional piece, not too good for the reception of the work. It inaugurated the activity of the City Theatre in Lvov on 4 October 1900. Kasprowicz, using a recognizable code of signs, created a poetic show based on the “theatre within theatre” convention. At the same time he tried to include in it his own drama and theatre concepts, outlining the anthropological horizon of his theatre. They resound with allusions in the multi-layer coalescence of fairy-tale symbols, Slavic mythology and literary references pulsating in the space of modernist oneirism. By using folk sources and many motifs from masterpieces of world drama (Greek tragedians, Shakespeare, Goethe, Słowacki, Hauptmann and others) the poet takes up fundamental existential themes which make up a poetic synthesis of the condition of man and the world.

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Drama online jako sposób na aktywne poznawanie lektur w cyfrowym świecie

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Kulig A.

Postscriptum Polonistyczne

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2014

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issue 2(14)

219-230

EN

The article describes the possibilities of using social networking in education with an example of on-line drama (drama-like activities led in digital space). The theoretical assumptions of this method are described in the article as well as some examples of its practical realization. The conclusions drawn from scientific literature are enriched with personal reflections (based on the experience gained while working on Przedwiośnie by Stefan Żeromski).

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„Wolny mularz’’ Augusta von Kotzebuego – manifest ideowy ubrany w formę jednoaktowej komedii

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Śrama M.

Studia Europaea Gnesnensia

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2020

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issue 21

51-76

EN

This paper focuses on August von Kotzebue’s play “Der Freimaurer” [The Freemason], as a piece within the prolific genre of comedies about freemasons which emerged in the 1740s, and a work which includes numerous worldview-related allusions. In this context, the author extensively discusses the life and the oeuvre of the playwright who thus far has not been devoted any thorough study in Polish, apart from relatively brief mentions in works on the period and writers he had inspired.

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Pierre Clément – prekursor tematyki wolnomularskiej w dramacie

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Śrama M.

Studia Europaea Gnesnensia

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2020

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issue 22

21-46

EN

The paper is concerned with the life and work of Pierre Clément, a Geneva-born journalist, dramatist and poet, who was one of the first to make a freemason a protagonist in a play. Issues re- lating to that author have not been discussed in Polish so far, even though Clément was a significant figure in French playwriting as the precursor of Masonic themes

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Krytyka teatralna o "Willi nad morzem" Stefana Grabińskiego

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Jabłoński A.

Rocznik Przemyski

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2012

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vol. 48

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issue 2: Literatura i Język

147-160

XX

In this article author presents the history of critical reception of first Stefan Grabinski's drama. By analyzing the reviews, he tries to determine which of its elements were a decisive factor in the overall negative evaluation of the writer's creation. Critics pointed out, that Grabinski do not understand the rules of constructing a drama, his works lack necessary action and characters seem unnatural. All in all, the flaws were concluded as one major flaw named "novelization of the drama", which means The mansion by the sea is too similar to prose in terms of composition, etc.

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Doświadczenie codzienności w dramacie polskim po 1989 roku

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Popczyk-Szczęsna B.

Postscriptum Polonistyczne

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2011

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issue 2(8)

15-26

EN

In Polish drama published after 1989, everyday life is often presented as the fundamental measure of the heroes’ existence. The authors present the changes in the everyday life order, they underline oppressive and overwhelming character of common experiences, they present difficult, aggressive interpersonal relations. For example, in many texts the unavoid-able elements of the everyday life of the heroes are negligence, harms and even crimes. This way of representing everyday life, usually based on traditional mimetic techniques, does not create an idyllic image of everyday life.

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Bocian Nachmana. O dramatopisarstwie Hanocha Lewina

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Winch A.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 3(259)

179-198

EN

The article discusses the work of the Israeli playwright setting it side by side with the thought of the Jewish theologian Joshua Abraham Heschel as expressed in two of his books: Man Is Not Alone, and God in Search of Man. The two books define the poles of Levin’s existential struggles. The protagonists of the plays examined in this essay, i.e. of Krum (1975), Job’s Passion (1981), and Dreaming Child (1993), drift in a metaphysical vacuum. They try to get some fulcrum, but since they are in vacuum, their attempts are absurd. This is not the kind of the absurd that Albert Camus meant. Endorsing it does not lend Levin’s characters any dignity; it does not liberate them; on the contrary, it humiliates them and makes them feel awkward. The reference to Heschel’s writings here is not accidental. Levin’s father came from a Hasidic family and raised his son as the orthodox Jewish beliefs dictated. Thus, the image of Jewish religiosity reflected in Heschel’s philosophy was something very familiar to Levin, something that he had to take a position on. The fact that it was a position of rejection does not diminish the importance of religious faith, God and His covenant with man for the dramatic work of the author. On the contrary, it makes it one of the paramount problems that Levin and characters of his plays have to come to terms with. For Estragon and Vladimir from Samuel Beckett’s masterpiece the prolonged waiting for an absent Godot was no trifle either. Hanoch Levin is often seen as a continuator of the theatre of the Absurd. It would be impossible to fully grasp the meaning of this continuation without referring to its religious context.

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ПРАВДА И ЛОЖЬ В ПЬЕСЕ МАКСИМА ГОРЬКОГО НА ДНЕ

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Kramarska D.

Conversatoria Litteraria

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2016

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vol. 10

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issue -

137-148

RU

Maksym Gorkij (1868-1936) – known Russian writer, dramaturge and prose writer, who gained fame not only in Russia, but also abroad. He spent many years in exile. He was nominated for the Noble Prize. In 1902 in press ap-peared performance “The lower depths”, which holds a special place in artistic work of the author. It is a kind of fable about true and different attitude to it. The reader asks yourself question, what is better: bitter truth or sweet lie ?

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Muzyka górą? Dziesięć wydarzeń teatralnych 2010 roku

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Mikołajczyk J.

Postscriptum Polonistyczne

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2011

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issue 2(8)

283-295

XX

Music Dominates? Ten Theatrical Events of the Season 2010/2011

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Rola dramy i technik dramowych w kształceniu umiejętności lekturowych

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Motyka A.

Dydaktyka Polonistyczna

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2020

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issue 6 (15)

194-201

EN

The article shows that the drama and staging techniques have a multi-dimensional effect on primary school students’ versatile development. The author – Polish language teacher in a primary school – presents the examples of the usage of drama during the lesson and their benefits.

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“WE COULD SING BETTER SONGS THAN THOSE”: DRINK IMAGES IN WILLY RUSSELL’S PLAYS

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Klepuszewski W.

Acta Neophilologica

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2018

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vol. XX/1

145-154

EN

Willy Russell is an example of a writer whose popularity and critical reception is not extensively reflected in serious studies. There is a noticeable tendency to appraise rather than analyse Russell’s work. The aim of the present article is to dissect the function of drink images in the context of class-related issues Russell thematises in his plays.

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Dramaty życia, dramaty twórczości

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Korpal-Jakubec P.

Estetyka i Krytyka

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2011

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issue 2(21)

203-206

EN

Review of the book: Zbylut Grzywacz 'Memłary i inne teksty przy sztuce i życiu' wyb. T. Nyczek, Kraków 2009, s. 466.

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Witkacy w perspektywie postkolonialnej

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Heck D.

Góry, Literatura, Kultura

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2016

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vol. 10

197-208

EN

Postcolonial studies implies negation of western canon, hegemony of the white man and his Europe. Several plays and one novel written by Stanisław Ignacy Witkiewicz (Witkacy) are full of exotic colonial literary motives. Postcolonial studies seems to fulfill his catastrophism as the end of western cultural heritage.

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Puszkin w Maskaradzie Jarosława Iwaszkiewicza – wizerunek poety

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Maczel M.

Język. Religia. Tożsamość

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2021

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issue 2 (24) A

123-136

PL

Przedmiotem artykułu jest kreacja Aleksandra Puszkina w dramacie Jarosława IwaszkiewiczaMaskarada. Analizie poddano głównie wypowiedzi samego Puszkina oraz innych postaciodnoszące się do rosyjskiego poety. Pozwoliło to pokazać, za pomocą jakich środków i w jakisposób autor dramatu tworzy zgłębiony psychologicznie portret wielkiego twórcy.

EN

The subject of the article is the role of Aleksander Pushkin in Jarosław Iwaszkiewicz’s drama Masquerade. The analysis covers mainly statements by Pushkin himself and other characters relating to the Russian poet. This allowed us to show what means and how the author of the play creates a psychologically profound portrait of a great artist.

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