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Performatyczne kłusowanie po operowych marginesach

100%
Bogucki M.
Pamiętnik Teatralny
|
2021
|
vol. 70
|
issue 2(278)
133-142
EN
This article offers a review of Sabina Macioszek’s book Opera, ciała, technologie: Strategie współdziałania w XXI wieku [Opera, Bodies, Technologies: Strategies of Interaction in the 21st Century]. The reviewer appreciates the author’s original approach, i.e. applying the tools of performance studies in research on the opera. However, he questions Macioszek’s general definitions, which result in disconnecting the problem of the interaction of bodies and technologies on the opera stage from the social and political context. The review also argues against Macioszek’s selective interpretation of Bojana Kunst’s theory, especially in the use of the term “project.” Finally, it is pointed out that the author’s positioning of theory and practice in relation to each other is problematic; they function here on the principle of contiguity, which means that the analyzed operas are treated only as exemplifications of the theoretical notions under discussion, rather than as fully-fledged artistic works.
2
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Rzetelność jako podstawa/dyrektywa

86%
Kubikowski T.
Pamiętnik Teatralny
|
2023
|
vol. 72
|
issue 1
193-195
EN
Letter to the editors regarding Małgorzata Sugiera's article published in Pamiętnik Teatralny 71, z. 4 (2022).
PL
List do redakcji w sprawie artykułu Małgorzaty Sugiery "Performatywność jako postawa/perspektywa" opublikowanego w "Pamiętniku Teatralnym" 71, z. 4 (2022).
3
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Budowanie marki jako performans

72%
Snarska A.
Literatura i Kultura Popularna
|
2016
|
vol. 22
111-125
EN
The following article is an attempt of description phenomena of corporate spectacles in an anthropological perspective. It focuses on the roots of corporate performatics in terms of carnaval­ization of culture, play, entertainment, self-presentation, acting and also criticism of consumption­ism — phenomena typical for contemporary culture related to part of company’s activities focused on brand building, in particular its subdomain: experiential marketing. The structure is based on 2 types of acting performed by the corporations: presenting oneself, and creation of spectacles. The author aims not only at underlining the strong bonds between brand building and anthropology of spectacles but also attempts to describe the ritual roots of most of branding activities.
4
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Unisono

72%
Jarząbek-Wasyl D.
Pamiętnik Teatralny
|
2021
|
vol. 70
|
issue 4
185-194
EN
This article offers a review of the recently published edited volume The Routledge Companion to Theatre and Performance Historiography (2021). The reviewer briefly presents the origins of this publication, its structure and mosaic-like design, as well as its main topics and methodology, and then she discusses selected contributions (of particular interest to the Polish reader) in more detail. Like any large-scale undertaking of this kind, this volume also raises concerns and doubts, especially with regard to following the postulated polyphonic and refreshing approach to performance history, as well as the limitations of institutional critique, whose outlook has its "blind spot," too.
PL
Artykuł stanowi recenzję niedawno wydanego tomu The Routledge Companion to Theatre and Performance Historiography (2021). Przedstawiając zwięzłą historię powstania publikacji, jej układ i mozaikową koncepcję, główną problematykę i metodę, autorka przybliża niektóre teksty (szczególnie interesujące dla polskiego czytelnika). Tom, jak każde monumentalne przedsięwzięcie, budzi też zastrzeżenia; te dotyczą głównie realizacji postulatu polifonicznego i odnowicielskiego podejścia do historii widowisk oraz ograniczeń krytyki instytucjonalnej (jej optyka miewa również „ślepy punkt”).
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