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Barbarzyńcy w teatrze. Strategie artystyczne Moniki Pęcikiewicz, Moniki Strzępki i Wiktora Rubina

100%
Głowacka A.
Postscriptum Polonistyczne
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2011
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issue 2(8)
75-93
EN
The article concerns contemporary Polish theatre, and particularly the creativity of young directors who are in their thirties: Monika Pęcikiewicz, Monika Strzępka and Wiktor Rubin who give up the traditional theatre and mingle with mass and popular culture. The article also focuses on the problem of reception, because theatrical performances, distancing themselves from the traditional ones, still cause emotional reactions of conservative specta-tors who often feel shocked and offended by such theatre. Such performances ignore the hegemony of dramatical text – they deconstruct cause and effect order of narration, con-front text with contemporary context, they are incoherent; they use new media to contact with a spectator by acting that is based on quoting a character and constant balancing be-tween theatrical performance and private life.
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Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions

75%
Fabiszak J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2018
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vol. 17
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issue 32
51-60
EN
Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examines Klata’s treatment of theatrical and national authority in his Shakespeare productions, on the one hand, and the image of the director as an authority on the other. All in the light of the theoretical model on authority in theatre, especially in Shakespeare productions, developed by W.B. Worthen.
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“The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)

51%
Sakowska A.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2014
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vol. 11
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issue 26
45-63
EN
How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).
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