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1

Ebavordne voitlus stand-upi ja kabareetraditsiooni vahel Poolas

100%
Chlopicki W.
Mäetagused
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2012
|
vol. 52
31-46
EN
The article first describes the old cabaret tradition of Polish comedy, and then looks at various forms of stand-up that have been spreading in Poland over the last 20 years, mainly on TV, but some originating in newly established comedy clubs. Within the last twenty years, the new form of stand-up in its American variety has been slowly moving in. The characteristics of this new genre included precisely the topics which were excluded from the old form (such as explicit sex references and scatology) as well as the focus on the vernacular. The common features of stand-up included immediacy, playing cultural and linguistic kinship with the audience, impersonations, “shifting consensus”, seeming spontaneity, and occasional self-deprecation. Young performers found a venue in the well known HBO show called “Na stojaka” (an attempt to translate stand-up into Polish, a show which ran for ten years), as well as other venues such as the stand-up competition called “Zabij mnie śmiechem” (“Kill me with laughter”) broadcast by the Polsat commercial channel since 2010, in which the winner is rewarded with a trip to an American stand-up school. This kind of stand-up does not meet with universal appeal, as one comment found on the internet clearly shows: “Stand-up Tragedy”. The Polish audiences largely believe that the performance must be first of all funny, and only then “authentic”, while some young performers seem to play mainly on obscenity and scatology and forget the need to amuse. Therefore, even though the new form has been slowly gaining ground, the cabaret prevails both in some of the forms which it shares with stand-up (e.g. non-interactive monologues, which are no longer literary but colloquial, or impersonations) and also with regard to popular performers, who largely originate in cabaret or are well-known actors.
2
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„Wiolka mówi o obrzydliwych rzeczach”. O semantyce i funkcji nazw intymnych części ciała w kobiecym stand-upie

100%
Chudzik A.
Academic Journal of Modern Philology
|
2022
|
issue 15
127-142
EN
The topic of this article concerns the names of intimate body parts that appear in the performances of Polish female stand-up comedians. The aim of the considerations is to show the dominant semantic forms of naming intimate parts of the body and to indicate their functions in speech and genre discourse. The article begins with theoretical findings on the genre features of stand-up and the specificity of the vocabulary relating to body parts considered taboo. Further considerations include an analysis of the material divided into the part concerning semantics and the part concerning the function of the studied vocabulary. The methodological approach used in the study is lexical semantics in terms of cognitive linguistics with elements of pragmalinguistics.
3
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Labirynty współczesnych teorii dramatu

75%
Stepnowska T., Uniwersytet Łódzki Z. L. i. K. I. R.
Acta Universitatis Lodziensis. Folia Linguistica Rossica
|
2015
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vol. 11
PL
Artykuł recenzyjny prezentuje ocenę monografii zbiorowej "Dramat w nowych ujęciach teoretycznych. Studia slawistyczne" pod red. Natalii Maliutinej i Jarosława Ławskiego, Białystok – Odessa 2014) o współczesnym dramacie europejskim. Autorami prac są badacze polscy, rosyjscy i ukraińscy, którzy wskazują jak obecnie rozwijają się tradycyjne gatunki dramatyczne (komedia, tragedia, wodewil) oraz nowe (stand-up). Książka stanowi cenny wkład w rozwój wiedzy o dramacie, teatrze i teorii literatury. Praca jest starannie wydana, zawiera noty biograficzne o autorach artykułów oraz ciekawe teatralne fotografie.
EN
The review article presents an assessment of the collective monograph "New Theoretical Terms for Understanding Drama. Slavic Perspectives" (Natalia Maliutina and Jarosław Ławski (Eds), Białystok – Odessa 2014) on contemporary European drama. The authors involved are Polish, Russian and Ukrainian scholars who elaborate on the present-day development of traditional drama species (comedy, tragedy, ‘comédie en vandeville’) as well as the new ones (stand-up). The book is a significant contribution to the academic domains of drama, theatre and literary theory. The neatly published work also contains biographical notes of the articles’ authors and interesting theatre photographs.
4
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Śmiech to zdrowie? Stand-up w obliczu pandemii

51%
Zdziarstek P.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
|
2022
|
issue 14
82-95
EN
In this article, I analyze how the coronavirus pandemic has affected stand-up comedy. Due to the restrictions, comedians lost the opportunity to perform live. It was a serious problem, because it is impossible to create stand-up material without the main verifier of jokes – the audience. Some comedians have chosen to perform their acts on the internet. However, this type of virtual barrier only emphasized the fact that a fundamental part of stand-up comedy is the presence of a live audience. In the second part of this article, I explore how comedians joked about the coronavirus and how their approaches to this diffcult topic differed. As it turns out, Polish comedians focused primarily on personal stories and minor observations related to lockdown. Meanwhile, American stand-ups displayed a journalistic bias, paying more attention to how the pandemic affected society as such.
5
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Chinese and Western Comedy – an Introduction into Cross-Cultural Humour Research between Taiwan, China and the West

45%
Piwowarczyk K.
Nowa Polityka Wschodnia
|
2019
|
vol. 1(20)
23-39
EN
The use of humour, both proper and improper, can influence the outcomes of meetings and shape entire relationships. Hence, although often trivial in nature, humour can play a significant role in human lives and deserves to be taken seriously. The same is true when it comes to the analysis of humour across cultures. In today’s increasingly globalized world, where people from various cultures interact on an almost daily basis it is important to understand the other persons culture, including their sense of humour. Consequently, this article provides a basic overview of humour of the world’s two biggest and most prominent cultures: the English speaking West and the Sinitic world. There is no doubt Chinese and Western humour differ in history and contemporary structure, therefore this article presents the various forms of comedic expression found in both cultures, but also provides basic explanations as to the reasons behind these differences.
RU
Использование юмора, как правильного, так и ненадлежащего, может повлиять на результаты встреч и сформировать целые отношения. Следовательно, хотя юмор часто бывает тривиальным по своей природе, он может играть важную роль в жизни человека и заслуживает серьезного отношения. Та же закономерность имеет место, когда речь идет об анализе юмора в разных культурах. В современном все более глобализирующемся мире, где люди из разных культур взаимодействуют почти ежедневно, важно понимать культуру других людей, включая их чувство юмора. Следовательно, эта статья предоставляет базовый обзор юмора двух крупнейших и наиболее выдающихся культур мира: англоязычного Запада и синитического мира. Нет сомнений в том, что китайский и западный юмор отличаются друг от друга историей и современной структурой, поэтому в этой статье представлены различные формы комедийного выражения, обнаруженные в обеих культурах, а также приведены основные объяснения причин этих различий.
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