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

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  teatr XX wieku
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Teatralne boyowanie (1). Miejsce francuskiej farsy w polskim teatrze międzywojennym z perspektywy recenzenta — Tadeusza Żeleńskiego (Boya)

100%
Ignaczak L.
Prace Polonistyczne
|
2015
|
vol. LXX
101-117
EN
This article, the first in the series, is devoted to the work of Żeleński-Boy as a theater critic. In his witty feature articles Boy discussed theatrical performances, sharing with the audience his view on the quality of the theatre programme, way of adapting literary texts, actors’ skills of creating a stage role. The article presents the views of Boy on shaping the repertoire of Polish theaters of the interwar period, especially with regard to the French farce and comedy. On their basis Boy demonstrated diversity of tradition of Polish and French theater and explained the impact of historical conditions on the differences in the treatment of stage entertainment.
2
Publication available in full text mode
Content available

Talent w teatrze zazdrości

80%
Ignaczak L.
Prace Polonistyczne
|
2014
|
vol. 69
65-82
EN
This article concerns three selected works of the 20th Century drama: Peter Shaffer’s Amadeus (which had its first-night performance in the Oliver Theatre in London on 11.02.1979), The Impostor Gyorgy Spiró (staged before the Budapest audience in the theatre Katona József Szinhaz on 28.10.1983), and the drama The Four Hand Dinner of Paul Barz (included in the repertoire of European theaters after its first-night performance at the Deutsche Oper in Berlin on 27.01.1987). These dramas present the very thorough, and at the same time subtle analysis of the relationships between artists talented in varying degrees: their mutual curiosity, excessive admiration, cautious distance, small mutual malice or resulting from complexes passionate jealousy. It is interesting that the three so different playwrights used in these dramas the same structural scheme: reaching into the history of theater or music, on the canvas of real artistic biography they created their own tale about desire of unattainable fame, about creative solitude and social exclusion of talented misfits.
3
Publication available in full text mode
Content available

La marionnettisation des personnages dans le théâtre francophone et polonaise du Vingtie`me Sie`cle

61%
Bocianowski C.
Prace Polonistyczne
|
2016
|
vol. LXXI
237-255
EN
This article is devoted to the use of the aesthetic of marionettes in twentieth-century theatre in Poland, French-speaking Belgium and France. Starting with the treatment of marionettes in Maurice Maeterlinck’s play Interior, the analysis of plays shows the function of the marionettisation of characters and how puppets inspire authors, on different levels, in the representation of metaphysical, political or social issues.
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.