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Między polityką a kulturą. Sztuka dla ludu w Warszawskiej Spółdzielni Mieszkaniowej

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Przastek D., Trepka K.
Studia Politologiczne
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2018
|
vol. 50
109-138
EN
In the interwar period, the ruling authorities considered culture as a matter of marginal concern. Delivered to the free market, it was not managed in a consistent way. A particular example of a grassroots cultural policy was the Warsaw Housing Cooperative. Built on socialistic foundations, it used culture as a way to consolidate its residents’ community and to develop the latter. The aim of this article is to show this original social phenomenon. By picturing its ideological foundations and the Cooperative’s institutional architecture, specific shapes of cultural activities can be shown, with special regard to its theatrical creation which was more innovative and original than other artistic events of then-Warsaw.
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Teatr śmierci. O widowiskowo-teatralnym charakterze polowań zbiorowych

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Kruszona S.
Zoophilologica. Polish Journal of Animal Studies
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2018
|
issue 4
259-270
EN
The article of Sara Kruszona entitled The Theater of Death treats the spectacular-theatrical character of collective hunts. The author puts forward the thesis that these hunts can be read as a form of a spectacle. The starting point for consideration was the article Customs and hunting ceremonies in collective hunts, derived from the website of the Hunting Signals Group, “Hagard”. This text is a kind of a scenario of hunting ceremonies taking place during collective hunts. By quoting its fragments in his text on the Theater of Death, the author proves the thesis about the pageantry of hunting rituals. Events which take place during hunting, their organization and arrangement, whose important aspects include tradition and ritual character, interpreted as a kind of spectacle. It was similar to the ancient venatio. The author also refers to the ancient roots of performances with the participation of hunters, i.e. venatio, described by Miroslaw Kocur in his book entitled The Roots of the Theater. A particularly important argument for the possibility of considering hunting as a form of a show is the hunters’ awareness of role–playing and audience presence. This can be understood by guests invited to the hunt as well as opponents of hunting, or as a community focused on their activity and ready to criticize it. The awareness of the presence of spectators determines the obvious awareness of playing whether the hunters perform a specific social function in the spectacle called hunting. The finale of this performance, played according to a strictly defined scenario and with strictly assigned roles, is pokot. The author draws attention to the fact that the system of animal bodies and all activities related to them resemble a specific form of a spectacle – anatomical theater.
3
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Sceniczne adaptacje powieści Zbrodnia i kara Fiodora Dostojewskiego w Krakowie w latach 2000-2015

58%
Karlikowska-Pąsiek M. M.
Ogrody Nauk i Sztuk
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2018
|
issue 8
534-542
PL
Cel badań. Celem badań było sprawdzenie, które wątki powieści Fiodora Dostojewskiego polski reżyser pominął lub zmienił i jaki jest tego efekt dla przedstawienia jako całości. Metodologia. Przedmiotem badań były adaptacje sceniczne utworów Fiodora Dostojewskiego wystawiane w krakowskich teatrach repertuarowych w latach 2000 – 2015. W pracy został przeanalizowany polski scenariusz adaptacji powieści „Zbrodnia i kara” w reżyserii Waldemara Śmigasiewicza (2007). Hipoteza robocza zakłada, że przenoszenie dzieł literackich z jednej formy do drugiej (dzieło literackie – teatr) i z jednej kultury do drugiej (Rosja – Polska) wiąże się z utratą niektórych wątków. Wyniki. Analiza wykazała, że Waldemar Śmigasiewicz zmieniając formę przekazu dzieło literackie – teatr) oraz przenosząc utwór z jednej kultury do drugiej (Rosja – Polska) dokonał licznych skrótów w tekście powieści. Waldemar Śmigasiewicz w przedstawieniu „Zbrodnia i kara” skupił się przede wszystkim na kondycji psychicznej Raskolnikowa oraz na dramatyczności procesu dochodzenia do świadomości zbrodniarza. Wnioski. W badaniu zostały wzięte pod uwagę aspekty przekładu dzieła literackiego na dzieło sceniczne. Badanie modyfikacji treści oryginalnego tekstu oraz przekładu nie ma na celu oglądu spostrzeżeń polskiego widza. Uzyskane wyniki przedstawiają jedynie możliwość odkodowania i zrozumienia najważniejszych wątków powieści „Zbrodnia i kara”, jaką widzowi daje reżyser.
EN
Purpose of research. The primary objective was to check which topics of Fyodor Dostoyevsky's novel, had omitted or changed by polish director and what the effect is for whole performance. Methodology. The subject of objective studies were stage adaptations of works by Fyodor Dostoevsky exhibited in Krakow repertory theaters in the years 2000 - 2015. The articel analyzed the Polish scenario of adaptation of the novel "Crime and Punishment" directed by Waldemar Śmigasiewicz (2007). The working hypothesis is that the transfer of literary works from one form to another (literary work - theater) and from one culture to another (Russia - Poland) is associated with the loss of some threads. Results. The analysis showed that Waldemar Śmigasiewicz by changing the form of the message (literary work - theater) and by transferring the work from one culture to another (Russia - Poland), made numerous abbreviations in the text of the novel. Waldemar Śmigasiewicz in the performance "Crime and Punishment" focused primarily on the mental condition of Raskolnikov and the drama of the process of reaching the consciousness of a criminal. Conclusions. The study took into account the aspects of transformation a literary work into a stage work. The examination of the modification of the content of the original text and translation is not intended to inspect the observations of the Polish viewer. The obtained results show only the possibility of decoding and understanding the most important themes of the novel "Crime and Punishment", which the viewer gives the director.
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