Search results

1

Towards a Poor Phenomenology. On Certain Structural Similarities between Phenomenology and J. Grotowski’s Philosophy of Theater

100%

Sobota D.

Analiza i Egzystencja. Czasopismo Filozoficzne

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2020

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vol. 49

89-117

EN

In his phenomenological manifesto (1911), Edmund Husserl presents the famous motto, which should be realized by the new philosophy: “Weg mit den hohlen Wortanalysen. Die Sachen selbst wir müssen befragen. (...) Ganz trefflich! Aber was sind denn die Sachen (...)?“ Consequently, the history of phenomenology is presented as the sum of the efforts to reach the deeper level and more fundamental areas of the original "Sachen". Husserl’s discovery of the domain of pure consciousness was only the beginning of a long way leading to more original areas, such as life, existence, body, intersubjectivity, historicity, humanity etc. With this journey towards deeper fields of sense-constitution, the meaning of the phenomenological method was changed. Phenomenology cannot be a simple work of lonely soul looking for self-transparency in the field of its own consciousness, but it must be a kind of action, a deed, an existential transformation, and an increase of experience. Recently, e.g. Natalie Depraz presented a similar view. In my paper I would like to explore the possibility of a new perspective on phenomenology, which gives the philosophy and theatrical practice of Polish theater reformer Jerzy Grotowski (1933-1999). Although he was neither phenomenologist, nor a philosopher, in his notes on the human performance, collected and entitled Thoward a Poor Theater, he opens, as it seems, new possibilities of phenomenological practice.

2

Theater and Communitas: Introduction

100%

Sajewska D.

Pamiętnik Teatralny

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2021

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issue 3(278)

10-14

EN

Introduction to the essay cluster "Theater and Communitas."

3

“You are fish”. Homo aquaticus by Paul Willems

100%

Jakubczuk R.

Lublin Studies in Modern Languages and Literature

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2018

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vol. 42

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issue 3

DE

Der Band enthält die Abstracts ausschließlich in englischer Sprache.

EN

The narrative work of Paul Willems is filled with the presence of the liquid element. While the elements of the aquatic world are often part of novelistic diegesis, they are not as easily rendered in the theater. The article has for its purpose the examination of the presence of the aquatic element in the plays of the Belgian author. Therefore, the hermeneutic study will focus on various manifestations of water, grouped into four thematic parts ranging from metonymic water, through metaphorical and symbolic water, to anthropomorphic water.

FR

L'article ne contient que des résumés en anglais.

RU

Том не содержит аннотаций на русском языке.

4

Symbioza muzyki i dramatu – czyli kompozytor w teatrze (cz. III)

100%

Salaber – P.

Estetyka i Krytyka

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2009

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issue 15-16

170-180

EN

The article, in essence a corollary to previously published articles on play production, puts particular emphasis on the musical setting and its author. The analysis of play production demonstrates that music, though secondary to speech, has a vital role to play in theater. This, in turn, imposes specific demands on the music director, which are necessary in order to allow for an efficient cooperation with other artists involved in the production: the director, the composer, the stage designer and the choreographer. This is followed by a discussion of issues related to performance and to possible modifications introduced to the play after its premiere, as well as to psychological and artistic phenomena apparent at that stage. The issue of cooperation between distinct groups involved in play production is given particular attention. A closer look at the roles played by the conductor and the music director in a drama theater allows to determine that their work indeed demands a high degree of professional aptitude in the musical, psychological and educational domains, as well as strong interpersonal and adaptive skills. It can, however, also prove to be an extremely rewarding endeavor, providing an outlet for artistic expression and a vehicle for ideas, as well as stimulating personal, intellectual and artistic development. The article discusses the limitations inherent in the process of music production in theater, but primarily emphasizes the benefits, such as, notably, the emergence of a new artistic value, which come from the symbiosis between the two domains of endeavor.

5

K tematickému zaměření divadelních her Kateřiny Veliké

100%

Hrebiková A., Stellner F.

Slovanský přehled: historická revue pro dějiny střední, východní a jihovýchodní Evropy (Slavonic Review: Review for Central, Eastern and Southeastern European history)

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2015

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vol. 101

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issue 1

95-123

EN

This study analyzes the theatrical oeuvre of the Russian empress Catherine II. from political, cultural and literary perspectives. Among other questions, it addresses what goals the monarch was pursuing with her writing, how she herself reflected on her works, where she drew inspiration from, what kinds of forms she selected, and – above all else – which themes she worked with. The authors work within the theoretical concept borrowed from cultural history of cultural transfer (interlinking of cultures) and reject the outdated theory of the Europeanization and modernization of Russian culture. Instead, they prefer the term “diffusion” in the sense of “dissemination of cultures”. They also agree with the main theses of the Tartu-Moscow Semiotic School, that on the basis of “culture transplant” a “dual culture” developed in the Russian Empire. The authors arrive at the conclusion that Catherine the Great did not rank among the best authors of theatrical works of her period, but she was able to gain an audience. At the same time, with this activity she also legitimized her rule and built a positive image for herself and for her empire abroad. Her significance for women’s emancipation also must not be neglected, because she was one of the first women in the Russian Empire to have her own works issued in print.

6

Obrazy (z) Arkadii. Jewreinowa sceniczne wspomnienia o Rosji

100%

Gracla J.

Acta Polono-Ruthenica

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2018

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vol. Tom 1 Nr XXIII

29-36

EN

Pictures from Arkadia. Evreinov’s scenic memories of Russia

7

William Szekspir w postpamięciowym dyskursie o Zagładzie

88%

Dąbrowska A.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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issue 4(35)

213-225

EN

The aim of the paper is to discuss the role of literary output of William Shakespeare in post‑memorial discourse about Holocaust. It analyzes various culture texts (film and theater adaptations, memoirs, essays and short stories) devoted to Holocaust, which refer to the dramatic heritage of English playwright. It discusses the phenomena of post‑Holocaust Shakespearean theatre treated as a medium for commemoration of the past. It focuses on Shakespeare’s motifs in post‑Holocaust literature and film.

8

Ile jest "Oniegina" w "Onieginie"? Libretto opery Piotra Czajkowskiego a tekst poematu Aleksandra Puszkina

88%

Walczak J.

Slavica Wratislaviensia

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2011

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vol. 154

73-85

EN

The article treats of a literary work adaptation for an opera libretto purposes by analysing sort and effect of text operations done by the author of the libretto and the composer. The libretto of the opera Eugene Onegin composed by Tchaikovsky is the exception in the history of music and literature in respect of treating the original text. The lyric is based on excerpts from the literary archetype left in the original wording: significant musical episodes and essential stages of a psychological drama connect with the poems of Pushkin. The effect of libretto analysis done by the author of the article is the afterthought on intertextual correlations when convention, linkage system and logic of the composition are considered.

9

La magie du temps et des saisons dans la dramaturgie de Paul Willems

88%

Jakubczuk R.

Studia Romanica Posnaniensia

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2021

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vol. 48

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issue 1

105-117

EN

In the current article we are examining the presence, importance and significance of weather and seasons in dramatic works of the Belgian writer, Paul Willems. Our study relies upon the methodology of patternsof transitivity proposed by Jean-Pierre Richard. After explaining the principals of our approach, then presenting the corpus of the studied texts and formulating our basic hypothesis concerning the weather, we are reviewing four weather phenomena: the rain, the wind, the snow, and the sun. The completedanalysis confirmed the calming role of the rain, the soothing role of the sun and the warning role of the wind. However, we realized, besides the liberating role of the snow in the introduction, its more complex significance because it “weighs heavily” on the life of the characters.

10

Symbioza muzyki i dramatu – czyli kompozytor w teatrze

88%

Salaber P.

Estetyka i Krytyka

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2008

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issue 13-14

127-139

EN

Th e author continues what was started in the previous volume’s deliberation regarding the complex process of creating a theatrical spectacle. Because of his particular interest in the coexistence of music and drama in the theater, you will f ind e.g. peculiar aspects of cooperation between the composer and actors, as well as descriptions of the problems appearing between groups of performers. Th ese interactions result in a wide variety of time needed for rehearsals and other ways of communication. Also, the particular understanding of instrumentation and musical direction is underlined by the author. Some psychological aspects in the process of achieving a f inal result have been described; paying close attention to plays geared at children. Th e purpose of the author is to analyze and establish the certain stages that take place while creating musical layers in drama. Th ese stages lead to a f inal, compact piece of art – a fully realized drama.

11

Divadelné budovy na spiši v 19. storočíDivadelné budovy na spiši v 19. storočí

88%

Kušnírová E.

Humanum. Międzynarodowe Studia Społeczno-Humanistyczne

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2012

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issue 2(9)

219-228

EN

Theatre culture in The Spiš region in the 19thcentury has its rich tradition that has aroused creation and construction of some Theatre buildings. In the contribution, we focus on three of them. Theatre buildings in Smolnik, in Levoča and Spišska Nova Ves were always primarily intended to theatre production. Theatre building in Smolnik, built in 1806, was the first in The Spiš region in the 19th centruy, whilst The City Theatre in Levoča was opened not until 1854 and The Spiš Theatre in Spišská Nová Ves even in 1902. Nowadays some of theatre houses continue in their activities, we mean mainly The Spiš Theatre in Spišská Nová Ves and The City Theatre in Levoča, we can take note certain activities also in Kežmarok.

12

LE GENRE SUR LA SCENE : INCONTOURNABLE SIGNE?

88%

BLOUIN C.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2014

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vol. 6

135-153

EN

A commonplace in performance arts wants that putting a man and woman together on stage inexorably brings spectators to see a couple relationship between them. Most of the time, in theater, and inevitably in dance, body is the central significant material of the show. This leads us to question the area of freedom that creators can find through gender restrictions presumed by the convention enunciated earlier. How are they playing with the body to significate beyond feminin and masculin? Through the examples of Théâtre du Trillium‘s Fucking Carl and Collectif Nous sommesici‘sChanging Room, we will approach the way of transvestism, strategy as old as theater itself, and withCompagnieKadidi‘sSamediDétente, we will examine the exploitation of both genders bodily qualities within the same performer, inside the same show. Gender on stage, prison or liberating constraint?

13

The figure of the woman in Sardinian theater of the 1970s: The case of the theater company La Maschera of San Sperate

88%

Pilloni G.

Dziennikarstwo i Media

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2019

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vol. 11

29 - 35

EN

This piece of resesch aims to study the emancipation of women in the world of theater through a particular case that occurred at the end of the 1960s in a small peasant town in southern Sardinia, San Sperate. Ida Pillitu is a woman who started acting and has been working in the La Maschera Theater Company since 1971, when they began to produce more socially engaged shows. I mainly conducted this research through some archive documents and an interview with Ida Pillitu, who revealed to me the effort and the determination with which she achieved her goals and her dream of becoming an actress.

14

Sobre un informe del confinamiento: Desmontaje crítico sobre una narrativa kafkiana llevada a escena

88%

Cibrián J. P.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2023

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vol. 33

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issue Special Issue

156-162

EN

This text aims to explore the Kafkaesque character Pedro el Rojo in whom converge characteristics of the man of the XXI century. This derives in a rereading of the play Informe para una Academia, as well as a rewriting through a scenic proposal in Mexico that reflects on a Kafkaesque vision through which current life is observed, especially in events such as the COVID-19 pandemic and other social events.

15

[wyw.] Szkoła z perspektywy mistrzów – rozmowa o teatrze i kształceniu aktorów Z prof. Barbarą Osterloff (Akademia Teatralna im. Aleksandra Zelwerowicza w Warszawie) rozmawia prof. Barbara Mróz (Uniwersytet Wrocławski)

88%

Mróz B.

Biuletyn Edukacji Medialnej

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2014

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issue 2

166-173

EN

Theater education is based on the rules developed through years of experience by prominent Polish actors and educators. Today’s theater school, by recruiting outstanding actors, influences the development of the personality of students. Teachers show formal changes that have occurred in practicing the profession of an actor, and are an inspiration to young people. The authors of the interview point to the role of knowledge and attitudes of teachers in the transfer of values to the students. This stable foundation can bring support to the young generation of arts school graduates both on stage and in life.

16

Myśleć z troską: Teatr, archiwum, historiografia

88%

Rewerenda M.

Pamiętnik Teatralny

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2021

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issue 4(279)

195-204

EN

Thinking with Care: Theater, Archive, Historiography

17

Withdrawal from the City: Searching For the Source of Valentinas Masalskis’s Creative Work

88%

Balevičiūtė R., Jurgaitytė-Avižinienė A.

Pamiętnik Teatralny

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2022

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issue 1(280)

33-50

EN

In psychology of creativity, there has been a growing need to explore not only the individual world of the artist, but also the broader context of creative work, such as the influence of the environment on creativity. By combining the methods and insights of theater studies and psychology, this article raises the question of the impact of urban and non-urban environment on the theater artist and explores the phenomenon of “withdrawals” of Lithuanian actor, director, and pedagogue Valentinas Masalskis. The article is based on qualitative research: case study analysis, with in-depth interviews as a method of data collection. The research resulted in selection of four meta-themes that emerged from the interviewing material: “city is bustle,” “to withdraw in order to come back,” “I am no one without others,” “beyond aesthetics,” with the theme of withdrawal as the essential axis. The analysis of these meta-themes in phenomenological perspective revealed how withdrawals help Masalskis to realize his vision of the theater. For Masalskis, withdrawals are the way not only to produce a new performance, but also to go further—to deepen anthropological reflection, to develop pedagogical methods, to discover unusual perspectives, to strengthen ethical principles, and, finally, to search for the source of creativity in a calm and focused manner.

18

Zapomniana twórczość dramatyczna Bolesława Eulenfelda (1848–1918)

88%

Mikinka A. E.

Heteroglossia- studia kulturoznawczo-filologiczne

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2023

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issue 14

31-44

EN

This article falls into the trend of restoring the memory of the so-called creators of minorum gentium, that is, „smaller format”. It contains basic biographical information which was obtained through the inquiry, concerning the forgotten Lviv writer Bolesław Eulenfeld, as well as a literary sketch of his work, along with its reception at the time (and contemporary). During his lifetime, Eulenfeld was an extremely prolific and popular playwright in Galicia, children’s literature writer, and even an actor for several years. Today he is mentioned rarely, hardly ever, so we decided to bring his profile closer and restore the memory of him.

19

Про перешкоди книговиданню, український театр та біографії: елементи власних спогадів у публіцистиці Михайла Комарова

75%

Stambol I.

Studia Polsko-Ukraińskie

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2022

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vol. 9

203-215

EN

The article is devoted to the journalistic heritage of one of the most prominent representatives of the Ukrainian community in the South of Ukraine, who is rightly considered a lawyer, translator, bibliographer, compiler of dictionaries, and public figure Mykhailo Fedorovych Komarov (1844–1913). He was the author of over sixty articles in the literary-critical, socio-political, and biographical context. In his works he often reported on his own experience in a particular case. And in these personal comments or recollections elements of memories of the figure are shown. The purpose of this article is to find out what personal memories the Odesa figure contained in his articles, the objective is to identify memories, determine their thematic direction and value. During the research, it was found out that M. Komarov’s journalism mainly concerned the issue of the arbitrariness of the Russian government in relation to Ukrainian culture and book publishing. His testimony, given the small amount of literature published in the late nineteenth century, is important in many political and bibliographic contexts. The coverage of theatrical life, which the activist joined as a spectator and bibliographer, was of popularizing importance, although it also contains some new facts, for example, regarding the desire of the Ukrainian Coryphaeuses Theatre to tour abroad. Among the new facts that reveal articles about the activities of M. Komarov himself: his pedagogical experience and his books were banned by censorship. Various recollections of biographical stories, both in the context of Taras Shevchenko and other figures, convey both the perception of these personalities at the turn of the century and add new evidence of them.

20

Embracing the Lackluster: Investigating the Life (and Afterlives) of a Nineteenth-Century Workaday Actor

75%

Hughes A. E.

Pamiętnik Teatralny

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2022

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issue 3(282)

15-36

EN

US actor-manager Harry Watkins (1825–1894) was no one special. He yearned for fame, but merely skirted the edges of it. If Watkins has any “historical significance” at all, it is because he left behind a voluminous diary in which he chronicled his experiences during the years leading up to the US Civil War. When the author discovered the manuscript in 2008, Watkins’s lackluster became the subject of her research, focused on the question: what could this minor actor reveal about nineteenth-century US culture—a culture as obsessed with fame and achievement as today’s culture? The author argues that Watkins is significant precisely because of his ordinariness, his obscurity, his run-of-the-mill-ness. His experiences illuminate how “white mediocrity” (Koritha Mitchell) works and deepens our understanding of the insidious power of the American Dream. Watkins’s lack of visibility during his lifetime and subsequently suggests that mediocrity is a stigmatized state of being, a form of abjection. His cyclical highs and lows bring into focus the cultural forces that still shape the aspirations of today’s theater artists, and the triumphs and failures that define their (our) inexorably ordinary lives.

Refine search results

Towards a Poor Phenomenology. On Certain Structural Similarities between Phenomenology and J. Grotowski’s Philosophy of Theater

Theater and Communitas: Introduction

“You are fish”. Homo aquaticus by Paul Willems

Symbioza muzyki i dramatu – czyli kompozytor w teatrze (cz. III)

K tematickému zaměření divadelních her Kateřiny Veliké

Obrazy (z) Arkadii. Jewreinowa sceniczne wspomnienia o Rosji

William Szekspir w postpamięciowym dyskursie o Zagładzie

Ile jest "Oniegina" w "Onieginie"? Libretto opery Piotra Czajkowskiego a tekst poematu Aleksandra Puszkina

La magie du temps et des saisons dans la dramaturgie de Paul Willems

Symbioza muzyki i dramatu – czyli kompozytor w teatrze

Divadelné budovy na spiši v 19. storočíDivadelné budovy na spiši v 19. storočí

LE GENRE SUR LA SCENE : INCONTOURNABLE SIGNE?

The figure of the woman in Sardinian theater of the 1970s: The case of the theater company La Maschera of San Sperate

Sobre un informe del confinamiento: Desmontaje crítico sobre una narrativa kafkiana llevada a escena

[wyw.] Szkoła z perspektywy mistrzów – rozmowa o teatrze i kształceniu aktorów Z prof. Barbarą Osterloff (Akademia Teatralna im. Aleksandra Zelwerowicza w Warszawie) rozmawia prof. Barbara Mróz (Uniwersytet Wrocławski)

Myśleć z troską: Teatr, archiwum, historiografia

Withdrawal from the City: Searching For the Source of Valentinas Masalskis’s Creative Work

Zapomniana twórczość dramatyczna Bolesława Eulenfelda (1848–1918)

Про перешкоди книговиданню, український театр та біографії: елементи власних спогадів у публіцистиці Михайла Комарова

Embracing the Lackluster: Investigating the Life (and Afterlives) of a Nineteenth-Century Workaday Actor