Search results - CEJSH

1

České divadlo na Moravě a meziválečná avantgarda : (k situaci v Olomouci)

100%

Spurná H.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2013

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vol. 16

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issue 1

42-63

EN

The study demonstrates the way in which Czech theatre avant-garde influenced the development of interwar theatre in Moravia. Its author reflects the situation in Brno, Ostrava, and Olomouc. As for Brno, the confrontation of non-traditional poetics of the Prague avant-garde scenes like The Liberated Theatre and the theatres Dada and Modern Studio with the conservatism of official theatre stages is proved by the stage work of Jindřich Honzl and Emil František Burian in Brno's National Theatre. In Ostrava, the influence of avant-garde became evident both in dramaturgy and the activities of the Studio (part of the National Moravian-Silesian Theatre). Yet, primary attention is paid to Czech Theatre in Olomouc and its most distinguished personality, Oldřich Stibor. The author describes Stibor's relation to the avant-garde programme and, confronted with Burian, Honzl, or Frejka, she tries to point out Stibor's originality as a director.

2

Mezi Brnem a Vídní : divadelní ředitel Johann Heinrich Böhm a počátek osvícenských reforem v městském divadle v Brně

100%

Havlíčková M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2013

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vol. 16

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issue 1

19-27

EN

The study reflects the situation of Brno Municipal Theatre during 1770‒1771, years in which the transformation from a stagione to a steady institution of art was provoked. Its dramaturgical plan fulfilled the enlightenment demands. This process was initiated by a group of actors under the director K. A. Schaumberg, a man who promoted the late-Baroque style of theatre. The revolting group was led by J. H. Böhm and R. Waitzhofer, both directors-to-be. Their efforts coincide with J. von Sonnenfelse's concept of a radical transformation of the theatrical conditions in the capital, published in April 1770 in Brno newspapers. As soon as Schaumberg bankrupted, J. H. Böhm became the director of Municipal theatre in July 1771 and went on with his reforms. Only due to the dramaturgical efforts did Municipal theatre in Brno succeed in coping with Vienna, whose two court theatres underwent a similar process of transformation.

3

"Genealogické" souvislosti divadelních koncepcí : divadlo Petra Bezruče v Ostravě a Činoherní klub v Praze

100%

Lazorčáková T.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2013

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vol. 16

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issue 1

64-80

EN

It is the transfer of a theatrical conception that stands in the centre of this study. It focuses primarily on the activities of the student ensemble Umění mladých, whose members joined Petr Bezruč Theatre in 1959, and confronts the earlier activities of Petr Bezruč Theatre with those of the following five seasons in which the Academy of Performaing Arts students became part of the ensemble. Thus, it not only proves a crucial change in the dramaturgy but it also maps the transformation of acting which, in 1965, became part of the original acting style in Činoherní klub.

4

Intellectuals vs. Stars: The Case of Novelli’s Shylock

63%

Pujante A. L., University of Murcia, Ángel-Luis Pujante is Professor of English at the University of Murcia S. H. i. t. a. o. E. m. s. d. M. H. B. H. i. t. c.-e. o. M. E. S.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

5

Towards Intercultural Dialogue with Shakespeare

63%

Colarusso D. M., University of Toronto, Dana Mafalda Colarusso (B.Ed. M. A. E. L. i. c. c. h. P. D. i. E. a. t. O. I. f. S. i. E. a. t. U. o. T. H. d. s. e. t. c. r. p. a. d. m. o. E. t. i. r. t. t. t. o. a. i. m. e. c. i. t. g. a. S. i. a. a. m. o. I. t. I. A. f. t. I. o. M. T. E. a. a. i. e. a. f. i. j. L. E. S. i. L. a. L. P. t. c. g. s.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

6

The Doublet and Hose: A Question of Identity in As You Like It

63%

Deb I., Nistarini College P., Indrani Deb is the Principal of Nistarini College P.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

7

Theatre reviews: Jovial Usurper in the Traditional Kyogen Style: Kuninusubito (based on Richard III) at the Setagaya Public Theatre, Tokyo

63%

Noda M., Meiji University in Tokyo, Manabu Noda is Professor at School of Arts and Letters M. U.-s. i. T. H. s. i. B. t. h.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

8

To love the Moor? The representation of Otherness in Spanish translations of Othello .

63%

Ezpeleta Piorno P., University Jaume I S., Pilar Ezpeleta Piorno is senior lecturer at the Department of Transla-tion and Communication of the University Jaume I S.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

9

Shakespeare in Romania: The Meandering Road from Adoption to Adaptation

63%

Sirbulescu E., University of Craiova R., Emil Sirbulescu teaches English and American literature at the Univer-sity of Craiova R. H. s. i. i. S. a. t. R.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

10

Shakespearean criticism in Poland in the inter-war period (1918–1939)

63%

Stanisz E., Państwowa Wyższa Szkoła Zawodowa w Nowym Sączu, Elżbieta Stanisz PhD; is a teacher trainer and lecturer at the State Higher Vocational School in Nowy Sącz (Państwowa Wyższa Szkoła Zawodowa w Nowym Sączu) w. s. t. c. i. B. C.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

11

Book reviews: Yoshiko Kawachi. Sheikusupia no Sekai [Shakespeare’s World]. Tokyo: Seibido, 2007. ISBN 978-4-7919-7124-4c1082. Pp. 307. Price 4000 Yen

63%

Ryuta M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2009

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vol. 5

12

Boží duha v Divadle U stolu : rekonstrukce inscenačních postupů

63%

Klein P.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2017

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vol. 20

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issue Supplementum_2

50-59

EN

The author of this thesis deals with the inscenation of Jaroslav Durych's text The God's Rainbow which is build on the principles of modernistic theatre. The Theatre at the Table is trying to find the lost continuity of modern form and as same as before they are demonstrating the imposing conections between old a new generation which are sitting in the audience unified as ancestral polis. The God's Rainbow won the 3rd price in the public inquiry about Inscenation for the Year 2001 (Theatre Newspapers), there were also some nominations in Alfred Radok's Nadation.

13

Secesní repertoár Les Ballets Russes jako východisko vizuální podoby jeviště

63%

Klein P.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2017

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vol. 20

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issue Supplementum_2

30-49

EN

The study portrays the initial stage in the forming of the dramaturgical profile of impresario S. P. Diaghilev's company, Les Ballets Russes, which in the world context contributed unequivocally to the emancipation of Art Nouveau style in the art of theatre. Special attention is paid to the parallels between scenography and dramaturgy. The author defines three basic thematic lines of development in the company's repertory: firstly, historical retrospection of classical European themes; secondly, exoticism of cultures distanced by time and space; and thirdly, transcriptions of Russian folklore from Art Nouveau towards early avant-garde principles, which provided the base for the way Art Nouveau forms were interpreted. A list of the company's Art Nouveau repertory from 1909 to 1912 complements the text. A short pictorial appendix is provided to document the study's respective theses.

14

Rytmy miłości, kroki śmierci. „Listy do Mileny” Franza Kafki w reżyserii Macieja Gorczyńskiego

63%

Paprocka-Podlasiak B.

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2018

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vol. 72

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issue 1-2(320-321)

387-395

PL

Przedmiotem badań podjętych w artykule jest realizacja teatralna Listów do Mileny Franza Kafki dokonana przez Macieja Gorczyńskiego w ramach trzeciej edycji programu „Gardzienice – Generator Nadziei”. Punktem wyjścia w analizach i interpretacjach spektaklu są zagadnienia związane z procesem adaptacji scenicznej specyficznego tworzywa, jakie stanowi blok korespondencji pisarza do Mileny Jesenskiej. Szczegółowe rozpoznania obejmują także spektrum tematyczne i problemowe przedstawienia zogniskowanego wokół takich kwestii, jak: miłość–choroba–śmierć, stanowiących swoistą „triadę egzystencjalną”, wokół której koncentrują się dotychczasowe twórcze poszukiwania Gorczyńskiego, co pokazują nie tylko Listy do Mileny, ale także wcześniejsze prace sceniczne reżysera (m.in. Lato 1910, Hymny do Nocy). Ważnym elementem badań jest ponadto poetyka spektaklu, ze szczególnym uwzględnieniem warstwy muzycznej, oprawy plastycznej i tańca jako głównego środka artystycznego wyrazu w realizacji scenicznej Listów do Mileny.

EN

The article studies the theatrical version of Franz Kafka’s Letters to Milena, directed by Maciej Gorczyński as part of the third edition of the “The Gardzienice Generator of Hope” programme. The point of departure for the analyses and interpretations of the spectacle are questions associated with the process of an adaptation for the stage of such specific material as the correspondence between the titular writer and Milena Jesenska. A detailed approach includes also the spectrum of the themes and problems of a production focused on such issues as: love-illness-death, which constitute a sui generis “existential triad”, on which Gorczyński’s heretofore creative quests concentrate, as shown not only by Listy do Mileny but also his earlier productions (i.a. Lato 1910 [Summer 1910], Hymny do Nocy [Hymns to the Night]). Moreover, a prominent element of the studies is the poetics of the spectacle, with particular attention paid to music, the visual arts setting, and dance conceived as the main medium of artistic expression in the stage version of Letters to Milena.

15

Niecała. Rena Targońska

63%

Kondrasiuk G., Gac D.

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2018

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vol. 72

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issue 1-2(320-321)

396-401

PL

Tekst poświęcony scenografce i kostiumolożce Teresie Targońskiej składa się z dwóch części. Noty biograficznej obejmującej najważniejsze wydarzenia z jej drogi artystycznej, oraz krótkiego eseju będącego próbą charakterystyki tej postaci, dokonanej na podstawie wypowiedzi jej współpracowników i przyjaciół (m.in. Elżbiety Rzewuskiej, Władysławy Zossel-Wojtysiak, Włodzimierza Staniewskiego, Jana Bernada) oraz wspomnień autorów. Jednym z głównych wątków są jej bliskie i wieloletnie relacje z Ośrodkiem Praktyk Teatralnych „Gardzienice”, ale również intensywna praca w teatrach w całej Polsce, zarówno dramatycznych, jak i lalkowych, a także formacjach działających poza sferą instytucji repertuarowych.

EN

This text, dedicated to Teresa Targońska, stage and costume designer, is composed of two parts: a biographical note encompassing the most significant events from her path as an artist and a brief essay endeavouring to characterise Rena upon the basis of statements made by her co-workers and friends (i.a. Elżbieta Rzewuska, Władysława Zossel-Wojtysiak, Włodzimierz Staniewski, and Jan Bernad) as well as the author’s reminiscences. One of the prime motifs are Rena’s close and years-long relations with the “Gardzienice” Centre for Theatre Practices, but also intense work in theatres all over Poland, both dramatic and puppet, as well as in formations outside the sphere of the repertory theatre.

16

Schulz po wagnerowsku

63%

Uhlig W.

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2018

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vol. 72

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issue 1-2(320-321)

383-386

PL

Artykuł dotyczy napisanego, skomponowanego i wyreżyserowanego przez Jana Lecha dramatu muzycznego pt. Noc poślubna na podstawie opowiadań Brunona Schulza ze zbioru Sklepy cynamonowe. Spektakl został przygotowany na Jubileusz 40-lecia Ośrodka Praktyk Teatralnych „Gardzienice”. W pierwszej części tekstu została przedstawiona droga Jana Lecha do „Gardzienic” – od uczestnictwa w zajęciach „Ekologia teatru” na Uniwersytecie Warszawskim, przez jego działalność naukową, aż do twórczości artystycznej. Zasadniczą część artykułu stanowi analiza spektaklu Noc poślubna i opis metod pracy jego autora. W operze Jana Lecha widać zarówno inspiracje twórczością Richarda Wagnera, jak i muzyką dwudziestowieczną oraz echa doświadczenia zdobytego w Gardzienicach. W autorskiej adaptacji prozy Schulza Lech ujawnił własny styl, polegający na grze z konwencjami różnych epok i przetworzeniu badań naukowych na język sztuki. W swoim kameralnym dziele teatralno-muzycznym w interesujący sposób interpretuje oniryczny klimat i ekspresjonistyczny charakter Schulzowskich Karakonów.

EN

The article concerns Noc poślubna (Wedding Night), a musical drama written, composed, and directed by Jan Lech and based on a novel by Bruno Schulz from the Sklepy cynamonowe collection. The spectacle was prepared for the 40th anniversary of the Centre for Theatre Practices “Gardzienice”. The first part of the text presents Jan Lech’s path towards “Gardzienice” – from participation in the “Ecology of the theatre” course at Warsaw University and scientific activity to artistic undertakings. A fundamental part of the article is an analysis of ‘Noc poślubna’ and a description of the work methods applied by its author. The opera by Jan Lech features both discernible inspiration by the oeuvre of Richard Wagner, twentieth-century music, and echoes of experiences gained in Gardzienice. In his auteur adaptation of Schulz’s prose Lech disclosed a personal style consisting of playing a game with the conventions of assorted epochs and processing scientific research into the language of art. In his small-scale theatrical-musical work Lech proposes an interesting interpretation of the oneiric ambiance and Expressionistic character of Schulz’s Karakony.

17

KOR I TEATR

55%

WACHOWSKI J.

Slavia Occidentalis

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2018

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issue 75/2

69-79

EN

The article is an attempt at characterizing the connections between KOR (the Workers’ Defense Committee, established by a group of Polish oppositionists in June 1976) and theatrical practice. Theatrical references are mentioned together with the prevailing literary –regerences in two areas: biographical (the founders of the movement were writers, poets, songwriters, and actors) and ideological. The biographical area also serves as an introduction to the other perspective which can be referred to as ideological. The theatre became a breeding ground for thoughts defying the communist reality. It was a meeting place for the broadly defined opposition, a cradle of ideas hostile to the system based on “workers and peasants” and the alliance with the Soviet Union. The resulting works included politicized performances of the classics as well as performances presented by alterative groups: Teatr Ósmego Dnia: Teatr 77, Jedynka, Provisorium and Teatr Stu. KOR’s activity from 1976 to the beginning of martial law introduced on 13 December 1981 clearly shows that the links between the revolutionary movement and the theater were an important feature of dissident activity and helped to reinforce and popularize its ideological values.

18

El personaje femenino en la estructura dramática de la trilogía polaca de Patricia Suárez

51%

Falska M.

Estudios Hispánicos

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2013

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vol. 21

33 - 43

EN

The article concerns the works of Patricia Suárez, the action of which is set in stage or virtual space related to Poland in the first three decades of the 20th century. The central theme of these plays is human trafficking, in this case sexual trafficking of young, mainly Jewish women being in desperate straits in Poland or Russia, lured and forced to work in the brothels of Argentina. Instead of historical, social or moral issues, this dissertation aims especially at presenting the female figure from the perspective of its function in the dramatic structure. From the taxonomy of female figures, the article moves on to the analysis of these figures in their semantic and pragmatic sense. Their mode of existence (virtual or stage), the processes and the ways of their creation from the reader’s/spectator’s point of view are taken into consideration (form of presentation: physical description, personal life, actions and interpersonal relations). The syntactic and functional aspects of the female figures are analysed as well. In the conclusion, the place of the female figure in the ideological structure of the play is examined.

19

Hook to the Chin

51%

Kreft L.

Physical Culture and Sport. Studies and Research

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2009

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vol. 46

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issue 1

70-78

EN

Within historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for boxing was reached in Weimar Germany. One of the well known examples connecting boxing with art was Bertolt Brecht with his statement that we need more good sport in theatre. His and other German avant-garde artists' admiration for boxing included the German boxing star May Schmeling, who was, at least until he lost his defending championship match against Joe Louis, an icon of the Nazis as well. Quite contrary to some later approaches in philosophy of sport, which compared sport with an elite art institution, Brecht's fascination with boxing took its anti-elitist and anti-institutional capacities as an example for art's renewal.To examine why and how Brecht included boxing in his theatre and his theory of theatre, we have to take into account two pairs of phenomena: sport vs. physical culture, and avant-garde theatre vs. bourgeois drama. At the same time, it is important to notice that sport, as something of Anglo-Saxon origin, and especially boxing, which became popular on the European continent in its American version, were admired by Brecht and by other avant-garde artists for their masculine power and energy. The energy in theatre, however, was needed to disrupt its cheap fictionality and introduce dialectical imagination of Verfremdungseffect (V-effect, or distancing effect). This was "a hook to the chin" of institutionalized art and of collective disciplinary morality of German tradition.

20

School Theatre after Comenius: Šebestián Macer and the Leszno Plays (1641–1652)

51%

Klosová M.

Acta Comeniana (International review of Comenius studies and early modern intellectual history)

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2013

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vol. 27

103-114

EN

The article is devoted to dramas performed at the school in Leszno in the 17th century, especially in the 1640s and 1650s – that is, during the rectorate of Šebestián Macer of Letošice. According to surviving sources, the number of plays produced then, in comparison with the preceding era when Comenius was rector, definitely did not decrease. The tendencies established by Comenius's play Diogenes of 1640 continued in the next period. In the Macer era, first, a number of secular elements (e.g. in the play Hercules monstrorum domitor) were introduced in plays performed on the Leszno stage; secondly, at that time too, factual teaching material was adapted into a play (Macer's dramatisation of Comenius's Janua). That was in harmony with the practice of a number of Polish and Silesian schools at the time, which presented actus oratorii, in principal composed rhetorical productions that in some cases adapted the teaching material.

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