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

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Literackość jako pułapka. Wokół wybranych inscenizacji "Białego małżeństwa"

100%
Partyga E.
Pamiętnik Teatralny
|
2013
|
vol. 62
|
issue 3-4(247-248)
181-210
EN
Tadeusz Różewicz made it clear on numerous occasions that "The White Marriage" is a drama for reading, to a large extent independent from theatre. It is dominated by the mighty figure of the author who controls the meanings of the workand the impressions of its readers. At the same time, however, these meanings are programmatically disturbed and diffused by inconclusive clashes of various dialects and conventions. Różewicz’s text, which deftly oscillates between open and closed form, derives its power precisely from this paradox. Its peculiar literariness poses a challenge for theatre artists. This article compares production strategies of four directors who took up the challenge: Tadeusz Minc and Kazimierz Braun in 1975, and Krystyna Meissner and Weronika Szczawińska in 2010. The thirty five years that passed between the productions saw some shifts in the approach to authority of the text and the author as well as some changes in how the relation between a drama and its theatre production was conceived. Yet "The White Marriage" still puts up much resistance against theatre as if it preferred to remain the theatre in a book.
2
Content available remote

Recenzja książki Krystyn Szelągowskiej Ludvig Holberg. Uczony, pisarz, prześmiewca (Białystok: IBNDKE, 2014 )

100%
Partyga E.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
366-373
EN
Ludvig Holberg. Uczony, pisarz, prześmiewca by Krystyna Szelągowska is an extensive and thorough intellectual biography of the Danish playwright called the “Molière of the North.” The monographer sketches a multiple portrait of her subject presenting him not only as a comedy writer and author of texts for the first Danish public stage, but also as a Copenhagen university professor, a thinker, a Norwegian who cultivated the Danish language, and a shrewd businessman. The whole of Holberg’s artistic and intellectual activity is shown as a form of active public life driven by the hopes of modernising the Danish society’s mentality, which has its origins in the Enlightenment. Szelągowska sets the life and opinions of Holberg in historical context, reminding the reader about the significant political, social and world-view changes that took place concurrently with the birth of enlightened absolute monarchy in Denmark. She is, however, particularly interested in the existential aspects of the historical facts and therefore does not eschew psychological analysis. Taking care not to thwart the voices of the witnesses of the epoch and Holberg’s own voice with her narration, Szelągowska provided the book with numerous carefully translated quotations.
3
Content available remote

Interkulturowy Shakespeare japońskich reżyserów Yukio Ninagawy i Tadashiego Suzukiego

100%
Partyga E.
Pamiętnik Teatralny
|
2014
|
vol. 63
|
issue 3(251)
124-145
EN
The text examines production strategies used by Yukio Ninagawa and Tadashi Suzuki whilst interpreting Shakespeare’s dramas. Each of the directors has a fair number of Shakespearean productions co-defining their original author’s theatre formulas under their belt. Ninagawa offers his audiences a post-modern version of popular theatre where he responds to Shakespeare’s texts with his own historical and existential experience. Suzuki, who makes an elite theatre, presents Shakespeare’s plays side by side with numerous heterogeneous contexts to create collage scenarios seeking to uncover the universal condition of humanity. The Shakespearean productions of both directors can be included in a broad formula of intercultural theatre that strives to meet challenges of the globalising world by hybridising culture and nullifying the opposition between the familiar and the strange. Ninagawa and Suzuki purposefully throw their audiences off balance: the interpretations of Shakespeare they offer are equally surprising and disquieting for both the Japanese and the European spectators, so none of them may claim Shakespeare for themselves.
4
Content available remote

Między estetyką a polityką. Ibsen w operze yue

100%
Partyga E.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 4(323)
369-379
PL
Artykuł jest poświęcony problemom interpretacji współczesnego teatru interkulturowego na przykładzie transpozycji Heddy Gabler Henrika Ibsena na formę opery yue (Haida or Aspiration Sky High, Hangzhou Yueju Opera House, 2006). Przedmiotem refleksji jest zagadnienie, czy teatr interkulturowy poszerza pole międzykulturowego dialogu, czy jest raczej narzędziem egzotyzacji i petryfikacji obrazu Innego. Tło dla rozważań stanowi historia kobiecej opery yue z uwypukleniem emancypacyjnego potencjału tej formy teatralnej. W analizie przedstawienia podkreślono te elementy, które sprawiały największe kłopoty w procesie międzykulturowej lektury tekstu, oraz omówiono wpływ konwencji yueju na semantyczne modyfikacje utworu Ibsena. W ostatniej części artykułu skupiono się na dwoistym charakterze wirtualnego odbiorcy tego przedstawienia, które w założeniu miało odpowiadać zarówno na potrzeby widzów chińskich, jak i na potrzeby międzynarodowej, festiwalowej publiczności.
EN
The article focuses on the interpretation of the contemporary inter-cultural theatre upon the example of a transposition of “Hedda Gabler” by Henrik Ibsen into a yue opera (“Haida or Aspiration Sky High”, Hangzhou yueju Opera House, 2006). The presented reflections ask whether the intercultural theatre expands the domain of intercultural dialogue or rather is a tool for the exoticization and petrification of the image of the Other. The background of these deliberations is the history of the all-females yueju opera together with emphasis placed on the emancipatory potential of this particular theatrical form. The analysis of the spectacle stressed those elements, which posed the greatest obstacles in the intercultural reading of the text, and discussed the impact of the yueju convention in the semantic modifications of Ibsen’s work. The last part of the article concentrates on the dual nature of the virtual recipient of the spectacle, which originally was to meet the needs of the Chinese audience as well as those of the international festival public.
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.