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1

Muzyka i dramat. Razem czy osobno?

100%

Karasińska M.

Przegląd Kulturoznawczy

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2010

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issue 1(7)

PL

Music and Drama. Together or Separately?The traditional methods of research into relationship between the music and the literature (also the drama) concern place of the music in literary work (in form of the sounds and the shape of the composition including the musical genres) as well as the music as subject.This kind of studies conducted by philologists doesn’t include new musical forms, being far away from the classic music. Instrumental theatre, dodecaphony, music to reading, mathematical music, graphic score, etc. focus attention on structure, not on sounds. The most important for them is the abstract arrangement of elements, not sounds. Such point of view permits to look for relationships between the literature and the music on deep level of architecture of work. It also permits to go away from search for presence of one art in the second one and provokes to find common elements (form, language, space, time) as well as to define new kind of “interartistic” works.The very interesting subject is Bogusław Schaeffer’s instrumental theatre. His artistic activity is an original and intriguing phenomenon. Composer of new music, interested in dodecaphony, pointillism, graphic music, situates his works at the border of different arts.

2

Teatr czy literatura? O literaturoznawczej teorii teatru

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Karasińska M.

Przestrzenie Teorii

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2003

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issue 2

193-204

EN

This work undertakes the problem of philological reflection on theatre, placing in the centre of considerations the relations between the word and the stage. Often criticised for its onesidedness, the reflection of specialists in literary studies focuses modern scholars around two leading methodologies - that of semiology and that of phenomenology. In the article the author adduced some selected works of Western theorists - the classic book by Anne Ubersfeld "Reading Theatre", which is a lucid example of "a literary theory of theatre", which in fact ignores the specificity of stage art, and the publications which fo llow the semiological route and are the work of such well-known theatrologists as Erika Fischer Lichte, Keir Elam and Martin Esslin. The philological point of view adopted in these works causes either granting literature a dominant role with respect to theatre, or, in turn, makes it that both disciplines are treated as beings which have been artificially separated, devoid of any relationships. The works mentioned here are the proof of limitations and shortages of the semiological method, which is positively tested exclusively as a tool of the description of a performance and which is always incapable of making over-all attempts to look at a performance and at its semantics.

3

Od opisu do opsis

100%

Karasińska M.

Forum Poetyki

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2020

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issue 20

6-17

EN

The compositional category of description and more broadly understood descriptiveness in drama has always been marginalized in the theatrical-literary discourse. However, the models of description appearing in it, due to its stage purpose, are characterized by not only the richness of articulation, but also constitute an element sine qua non in creating the presented reality. It includes three spatial models: space shown on stage, adjacent space (by the stage), narrated space. Direct description proves to be the most typical for drama, which occurs either in stage directions, or in the main text. However, the dispersed quasi-description contained in the dialogues or the sub-linguistic descriptiveness realized excluding the semantics of a word.

PL

Kompozycyjna kategoria opisu i szerzej rozumianej opisowości w dramacie pozostawała zawsze na marginesie dyskursu teoretycznoliterackiego. Tymczasem przejawiające się w nim modele deskrypcji, w związku z jego docelowym scenicznym przeznaczeniem, nie tylko wykazują się bogactwem artykulacji, ale także stanowią element sine qua non konstytuowania rzeczywistości przedstawionej. Obejmuje ona trzy modele przestrzenne: przestrzeń sceniczną, przysceniczną (przyległą) i relacjonowaną. Najbardziej typowa dla dramatu okazuje się forma opisu bezpośredniego zawarta bądź w didaskaliach, bądź w tekście głównym. Istotną rolę w kreowaniu prezentowanego świata odgrywa jednak także zawarty w wypowiedziach postaci, rozproszony opis pośredni (quasi-opis) czy ponadjęzykowa już opisowość realizowana z wyłączeniem semantyki słowa.

4

Od postaci do głosu. O librettyzacji współczesnego dramatu

100%

Karasińska M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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issue 42

77-96

EN

The analyses presented in the article reverse the traditional course of studies which assume that the poetics of a dramatic text is instrumentally superior to that of the libretto. In order to adapt the hypothesis that contemporary drama is increasingly libretto-like, inserted into its structure is, excerpted by opera theatre researchers, the libretto poetics treated as a genealogical directive specific to the genre which differentiates it from the “third kind” in its classical expressions. The breakup of the basic categories constituting a drama ( character, dialogue and plot ) brings it visibly closer to the traditional operatic libretto with features characterised by Albert Gier, among others. The post-dramatic aesthetics adapted by contemporary opera and drama, which removes the character or reduces it to a voice treated merely as a medium, absolutising the way a word sounds and the poetics of a transsystemic remix all result in the emergence of a common aesthetics of the stage chimaera genre.

5

W poprzek gatunków. O potrzebie nowej taksonomii genologicznej dramatu

100%

Karasińska M.

Prace Filologiczne. Literaturoznawstwo

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2021

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issue 11 (14)

275-291

EN

The subject of the relevance of genre typology and consequently the functional role of periods in the historical and literary process as well as the time marks as closely related to the process of periodisation pose the key issue for the discussion on contemporary literature. It turns out that drama is the literary genre that is specifically prone to gradual genre erosion. This disintegration of its genological forms becomes particularly apparent at the turn of the 20th century due to the devaluation of the fundamental categories of the genre such as dialogues, characters or the plot. Later, in the 1950s it transforms into ‘anti-drama’ represented by the theatre of absurd only to develop into a formula of a ‘postdrama’ in the 1970s. Its poetics is determined by composition techniques including dominance of a moving image, heterogeneity of artistic style, non-literariness, and distortion that take their origin from various systems. Postdrama reveals itself as an intermedia, transmedia and transsystem category that goes beyond the literary genre, positioning itself somewhere at the interface between the language text, television genres, visual arts, and digital media.

PL

Kluczową kwestię dla rozważań o literaturze najnowszej stanowi problem aktualności typologii gatunkowej, a zatem także funkcjonalnego wymiaru periodyzacji procesu historycznoliterackiego i związanej z nim cezury. Rodzajem literackim szczególnie podatnym na erozję gatunków okazuje się dramat. Rozpad jego form genologicznych zapoczątkowany na przełomie XIX i XX w. (za sprawą dewaluacji podstawowych, rodzajowych kategorii: dialogu, postaci i fabuły), w latach pięćdziesiątych XX w. wiedzie przez „antydramat” absurdystów ku zrodzonej w latach siedemdziesiątych formule „postdramatu”. Wyznacznikami poetyki „postdramatycznej” okazują się pochodzące z różnych systemów chwyty kompozycyjne, m.in. dominacja ruchomego obrazu, heterogeniczność stylu artystycznego, aliterackość, deformacja. Postdramat staje się kategorią intermedialną, transmedialną i transsystemową, wykraczającą poza genre pisma, sytuującą się na pograniczu tekstu językowego, gatunków telewizyjnych, sztuk wizualnych i mediów cyfrowych.

6

Wielką Reformę Teatru między bajki włożyć?

100%

Karasińska M.

Przestrzenie Teorii

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2008

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issue 10

31-42

EN

The phenomenon of the Great Theatre Reform which concerned the works of outstanding stagemanagers of the turn of the 19th century, preserved in our local humanistic tradition, does not exist as a separate phenomenon in the theatrological ideas in other countries. Observed for the first time in Poland by Leon Schiller, the movement of the revival of the European theatre, it is in direct relation with the modernistic breakthrough which occurred simultaneously and which superseded the Newtonian vision of the world with a new scientific paradigm - thermodynamics which revolutionised physics and Einstein's theory of relativity. The new conception of space and time and of motion, the instrumental role of an observer in creating phenomena was reflected in the artistic works of modernism, mostly in the stage art, which is the most "space and time" art of all - mainly in the theatrical works of Adolphe Appia and Gordon Craig.

7

Bertolt Brecht? „Il n’y a pas de hors-texte”

100%

Karasińska M.

Przestrzenie Teorii

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2009

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issue 12

119-129

EN

With his theory of the epic theatre and its most important category V-Effekt, Bertolt Brecht can be included within precursors of the current of modern reflection on discourse, crisis of representation and transitivity of that which is literary with that which is theatrical, the stage character of the text and textuality of the stage. Disproving of the role of mimesis, the importance of quotation and repetition as rudimentary acting strategy, replacement of great narrations with a fragment, joining a work and a commentary, intertextual games, metatextuality and metatheatricality as a foundation of stage aesthetics encourage us to locate Brecht’s theatrical output in the context of reflection of Deridda, Foucault and Barthes.

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3 Przestrzenie Teorii

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1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Prace Filologiczne. Literaturoznawstwo

1 Przegląd Kulturoznawczy

7 Karasińska M.

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Muzyka i dramat. Razem czy osobno?

Teatr czy literatura? O literaturoznawczej teorii teatru

Od opisu do opsis

Od postaci do głosu. O librettyzacji współczesnego dramatu

W poprzek gatunków. O potrzebie nowej taksonomii genologicznej dramatu

Wielką Reformę Teatru między bajki włożyć?

Bertolt Brecht? „Il n’y a pas de hors-texte”