Relacyjność w kulturze i sztuce. Księga jubileuszowa Profesor Małgorzaty Leyko
Relacyjność w kulturze i sztuce. Księga jubileuszowa Profesor Małgorzaty Leyko
Contributor(s): Małgorzata Budzowska (Editor), Justyna Michalik-Tomala (Editor), Karolina Prykowska-Michalak (Editor), Joanna Królikowska (Editor)
Subject(s): Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Scientific Life, Film / Cinema / Cinematography, History of Art
Published by: Wydawnictwo Uniwersytetu Łódzkiego
Keywords: art; dance history; theater; Juliusz Berger; Węgajty Theatre; cinema
Summary/Abstract: Zgromadzone teksty są oryginalne, są zdaniem sprawy z relacyjnego poznania różnych praktyk artystycznych, które dzięki przyjętym przez Autorów metodologiom, proponowanym kontekstom ujawniają swe epistemiczne i performatywne znaczenia. Tezy interpretacyjne stawiane w wielu tekstach […] wzbogacają współczesne badania nad sztuką teatru, tańca i widowisk przez eksponowanie nieoczywistych funkcji, jakie pełnią we współczesności, zapraszając odbiorców do interakcji i współpracy w refleksji nad światem, jaki jest i jaki być może.Z recenzji dr hab. Doroty Fox, prof. UŚSzeroki zakres tematyczny artykułów zebranych w książce Relacyjność w kulturze i sztuce. Księga jubileuszowa Profesor Małgorzaty Leyko wynika bezpośrednio z rozległości zainteresowań naukowych Jubilatki, a jednocześnie świadczy o tym, jak wiele z tych zainteresowań rozwijała w ramach dialogicznej współpracy z rozmaitymi środowiskami naukowymi. […]Dlatego dobrze się sprawdziła kategoria szeroko rozumianej relacyjności jako zwornik tomu. Jeśli nawet Autorki i Autorzy nie piszą o relacyjności wprost, wszyscy starają się poszerzać pole widzenia, by dojrzeć nie tylko dzieła i zjawiska artystyczne i kulturowe oraz osoby je tworzące, lecz także rozmaite sieciowe uwikłania i odniesienia. Jednocześnie nie ma tu tekstów przypadkowych — wszystkie prace pozostają w relacji do tekstów i zainteresowań Jubilatki. Nie ma wątpliwości, że naukowe i eseistyczne rozważania zaproponowane w tym tomie przez Autorki i Autorów należących do różnych pokoleń i różnych środowisk naukowych potwierdzają wagę tematów i zagadnień, które podejmowała prof. Małgorzata Leyko, oraz inspiracyjną siłę oddziaływania Jej badań.Z recenzji dr hab. Ewy Partygi, prof. IS PAN
Series: Uniwersytet Łódzki
- E-ISBN-13: 978-83-8331-744-1
- Print-ISBN-13: 978-83-8331-742-7
- Page Count: 416
- Publication Year: 2025
- Language: Polish
Od redakcji
Od redakcji
(Od redakcji)
- Author(s):Małgorzata Budzowska, Justyna Michalik-Tomala, Karolina Prykowska-Michalak, Joanna Królikowska
- Language:Polish
- Subject(s):Fine Arts / Performing Arts, Essay|Book Review |Scientific Life, Editorial, Film / Cinema / Cinematography, Sociology of Art, History of Art
- Page Range:13-18
- No. of Pages:3
Synkopowany Bauhaus – jazz i ruch taneczny w twórczości Pieta Mondriana
Synkopowany Bauhaus – jazz i ruch taneczny w twórczości Pieta Mondriana
(Bauhaus syncopated – jazz and dance movement in the work of Piet Mondrian)
- Author(s):KAROL JÓŹWIAK, ALEKSANDRA KOZAŃSKA-JÓŹWIAK
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Music, History of Art
- Page Range:17-40
- No. of Pages:24
- Keywords:Piet Mondrian; jazz; dance movement
- Summary/Abstract:In this chapter we point at a peculiar junction between different phenomena of the early twentieth century. We survey new ideas around the Bauhaus school with a particular focus on performance and dance, the work of Piet Mondrian and his interest in music and dance, as well as the culture of jazz. This historical and the-oretical context is further developed in art-based research aiming at interpreting the work of Piet Mondrian in the form of dance. Co-author of this chapter au-thored a performative lecture in Muzeum Sztuki and a diploma spectacle at the Academy of Music in Łódź (both in 2019). This performative experience is used as a mode of further developing the research on the discussed junction, as well as a kind of pointe to our chapter (visual essay consisting of the documentation of both events).
Emaus cum figuris 3: Grotowski – Rembrandt – Caravaggio
Emaus cum figuris 3: Grotowski – Rembrandt – Caravaggio
(Emaus cum figuris 3: Grotowski – Rembrandt – Caravaggio)
- Author(s):DARIUSZ KOSIŃSKI
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:41-58
- No. of Pages:18
- Keywords:Emaus; Grotowski; Rembrandt; Rembrandt
- Summary/Abstract:The article proposes a comparison between some famous iconographical repre-sentations of the Supper in Emaus (scene taken from the Gospel according to St. Luca) and the aesthetics of Jerzy Grotowski’s poor theatre, especially of his last theatre production, Apocalypsis cum figuris (1969). An investigation to discover some correspondences between the two is developed to suggest a deeper connec-tions between the liturgy established in Emaus and dramaturgical model of Gro-towski’s theatre.
Pomiędzy spojrzeniem a dotykiem: trajektorie tatrzańskie Mirosława Koprowskiego
Pomiędzy spojrzeniem a dotykiem: trajektorie tatrzańskie Mirosława Koprowskiego
(Between Seeing and Touching: The Tatra Trajectories of Miroslaw Koprowski)
- Author(s):Katarzyna Wielechowska
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Film / Cinema / Cinematography, Sociology of Art, History of Art
- Page Range:59-81
- No. of Pages:23
- Summary/Abstract:The text is an attempt to tell a story about the experience of a painter and a moun-taineer, about the interpenetration of two practices: mountaineering and landscape painting, about the realisation in this way of an intense and essentially intimate de-sire to be in the world of Tatra nature. The methodological framework for the story is Stephen Greenblatt’s concept of awe and response, which is simultaneously sub-jected to a reinterpretation - the level of response here is determined not by the cul-tural context, but by the context of Tatra nature, in which the practice of the painter and mountaineer is embedded. Reflections on Miroslaw Koprowski’s relationship with the universe of Tatra nature, on the interdependence of painting and moun-taineering, on haptics and optics, and on performance as a dynamic connection be-tween the human and the non-human are made primarily with reference to Maurice Merleau-Ponty’s non-anthropocentric reflection.
W stronę relacyjnej historii tańca
W stronę relacyjnej historii tańca
(Towards relational dance history)
- Author(s):Wojciech Klimczyk
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Music, Film / Cinema / Cinematography, Sociology of Art, History of Art
- Page Range:83-100
- No. of Pages:18
- Keywords:dance history; Małgorzata Leyko; Dance in the Land of Utopia
- Summary/Abstract:The article proposes a relational approach to dance history both as subject matter and academic discipline. In reference to Małgorzata Leyko’s seminal Dance in the Land of Utopia, which discusses the influence of Lebensreform ideas on modern-ist arts, most of all theatre and dance, the author postulates combining artistic and academic research even further than in modernism, in the process shaping culture of cooperation rather than competition, not only in the academic field. By looking at historical material, including contributions to dance theory and practice from Laban, Steiner, Jaques-Dalcroze and Schlemmer, studied at depth by Leyko, the article theorizes a practice-oriented approach to dance history prioritizing rela-tions over subjective positions and process over product. As such, the text devel-ops Leyko’s transpersonal, community-oriented way of conducting research, which is very effective in stimulating not only internal cooperation within the ac-ademic field but also between researchers and artists.
Teatr i taniec – koegzystencja i emancypacja
Teatr i taniec – koegzystencja i emancypacja
(Theater and dance – coexistence and emancipation)
- Author(s):JOANNA SZYMAJDA
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Photography, Sociology of Art, History of Art
- Page Range:101-124
- No. of Pages:24
- Summary/Abstract:The present text evokes the various forms of coexistence between theater and dance that have developed over the course of the 20th and 21st centuries. A briefly sketched matrix of possible intersections between theater and dance outlines against historically shaped cartographies those that arise from the more recent practice of both arts. Starting from ideas and general dramaturgical or aesthetic categories (rhythm, movement, body), the ways of dialogue between the two arts are also shown on the examples coming from the field of experimental stage forms and genres (with an accent on the Polish artists) and in the scientific ground of theatrical studies, from which the dance studies are slowly separating.
„Trwać w dialogu z wątpliwościami i nieznanym...”. Nowy wymiar teatru tańca na przykładzie twórczości Crystal Pite i Kidd Pivot
„Trwać w dialogu z wątpliwościami i nieznanym...”. Nowy wymiar teatru tańca na przykładzie twórczości Crystal Pite i Kidd Pivot
(‘To persist in dialogue with doubt and the unknown...’ A new dimension of dance theatre based on the work of Crystal Pite and Kidd Pivot)
- Author(s):ANNA BANACH
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Music, History of Art
- Page Range:125-145
- No. of Pages:21
- Keywords:dance theatre; Crystal Pite; Kidd Pivot
- Summary/Abstract:This article is an attempt to examine the phenomenon of Crystal Pite as an artist who, in close collaboration with Jonathon Young, creates performances for the Vancouver-based company Kidd Pivot, which contemporary critics have de-scribed as a hybrid that stretches the boundaries of theatre and dance, placing her among the most important representatives of contemporary dance theatre. Reconstructing Pite's artistic biography and emphasising its most important stages, as well as following the findings of the dancer and choreographer Robert Desrosiers and the literary critic and dance researcher Peter Dickinson, the au-thor analyses two of the three most recent artistic productions created by the Pite-Young duo for Kidd Pivot, which exemplify their shared fascination with narrative dance theatre and language as a system of signs, which in the creative process is ‘rewritten’ into a bodily dimension and choreography. All this, com-bined with the emotional layer of the Vancouver company's performances, cre-ates an innovative and unusual quality.
Teatr nowej polityczności. Performanse prawne Michała Zadary
Teatr nowej polityczności. Performanse prawne Michała Zadary
(Theatre of the new political. Performance of law by Michał Zadara)
- Author(s):Małgorzata Budzowska
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:147-178
- No. of Pages:32
- Keywords:Michał Zadara; performance; theatre
- Summary/Abstract:The chapter analyzes the process of emerging and defining the political in Polish theatre of the last years. By discussing the most essential views on this matter, performed by theatre scholars (Paweł Mościcki, Bartosz Frąckowiak, Tomasz Plata) and theorists of critical art (Jacques Rancière, Nicolas Bourriaud, Chantal Mouffe, Alain Badiou), the author tries to review previous observations and to arrange them into a common conceptual grid. In refer to such organized framework the new form of the political in Polish theatre – performances of law by Michał Zadara are investigated: Sprawiedliwość (Justice) (2018) and Odpowiedzialność (Responsibility) (2022). These two case studies provides an original break against to the traditional theatrical frame by inviting scholars and lawyers to the creative process and by redefining Brechtian V-effect in a conspicuous break with fiction in order to expand an efficiency of art: by actual legal activity – preparing real lawsuits, and by creating direct relation with the audience.
- Price: 178.00 €
Gastarbeiterki, bękartki i boginie. Polskie wątki w najnowszych niemieckich tekstach teatralnych
Gastarbeiterki, bękartki i boginie. Polskie wątki w najnowszych niemieckich tekstach teatralnych
(Female Gastarbeiters, Bastards and Goddesses. Polish Motifs in Current German Theatre Texts)
- Author(s):Artur Pełka
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:179-196
- No. of Pages:18
- Keywords:theatre; German-language theatre texts; Polish themes
- Summary/Abstract:The process of national rapprochement within the European Union undoubtedly translates into contemporary dramaturgy, as is evident from the Polish themes present in German-language theatre texts. This article analyses these themes in the theatre texts of three female authors (C. Grehn, R. Bardutzky, E. Benbenek), showing how differently they use the stage as an aesthetic-performative space. Oscillating between post-dramatic aesthetics and diegetic techniques, between tradition and experiment, they simultaneously address current social and political issues. Particular attention has been paid to the linguistic layer of the analysed plays, both the materiality of their language and their metalinguistic value.
Ideologizacja twórczości G.E. Lessinga w okresie PRL-u na przykładzie programów teatralnych do realizacji scenicznych „Minny von Barnhelm” i „Emilii Galotti”
Ideologizacja twórczości G.E. Lessinga w okresie PRL-u na przykładzie programów teatralnych do realizacji scenicznych „Minny von Barnhelm” i „Emilii Galotti”
(The ideologization of G.E. Lessing’s work in the period of the Polish People’s Republic on the example of theatre programs for the stage productions Minna von Barnhelm and Emilia Galotti)
- Author(s):Marek Podlasiak
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:197-217
- No. of Pages:21
- Keywords:G.E. Lessing; theatre
- Summary/Abstract:The subject of the article is the issue of the ideologization of G.E. Lessing’s work in the period of the Polish People’s Republic on the example of theatre programs for Minna von Barnhelm and Emilia Galotti. The analysis of archival materials and press reviews showed that the process of ideologization of Lessing’s works, presented on Polish stages during the Polish People’s Republic, was visible pri-marily in theatre programs for staging the dramas by the classic German author. However, the material of the performances of Lessing’s plays defended itself against political appropriation by socialist cultural functionaries.
Uczeń i Mistrz. O relacji Ryszarda Ordyńskiego i Maxa Reinhardta
Uczeń i Mistrz. O relacji Ryszarda Ordyńskiego i Maxa Reinhardta
(Student and Master. On the relationship between Ryszard Ordynski and Max Reinhardt)
- Author(s):Karolina Prykowska-Michalak
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:219-232
- No. of Pages:14
- Keywords:Ryszard Ordynski; Max Reinhardt; Polish theater
- Summary/Abstract:The work of Max Reinhardt (1873–1943) is described in Polish theater studies in many aspects. This multitalented director inspired many theater makers, but few Polish directors had such a close professional relationship with him as Ryszard Ordyński (1878–1953). Focusing on reconstructing the student-master relation-ship, I discuss the nature of Ordyński's collaboration with the Deutsches Theater team, as well as his subsequent migrations across Europe and the United States, dur-ing which he collaborated with many theater reformers of the early 20th century.
Juliusz Berger – aktor dwóch scen
Juliusz Berger – aktor dwóch scen
(Juliusz Berger – actor of two stages)
- Author(s):Maria Napiontkowa
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:233-246
- No. of Pages:14
- Keywords:Juliusz Berger; Jewish Theater; Polish Theater
- Summary/Abstract:The article recalls the outstanding actor Juliusz Berger (1928-1999), who was one of the few twentieth-century artists in Poland who played simultaneously in two different languages – Polish and Yiddish. Raised in a completely assimilated intelligentsia home in Łuck, deported deep into Soviet Union, he returned to the country, where he graduated from high school, law studies in Wrocław, and then joined the theater. He started his stage career at PTD in Wrocław under the supervision of Edmund Wierciński and Wilam Horzyca. Here Ida Kamińska, who was already managing the Jewish Theater at that time, saw him and offered him the main role in the play - her own adaptation of Eliza Orzeszkowa's novel Meir Ezofowicz, which required him to master the Yiddish language, which he did not know. I present Berger's artistic profile on the example of his two most famous roles: Meir Ezofowicz from 1953 at the Jewish Theater and Tewi (Fiddler on the Roof, 1984) at the Musical Theater in Gdynia. The context for them is Brecht's Schweizerkez [Schweizerkas] in Mutter Courage und ihre kinders (1957) and Cadyk in An-ski's The Dybbuk (1991).
Badaczka ma pytania, czyli ostatnia rola Idy Kamińskiej
Badaczka ma pytania, czyli ostatnia rola Idy Kamińskiej
(Badaczka ma pytania, czyli ostatnia rola Idy Kamińskiej)
- Author(s):Joanna Krakowska
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:247-251
- No. of Pages:5
Teatr a nowoczesność: oaza spowolnienia
Teatr a nowoczesność: oaza spowolnienia
(Theatre and modernity: oasis of deceleration)
- Author(s):DARIA SKJOLDAGER-NIELSEN
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:253-262
- No. of Pages:10
- Keywords:Theatre; Hartmut Rosa; modernity
- Summary/Abstract:The article analyzes the role of theater in relation to modernity defined as a culture of acceleration, as described by Hartmut Rosa. Referring to the notion of an “oasis of deceleration,” the author argues that theater is a unique space that counters theincessant rush of everyday life. Analyzing various aspects of the theatrical experi-ence, such as its anachronistic form, the live contact with actors and the focus on storytelling, the essay points out that theater offers audiences the opportunity for respite and reflection. However, the author also stresses that theater can serve as both a refuge from the rush and an affirmation of the dominant cult of accelera-tion. The article leads to the conclusion that theater, as a cultural phenomenon, has the potential to both subvert and perpetuate the existing social order.
Teatr Węgajty: budowanie miejsca
Teatr Węgajty: budowanie miejsca
(Węgajty Theatre: creating a place)
- Author(s):Joanna Królikowska
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:263-284
- No. of Pages:22
- Keywords:Węgajty Theatre; Wacław Sobaszek; Erdmute Sobaszek
- Summary/Abstract:The article concerns the Węgajty Theatre, focusing on the construction of a place for theatrical activities and the everyday life of Erdmute and Wacław Sobaszek, co-founders and leaders of the Węgajty Theatre. In the context of the Warmia region and the micro-histories of Erdmute and Wacław's families the history of the place is presented. Material aspects of the place concerning the space of the Węgajty homestead are analysed: buildings and the natural world, culture and na-ture coexistence, and the creation of the place through theatrical practices, such as forest runs. The article indicates the concomitance of a theatre and a house in one homestead, public and private spaces intermingling, and artistic activities ac-companying daily life. The Węgajty Theatre is recognised as a heterotopia, Michel Foucault's concept of "other" space, open and closed simultaneously, where time changes and reality is condensed. Author demonstrates that the Węgajty Theatre is a place which creates relations and is built by them at the same time.
Warszawskie widowiska aerostatyczne w XVIII i XIX wieku. Wybrane epizody
Warszawskie widowiska aerostatyczne w XVIII i XIX wieku. Wybrane epizody
(Warsaw aerostatic spectacles in the 18th and 19th centuries. Selected episodes)
- Author(s):Krzysztof Kurek
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:285-307
- No. of Pages:23
- Keywords:aerostatic spectacles; Warsaw; 18th and 19th centuries
- Summary/Abstract:The author presents the history of balloon flights organised in Warsaw in the 18th and 19th centuries. He refers in his reflections to both the history of technology and the history of performance. The aerostat flight spectacles became one of the many elements of metropolitan, democratic and mass-oriented "culture of attrac-tions", co-creating the peculiar panorama of the ludic modernity of nineteenth-century Warsaw. However, the desire for novelty and the intense, never-satisfy-ing-enough experiences associated with it, characteristic of the popular culture of the time, meant that aeronautical displays were enriched with activities that went beyond the "usual" pattern of take-off, flight and landing. The article includes the descriptions and reconstructions of demonstrations by Joseph G. F. Tradini (1850), who used a live animal tied to a balloon with a large number of ropes in-stead of a gondola. Based on press reports, the Warsaw performances of the leg-endary acrobat and gymnast Leona Dare (1887), who performed gymnastic exer-cises on a trapeze while flying at high altitude, arousing the terror and admiration of the observers, have been reconstructed.
Nowoczesne szczęście. Wenecja w Wiedniu i transnarodowe reprodukcje przyjemności
Nowoczesne szczęście. Wenecja w Wiedniu i transnarodowe reprodukcje przyjemności
(Modern happiness. Venice in Vienna and transnational reproductions of pleasure)
- Author(s):Monika Wąsik-Linder
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:309-327
- No. of Pages:19
- Keywords:theatre; 20th century; Venice in Vienna
- Summary/Abstract:This article explores the history of the amusement park 'Venice in Vienna', founded by theatre entrepreneur Gabor Steiner in 1895 in Vienna's Leopoldstadt district. Steiner's replica of Venice was an improved and expanded version of similar replicas being built in other European cities at the time. In the article, the Viennese amusement park is presented as an example of a cultural imaginarium with a transnational character. The performative practice of the appropriation of Venice in the context of the emerging entertainment culture in the metropolises of the early 20th century is also reflected upon.
Maska Ahlanda. Opowieść bez przypisów
Maska Ahlanda. Opowieść bez przypisów
(Maska Ahlanda. Opowieść bez przypisów)
- Author(s):Wojciech Dudzik
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:329-338
- No. of Pages:10
Cieszmy się farsą
Cieszmy się farsą
(Cieszmy się farsą)
- Author(s):Dobrochna Ratajczakowa
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:339-349
- No. of Pages:11
Pośmiertne dzieje doktora Mabuse
Pośmiertne dzieje doktora Mabuse
(The Posthumous Life of Dr. Mabuse)
- Author(s):TOMASZ KŁYS
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:351-364
- No. of Pages:14
- Summary/Abstract:Dr. Mabuse, master of crime and No.1 enemy of society, was invented as fictional character by Luxembourgian writer Norbert Jacques in his novel from 1921. Char-acter of Mabuse inspired great German director Fritz Lang to make three films. In the first one, Dr. Mabuse, der Spieler (1922), he is powerful criminal figure, de-stroying social and economic life of young Weimar Republic and could be per-ceived as an allegory of German inflation at the beginning of 1920-s. Caught, how-ever, by general attorney Von Wenk, in the final of film is placed in psychiatricasylum. In Lang’s sequel Das Testament des Dr. Mabuse (1933) Mabuse in the half of film dies as physical person in psychiatric clinic of Professor Baum. However, he becomes by fact of his death the more dangerous as immaterial and abstract Idea of Evil which could be incarnated in everyone. The third and last Lang’s Mabuse film, Die 1000 Augen des Dr. Mabuse (1960) is at the same time the first one of Mabuse series produced by Arthur Brauner for his Berlin company CCC-Filmkunst. Brauner’s series consists of 7 films (including Lang’s last work) made in the decade 1960–1970. The short analysis of it is made on the base of powerful monography The Strange Case of Dr. Mabuse by American film historian David Kalat who is also editor of DVD edition of Brauner’s series.
Filmowanie klasyka w podzielonych Niemczech: kinowe adaptacje Bertolta Brechta
Filmowanie klasyka w podzielonych Niemczech: kinowe adaptacje Bertolta Brechta
(Filming the classics in the separated Germany: Brechtian adaptations for the cinema)
- Author(s):Andrzej Gwóźdź
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology of Art, History of Art
- Page Range:365-381
- No. of Pages:17
- Summary/Abstract:The article discusses the presence of Bertolt Brecht’s plays and prose in film cultures of two antagonistic German states (the German Democratic Republic and the Federal Republic of Germany) between 1949 and 1989. The author focuses on the ways of transferring works (and media) within these cultures. He indicates the film version of Mother Courage and Her Children (Mutter Courage und ihre Kinder, dir. Peter Palitzsch, Manfred Wekwerth, GDR 1960) and Three Penny Opera (Die Dreigroschenoper, dir. Wolfgang Staudte, FRG–France 1963) as basic examples of different testimonies of reception of Brecht’s deeds in two German states (a classicising attitude and the one inscribed in popular culture). Referring to the History Lesson (Geschichtsunterricht, FRG–Italy 1972) by Jean-Marie Straub and Danièle Huillet the author identifies the presence of the New German Cinema in film reading of Brecht’s works. Film culture of the GDR is marked by significant DEFA-adaptation of the short stories: Zwei Söhne (Two Sons) (dir. Helmut Nitzschke, a part of the novella film Aus unserer Zeit (Our time, GDR 1969) which is discussed in the context of the actors tradition of the Brechtian theatre.
