Nie tylko klaun i tygrys. Szkice o sztuce cyrkowej
Not just the Clown and the Tiger. Sketches about Circus Arts
Contributor(s): Małgorzata Leyko (Editor), Zofia Snelewska-Stempień (Editor)
Subject(s): Social Sciences, Theatre, Dance, Performing Arts, Fine Arts / Performing Arts, Sociology, Sociology of Culture, Sociology of the arts, business, education
Published by: Wydawnictwo Uniwersytetu Łódzkiego
Keywords: theatre avant-garde;circus arts; circus;clown
Summary/Abstract: The book which we are delivering into the hands of our readers presents the results of research by cultural studies experts and sociologists. It goes well beyond simply describing the history of circus arts – it also places them in a broad social, anthropological and cultural context. … It turns out that a circus – this sort of mediocre entertainment for children and “commoners” – is deeply rooted in our history and culture. To this day, it fascinates and inspires. It is subject to transformation – its most modern forms are a far cry from the market stall of yore. Of course, the collection of texts presented here is by no means exhaustive or complete in its treatment of the subject matter. It seems, however, that in the context of scant Polish-language literature devoted to circus arts, the book may provoke discussion on this topic and could also be the first step towards recognizing circus arts as worthy of attention by performing arts researchers.
Series: Uniwersytet Łódzki
- E-ISBN-13: 978-83-8142-228-4
- Print-ISBN-13: 978-83-8142-227-7
- Page Count: 192
- Publication Year: 2019
- Language: Polish
Wstęp
Wstęp
(Introduction)
- Author(s):Zofia Snelewska-Stempień
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:7-17
- No. of Pages:11
- Price: 4.50 €
Robienie cyrku. Krótka historia zmiany – od rytualnego eksperymentu do eksperymentalnej sztuki
Robienie cyrku. Krótka historia zmiany – od rytualnego eksperymentu do eksperymentalnej sztuki
(The Circus a Brief History of the Change of the Meaning of Circus – from a Ritual Experiment to an Experimental Show)
- Author(s):Rafał Mielczarek
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:21-42
- No. of Pages:22
- Keywords:circus;sacred;ritual;
- Summary/Abstract:This article is an attempt to analyse the change of the cultural meaning of the circus institution which took place during the long historical process of civilization evolution, affecting Western societies. The category of the sacred, the relation to which determined the cultural meaning of the circus, is crucial for this analysis. The change of meaning began from the original religious sources of the early forms of the games, when the circus was one of the ritual formulas used to celebrate socially significant events, and went through the secularisation of this formula during the domination of Christianity to the stage where the circus became a secular institution of mass entertainment.
- Price: 4.50 €
Taniec i ruch jako środek ekspresji Nowego Cyrku. Analiza spektaklu "Dralion" Cirque du Soleil
Taniec i ruch jako środek ekspresji Nowego Cyrku. Analiza spektaklu "Dralion" Cirque du Soleil
(Dance and Motion as a Means Of Expression in the New Circus Analysis of the Performance „Dralion” by Cirque du Soleil)
- Author(s):Zofia Snelewska-Stempień
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:43-67
- No. of Pages:25
- Keywords:New Circus;circus;dance;body;performance
- Summary/Abstract:The article is an analysis of the performance entitled „Dralion” by Cirque du Soleil. The author locates the circus shows in the context of other performing arts, especially dance and dance theatre, using among others the theories of Richard Schechner and Erving Goffman. Special attention is paid to the performer’s body concerning the works of the following dance researchers: Sondra Horton Fraleigh, Ewa Wycichowska and Dominika Byczkowska. The body is the main instrument, both for the circus artists and for actors or dancers. In all of these arts it is the body that conveys meanings, emotions and reflections. In case of the circus, the body is also the topic itself – the viewers admire its agility and fitness. The work of the circus ‘body masters’ (according to Alessandro Serena’s classification) is based on overcoming its weaknesses and limits, on achieving what seems to be unachievable. However, the New Circus, represented by the Canadian group, uses performer’s body as a means of expression in the way which is close to dance and theatre. Dance is also a way of meanings’ communication – through using and even parodying some traditions and conventions. The performance „Dralion” is, therefore, situated somewhere on the boundary of the circus and dance theatre. The New Circus, combining the elements of the traditional circus, dance theatre and other arts, can be analysed in the context of contemporary tendencies for arts synthesis and aesthetics of stimulation described by Jean-Marie Pradier.
- Price: 4.50 €
„Nie” dla zwierząt w cyrku
„Nie” dla zwierząt w cyrku
(„No” to Animals in Circuses)
- Author(s):Kalina Kukiełko
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Human Ecology
- Page Range:69-82
- No. of Pages:14
- Keywords:social campaign;animals in circus;ban on the use of animals
- Summary/Abstract:The purpose of the paper is to present actions of the social campaign ‘Circus Without Animals’. More than twenty pro-animal associations from Poland (among others, Basta!, Viva!, and Empatia) established a coalition primarily focused on implementation of a legal ban on the use of animals in circuses in our country. Such solutions have already been introduced in several countries around the world as a result of the impact of civic initiatives. In Poland we still have no comprehensive solutions, however there are a lot of local initiatives in particular cities (for example, the Board of Education in Łodź forbade distribution of tickets to circuses in schools). The coalition, using the slogan ‘We trumpet against circuses’, is involved in educational activities (addressed mainly to children and youth, making up the majority of the circus audience), informing people about feelings and intelligence, but also about suffering of animals used for human entertainment.
- Price: 4.50 €
Teatr z cyrku (na przykładzie "Żoko, małpy brazylijskiej", 1825)
Teatr z cyrku (na przykładzie "Żoko, małpy brazylijskiej", 1825)
(Theatre Made of Circus (by the Example of „Jocko – Brasilian Monkey”, 1825))
- Author(s):Jan Ciechowicz
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts, Studies of Literature
- Page Range:85-95
- No. of Pages:11
- Keywords:circus;theatre;Olympic Circus;monkey
- Summary/Abstract:What is the circus? The paper is an attempt to define the phenomenon. It refers among others to the Olimpic Circus dating back to the times of Mickiewicz. Next, the melodrama in 3 acts, "Jocko, brasilian monkey" (1825) is being analysed. It was a great stage hit of the 19th century, translated into Polish by Jozef Damse. The Polish premiere was held in the National Theatre in Warsaw (1928), where the monkey’s role was played ‘brilliantly’ by a dancer Heinrich Springer. During a long career of the drama, Stanisław Krzesiński’s acting was also excellent, including the performance on the stage of Stary Theatre in Lublin (for J. Frołowicz’s benefit concert, probably in 1829). The name of the actor looking like a monkey was camouflaged on the poster under ‘three asterisks’.
- Price: 4.50 €
Żywa natura z postronkiem. Szkic o małpach w wiedeńskich cyrkach w XIX wieku
Żywa natura z postronkiem. Szkic o małpach w wiedeńskich cyrkach w XIX wieku
(The Living Nature with a Bridle an Essay on Monkeys in the Circuses in Vienna in the 19th Century)
- Author(s):Monika Wąsik
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:97-112
- No. of Pages:16
- Keywords:monkeys theatre;Prater;circus;animal training;Nestroy
- Summary/Abstract:This article presents the history of performances of trained monkeys in circuses and theaters of Vienna in the nineteenth century. In the 30s in the nineteenth century the monkey shows were in fact one of the greatest attractions of the Vienna circus, which amused not only the audience eager for simple entertainment, but also theater reviewers. Monkeys’ performances – especially when they appeared in costumes and imitated human behavior – aroused no less interest than shows with animals of prey. The popularity of this pastime in Vienna may be proved by the fact that the Prater formed only theaters that specialized in taming these animals. A trained monkey was once even a heroine of one of the plays by Johann Nestroy and in 1836 it appeared on stage in the famous Theater an der Wien.
- Price: 4.50 €
Dwudziestowieczna awangarda teatralna a cyrk
Dwudziestowieczna awangarda teatralna a cyrk
(The 20th-Century Theatre Avant-Garde vs. the Circus)
- Author(s):Małgorzata Leyko
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:113-123
- No. of Pages:11
- Keywords:theatre of the 20th century vs. circus;theatre architecture vs. circus;acting conventions vs. circus techniques
- Summary/Abstract:Initiating the process of theatre revival at the beginning of the 20th century, the reformers of the theatre art drew from many sources. Along with the visual arts, film, avant-garde literature, they also restored the relationship of the theatre with other forms of spectacles, including the circus. Theatre makers used some elements of the circus show to define the theatrical space, composition of the performance, acting techniques and the spectator-viewer relationship anew. The article is a review of the avant-garde theatre practices that refer to the circus. The impact of the circus on the arrangement of theatrical space and the formation of the arena scene has been indicated, for example in Ma XReinhardt’s practice, Walter Gropius and Farkas Molnar’s projects in the Bau haus and in the theatre designed for Meyerhold’s Vsevolod. The circus composition is also seen in the Bauhaus productions, especially in Laszlo Moholy Nagy’s or Futurists’ projects and Erwin Piscator’s revues. On the other hand, the reference to the circus performing techniques can be found in the Bauhaus ‒ especially in Oskar Schlemmer’s production, as well as in Meyerhold’s biomechanics or the reserved acting in the performances by Bertolt Brecht.
- Price: 4.50 €
„Cyrk jak ta lala”. O lalkach w cyrku i o cyrku z lalkami
„Cyrk jak ta lala”. O lalkach w cyrku i o cyrku z lalkami
(Oh What a Circus, oh what a Show. Puppets in the Circus and the Circus with Puppets)
- Author(s):Maria Janus
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:125-137
- No. of Pages:13
- Keywords:puppet theatre;puppetry;circus;Cirque Nouvau;Calder
- Summary/Abstract:Puppetry art it is not only a puppet theatre, but also a puppet cabaret, a variété and a puppet circus. The text presents puppet circus performances and circus-inspired puppet theatre shows. It searches for the puppet-inspired elements in nouveau cirque. Moreover, the article also discusses performances made by sculptor Alexander Calder which combine circus inspirations and animated objects. The author tries to explain reasons for preparing puppet circus performances and the use of circus inspirations and aesthetics in theatre performances.
- Price: 4.50 €
Zdradliwe oblicze klauna – na przykładzie "Mario i czarodziej" Thomasa Manna i "Zwierzeń klowna" Heinricha Bölla
Zdradliwe oblicze klauna – na przykładzie "Mario i czarodziej" Thomasa Manna i "Zwierzeń klowna" Heinricha
Bölla
(A Clown’s True Colors in Thomas Mann’s Short Story „Mario and the Magican” and Heinrich Böll’s Novel „The Clown”)
- Author(s):Estera Głuszko-Boczoń
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:141-151
- No. of Pages:11
- Keywords:clown;criticism of society;danger;manipulation;alienation
- Summary/Abstract:The aim of this paper is to present a different, unknown side of the clown’s personality. At first sight the character of the clown seems to be unambiguous. He is supposed to entertain the audience, make people laugh and be funny. The clown is not expected to reflect or have wisdom… Therefore, the clown characters presented in T. Mann’s short story „Mario and the Magician” and in H. Boll’s novel „The Clown” seem to be even more interesting. They go far beyond their expected roles, break stereotypes, bring reflection and show the true side of their personality which often turns out to be surprising or even dangerous.
- Price: 4.50 €
Bliscy czy odlegli? – współczesna recepcja, konstrukcja i dekonstrukcja idei freak show
Bliscy czy odlegli? – współczesna recepcja, konstrukcja i dekonstrukcja idei freak show
(Close or Distant? – Contemporary Reception, Construction and Deconstruction of the Idea of Freak Show)
- Author(s):Katarzyna Skręt
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:153-164
- No. of Pages:12
- Keywords:freak show;body;deformation;otherness;nearness
- Summary/Abstract:The author draws attention to the reception of a peculiar body exposed to the show: a living body (which is involved in the shows) and a dead body (which is made available to viewers after death). Such optics determines to take up the subject of transgression and related dualizum of the sacred/profane (within the meaning of Georges Bataille). The author finds an interesting, in her opinion, reception of the idea of freak show in the manifestations of contemporary culture: the dramatic text („Miss Julia Pastrana” by Joanna Gerigk), the cinema („Freaks” by Tom Browning, 1932 and the series „American Horror Story: Freak Show”, 2014) and plastic surgery (body modifications which make people look like ‘freaks’). The analysis of these issues will draw attention to the differences and similarities between ‘ordinary’ people and human curiosities.
- Price: 4.50 €
Cyrkowy hołd dla X muzy. Cirque du Soleil i spektakl "Iris"
Cyrkowy hołd dla X muzy. Cirque du Soleil i spektakl "Iris"
(Circus Tribute to the Tenth Muse Cirque du Soleil and the Performance „Iris”)
- Author(s):Grzegorz Zyzik
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:165-172
- No. of Pages:8
- Keywords:circus;cinema;Cirque du Soleil;remediation;spectator
- Summary/Abstract:The aim of the author is to describe the process of transcription of the history of the cinema into the language of the circus. The artists from Cirque du Soleil showed a performance „Iris” inspired by the legendary films such as „Gone with the Wind" and "Titanic”. Combining dance, acrobatics, video, filmed live sequences and animations, the performance takes the audience on a journey through the history of the cinema and a diverse range of film genres, introducing them to the world of filmmaking. Moving from illustration to animation, from the blackand- white picture to color, viewers can follow the construction and deconstruction of the film art as a discipline and a peculiar way of crossing the boundaries of what is possible. The author puts forward a hypothesis that the show Iris aims to evoke feelings that accompanied first cinema viewers. It refers to the nostalgia for the time when the cinema was like a circus. It is worth remembering that the first screenings were of the fair nature, similar to the classic circus. Today both the cinema and circus have the status of art.
- Price: 4.50 €
Cyrk a współczesne pokazy mody. Inspiracje, transpozycje i specyfika widowiska
Cyrk a współczesne pokazy mody. Inspiracje, transpozycje i specyfika widowiska
(Circus vs. Contemporary Fashion Shows Inspiration, Transpositions, and the Specificity of the Show)
- Author(s):Maria Ostrowska
- Language:Polish
- Subject(s):Theatre, Dance, Performing Arts
- Page Range:173-185
- No. of Pages:13
- Keywords:fashion show;circus;spectacle;ilinx;carnivalization;simulacrum
- Summary/Abstract:Fashion shows are presentations of designer clothing collections, originally intended for a selected audience, including journalists, buyers, sponsors and celebrities. Thanks to the potential possibilities created by new technologies, such as online broadcasting or the immediate posting of pictures on the Internet, the contemporary fashion shows are no longer events for a hermetic group related to the fashion industry – they are now becoming extraordinary shows, shocking by the panache of artistic means of expression, their monumental stage designs and their excellent music, which are available to one and all. One of the most significant examples are Victoria’s Secret fashion shows, which have become famous due to their high-budget presentations and have been shaping the pop culture perception of fashion. The brand’s shows, which often draw on elements typical of the circus, clearly stand out against other fashion events. From the very beginning of its existence the circus has fulfilled basic cultural needs, appealed to common tastes and served as simple entertainment – it has always been a typically ludic part of culture. What meanings, from the perspective of anthropology of performances, does the use of the circus features in modern fashion shows convey?
- Price: 4.50 €