CEEOL - Search Result

The 'semper fi' and their prostheses

Zawsze lojalni i ich protezy

Author(s): Patrycja Cembrzyńska / Language(s): Polish / Issue: 136/2016

Keywords: soldiers; prostheses

Patrycja Cembrzyńska claims that the merging of the body and metal armour rooted in the image of the indestructible soldier finds its continuation in the image of the war veteran with metal prostheses. The author analyses the cultural presence of prosthesis wearers on the basis of, among others, Otto Dix's paintings, Alexander Solzhenitsyn's accounts or Ernst Friedrich's anti-war initiatives. She juxtaposes Michael Stokes' nudes of the veterans of the war in Afghanistan, organised by military rhetorics, with Bryan Adams' works from the album Wounded. The Legacy of War, showing mutilation in a blunt way. Cembrzyńska also writes about Krzysztof Wodiczko's projects, which give voice to veterans talking about the experience and trauma of war, as well as the life after returning from the front.

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Nothing to be done?

Nic się nie da zrobić?

Author(s): Zuzanna Berendt / Language(s): Polish / Issue: 136/2016

Keywords: Waiting for Godot

In her review of Waiting for Godot directed by Michał Borczuch (Teatr im. Stefana Jaracza w Łodzi, prem.: 15 Oct 2016) Zuzanna Berendt focuses on the strategies used in the staging of Samuel Beckett's classic text. The author describes Dorota Nawrot's stage design and costumes. She also traces the operations performed on the text, such as mediatisation through offstage voice, migration of roles between the characters or dubbing. She emphasises the fact that in staging Waiting for Godot,Borczuch problematises the position of the director vis a vis the classic drama and searches for the boundaries of his own freedom in working on it, and he establishes contact with the play precisely by struggling against the text.

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Handiwork

Ręczna robota

Author(s): Maryla Zielińska / Language(s): Polish / Issue: 136/2016

Keywords: Jeden Gest

Maryla Zielińska reviews Wojtek Ziemilski's preformance Jeden Gest (Międzynarodowe Centrum Kultury Nowy Teatr w Warszawie, prem.: 24 Sep 2016). The author presents the main subject of the performance – the question of the relationship between the worlds of the deaf and the hearing. Thanks to a vivid description, the reader learns about the course of the performance – the appearance of the scenes and the language used by the characters. Referring to one of the scenes in which the characters present body language according to a sign language manual, the author claims that the sequences of manual signs are similar to the illustrations in Wojciech Bogusławski's Mimika, and the expression is similar to Japanese comics and films.

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Don't go out without an umbrella

Nie wychodź bez parasolki

Author(s): Piotr Dobrowolski / Language(s): Polish / Issue: 136/2016

Keywords: Wiktor Rubin

Piotr Dobrowolski writes about the performance Żony stanu, dziwki rewolucji, a może i uczone białogłowy, based on a text by Jolanta Janiczak and directed by Wiktor Rubin (prem: 29 Oct 2016). The author notes that the performance rebels against both the present socio-political situation and the conventions of political theatre, unable to bring about real changes. Dobrowolski analyses the performance, based on the biography of Théroigne de Méricourt, a participant of the French Revolution, within the context of the present debate on women's rights in Poland. He notes that the show, which uses various strategies and stimulates the audience, refers to the tradition of the avant-garde.

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See nothing, hear nothing

Ani widu, ani słychu

Author(s): Jan Karow / Language(s): Polish / Issue: 136/2016

Keywords: Wojtek Blecharz; Soundwork

Jan Karow writes about Wojtek Blecharz's Soundwork (TR Warszawa, prem.: 15 Oct 2016). The author presents the field of the musician's interests and his most recent projects. He rates Soundwork as an enterprise with a great, but unfulfilled theatrical and musical potential, as well as rough dramaturgy. Karow describes the structure of the musical performance and the space of TR Warszawa, rearranged to suit its needs. The author introduces pieces important for the history of modern music (as well as their renditions) used in the performance, at the same time noting that Blecharz's work lacks the radical character of the experiments to which he refers.

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The human beings entangled in their own works

Człowiek uwikłany we własne dzieła

Author(s): Katarzyna Lemańska / Language(s): Polish / Issue: 136/2016

Keywords: Nauka chodzenia; Tadeusz Różewicz

Katarzyna Lemańska writes about Paweł Miśkiewicz's performance Nauka chodzenia, based on Tadeusz Różewicz's texts (Wrocławski Teatr Współczesny, prem.: 7 Oct 2016). Lemańska skilfully points out the poet's texts used in the script, but she wondres whether Miśkiewicz's performance will not prove difficult to viewers who are not familiar with Różewicz's work. She claims that the multiplicity of subjects, digressions and styles taken from Różewicz's texts which are reflected in Miśkiewicz's onstage world forms a singular whole - “a tale of the life of a writer, thinker, son, brother, man afflicted by the war; a life, also private, which Różewicz shared with others only in fragments”.

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I prefer to remember things my way

Wolę pamiętać rzeczy po swojemu

Author(s): Katarzyna Lemańska / Language(s): Polish / Issue: 136/2016

Keywords: Lost Highway; Natalia Korczakowska

Reviewing the premier of the opera Lost Highway, directed by Natalia Korczakowska, the author points out Olga Neuwirth's music, which, when performed by the NFM Wrocław Philharmonic Orchestra adds a new quality to the plot known from David Lynch's film. According to Lemanska, the musical score organises the vocal and physical actions of the performance, which is a particular challenge for the dramatic actors featured in the performance. The author characterises the existential and psychological aspects of the functioning of the characters, finding similarities and differences between the opera performance and Lynch's film. An analysis of visual means of expression allows Lemańska to see the project within the context of the program of the New Horizons festival, one of whose aims is to cross the boundaries between cinema and other arts.

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Flashpoints

Punkty zapalne

Author(s): Agnieszka Sosnowska / Language(s): Polish / Issue: 136/2016

Keywords: ImPulsTanz

Agnieszka Sosnowska writes about ImPulsTanz – an international dance festival taking place in Vienna (14 Jul-14 Aug 2016). The festival features performances as well as workshops for dancers and choreographers. The author mentions, among others, performances by the Bulgarian choreographer and performer Ivo Dimchev, who, in his Operville, presented in Vienna, clashes the traditional form of the opera with contemporary performance. Sosnowska is critical towards the performative exhibition at the Leopold Museum, attempting to thematise the relationship between dance and visual arts. On the other hand, she appreciates the performance Critical Joy created within the space of Mumok Museum. The production, created in three days, was the result of cooperation between the electro music star Peaches and the Canadian performer Keith Hennessy, but it also involved about twenty young performers, dancers and drag queens.

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Fluid reality in dance

Płynna rzeczywistość w tańcu

Author(s): Julia Hoczyk / Language(s): Polish / Issue: 136/2016

Keywords: 15th International Body/Mind Festival in Warsaw

Julia Hoczyk gives an account of the 15th International Body/Mind Festival in Warsaw (30 Sep – 8 Oct 2016). The author descries, among others, Sideways Rain choreographed by Guilherme Botelho, Audycja V by Kaja Kołodziejczyk, The ox – Pictures of Nothing by Csaba Molnar. She pays particular attention to the performance Bataille and the Dawn of New Days by Sławek Krawczyński and Anna Godowska – she analyses it within the context of the philosophy of Georges Bataille, who inspired it. The author observes the festival events from the perspective of their common themes of fluidity and transience.

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An image too far

O jeden obraz za dużo

Author(s): Teresa Fazan / Language(s): Polish / Issue: 136/2016

Keywords: Made in Bangladesh

Teresa Fazan reviews the dance performance Made in Bangladesh, directed by the German choreographer and stage designer Helena Waldmann (shown at the Nowy Teatr in Warsaw: 17 Jul 2016). The author notes that the performance was inspired by the exploitation of workers in late capitalism. Fazan describes the contents, choreography and kinds of dance used in Made in Bangladesh. She skilfully shows that identifying the work of a dancer with that of a worker is too hasty. However, she claims that the language of dance is suitable for political statements and works well as a means of telling the tale of physical, rhythmical work in a factory.

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Dance in the time of hybridity. The media performance of Anarchy Dance Theater

Taniec w czasach hybrydyczności. Medialny performans Anarchy Dance Theater

Author(s): Jakub Kłeczek / Language(s): Polish / Issue: 136/2016

Keywords: Second Body

Jakub Kłeczek writes about Second Body, a performance by the Taiwanese group Anarchy Dance Theater, whose work combines dance and cutting-edge technology, such as motion controllers and generative graphics software. The multimedia dance performance was divided into three parts. The first one was dominated by sound, the second one – by the movement of a dancer in a spotlight, and the third combined movement with live mapping. Kłeczek stresses the fact that, according to the creative philosophy of the Taiwanese group, choreography consists not only in planned movement in space, but also in using computer systems. The reflection on the performance is supplemented by the question of hybrid forms of the human body augmented by media.

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To experience the improbable: shards of life in Japanese theatre after the tsunami

Doświadczyć nieprawdopodobnego: okruchy życia w japońskim teatrze po tsunami

Author(s): Estera Żeromska / Language(s): Polish / Issue: 136/2016

Keywords: Japanese drama and theatre; tsunami

Estera Żeromska introduces Japanese drama and theatre created after the tsunami which struck the T?hoku region on March 11, 2011. The author presents the dilemmas facing the theatre community – the search of ways of supporting the victims of the tragedy, resulting from the theatre's need to function after the natural disaster. She describes two genres of theatre created as a result of the tsunami: the work of direct witnesses and the work of those who know the events of March 11, 2011 only from other people's accounts.

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Rehearsal or reality?

To próba czy rzeczywistość?

Author(s): Katarzyna Tórz / Language(s): Polish / Issue: 136/2016

Keywords: Kunstenfestivaldesarts

Katarzyna Tórz reflects on this year's Kunstenfestivaldesarts (Brussels, 6-28 May 2016). The author looks at the festival in the context of the refugee crisis and the recent terrorist attacks taking place in the Belgian capital. Tórz analyses the performance Five Easy Pieces about Marc Dutroux – murderer, rapist and child kidnapper, which Milo Rau directed with the participation of children. The author notes that the performance poses questions concerning the violence of theatre without exploiting the defencelessness of the performers. In the second part of the text, she describes Alessandro Sciarrone's Aurora, which features blind and visually impaired performers playing goalball.

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Inter faeces et urinam nascimur

Author(s): Anna R. Burzyńska / Language(s): Polish / Issue: 136/2016

Keywords: The Republic of Slovenia

Anna R. Burzyńska reviews The Republic of Slovenia, a performance created at Slovensko mladinsko gledališče in Ljubljana (prem.: 20 Apr 2016). The politically bold production is an anonymous work, because, as its creators claim, the Republic of Slovenia itself (no italics or quotation marks here) is a huge performance produced 25 years ago with the money of the taxpayers, a performance which is still running and which features all citizens of the country. The tripartite production uses means characteristic of documentary and verbatim theatre to pose questions about the criteria of the truth and political ethics.

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„I'm one of ours, my lord”

„Ja przecież swój, panie”

Author(s): Jacek Kudera / Language(s): Polish / Issue: 136/2016

Keywords: Teferič; Aleš Kurt

Jacek Kudera writes about Teferič (prem: 7 Mar 2016), directed by Aleš Kurt and based on the text by Derviš Sušic. The author summarises the plot of the satire telling the story of a Balkan village occupied by a series of different invaders and describes its social and historical context. He pays special attention to the elements of the performance which are rooted in Balkan tradition. He points out that the performance praises rural independence and solidarity.

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A musical update

Muzyczny update

Author(s): Łukasz Grabuś / Language(s): Polish / Issue: 136/2016

Keywords: Przeciw Gesamtkunstwerk; Lukáš Jiřička

Łukasz Grabuś reviews the anthology of Heiner Goebbels' texts Przeciw Gesamtkunstwerk prepared by Lukáš Jiřička (Korporacja Ha!art, Cracow 2015) and the book Rewolucja cyfrowa w muzyce. Filozofia muzyki by Harry Lehmana (Fundacja Bęc Zmiana, Cracow 2016). He introduces the context of the work of both authors and describes the earlier reception of their ideas (Lehmann) and works (Goebbels). Grabuś criticises the lack of scholarly commentary in the anthology of Goebbels' texts, written in different forms over the period of many years. He points out the breakthrough potential of Lehmann's book – the philosopher proclaims the end of “absolute music” and predicts the birth of “relational music”, resulting from the digital revolution

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The history of Saint Michael the Archangel Uniate Parish in Perespa in the 18th century

Z dziejów parafii unickiej pw. św. Michała Archanioła w Perespie w XVIII wieku

Author(s): Janusz Frykowski / Language(s): Polish / Issue: 3/2016

Keywords: Perespa; Uniate parish; Orthodox church; Clergy; Uniates church’s endowment utensils

Perespa is a tiny village located in Tyszowce gmina (country commune) that lies within the administration of Tomaszów poviat (county) in Lubelskie Voivodship (District). Its roots date back to at least the beginning of 16th century. The first written record about this village claiming it to be abandoned dates back to 1531. However, it is recorded that the Orthodox church functioned there according to the note from 1570. The operation of the Orthodox parish throughout the remaining years of 16th century was also later confirmed. The Uniate parish of Saint Michael the Archangel was the successor of the Orthodox parish. In the beginning, in terms of jurisdiction it belonged to the protopope in Grabowiec. In accordance with the post-visitation protocols the Orthodox church appears to have been wooden and quite well equipped with ecclesiastical utensils. Also, there was a wooden bell tower and a cemetery by the church. Not only did a paroch (parish priest) have some arable land and grassland at his disposal to cultivate and support himself but also he collected various fees from the parishioners. Furthermore, he also was in possession of a parsonage and ancillary buildings. The personal details of past seven parochs presiding at this church in the period this research focuses on has been established whereas the average number of parishioners for the same period that fluctuated with the time is estimated at between 300 and 375.

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Pentecostal mission to the Middle East: origin and early development

Misje zielonoświątkowe na Bliskim Wschodzie: geneza i wczesny rozwój

Author(s): Marcin Rzepka / Language(s): Polish / Issue: 3/2016

Keywords: Christianity; Pentecostalism; missions; Middle East; Palestine; Egypt; Iran

The origin and development of Pentecostal Christianity in the Middle East is associated with a number of factors: religious, social and political. The region due to its strong biblical connotations played an important role in the initial stage of the Pentecostal movement shaping the missionary attitudes. Jerusalem became a natural centre to start and develop the missionary activities. What is more, the changes taking place in the Middle Eastern societies, including intensifying migration to the United States at the turn of the 19th century, made the circulation of ideas and dissemination of Pentecostal practices possible in the vast areas between Egypt, Palestine and Iran. In fact, the first Pentecostal communities in the Middle East were created by the Christians living in this area, in Egypt - Copts, in Iran - Assyrians, who were familiar to the American Protestantism. In this sense, Pentecostalism in the Middle East might be seen, to some extent, as a continuation of the missionary work of Americans dating back to the early 19th century.

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Urgent subject matter of orthodox pastoral theology in modern secular world

Актуальная проблематика православного пастырского богословия в современном секуляризованном мире

Author(s): Andrey Nozdrin / Language(s): Russian / Issue: 3/2016

Keywords: Orthodoxy; ministry; spiritual life; secularization; Belarus

Nowadays the problem of influence of modern secular world on the future clerics increased. Unfortunately, years of atheism on the post-Soviet territory have left the trace in a church history, having defined a big gap and loss of Christian traditions. The article is devoted to the problems of modern priesthood left without centuries-old traditions, and attempt to returning to truly pastoral care of their wards in modern secular society.

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Characteristic of the liturgical chants in the Old Testament and early Christian’s services

Charakterystyka śpiewów liturgicznych w nabożeństwach starotestamentowych i wczesnochrześcijańskich

Author(s): Gabriel Białomyzy / Language(s): Polish / Issue: 3/2016

Keywords: history of music; music of early Christianity; liturgical chant; monody; Old Testament service; liturgics

Music, in the reason of impressive strength of influence to man and specific ability of expression, was always connected with the sphere of sacrum. Although in the Old Testament singing psalms was important moment of celebration of the services in that time. The liturgical singing characterized this simplicity which characterized vocal forms of ancient times. Melodic formulas were remembered and transmitted to the oral tradition, but liturgical songs were performed in the form of recitation and traditionally understood singing. It was performed by unison, diatonic and showed no enharmonic and chromatic characteristics. In the days of king David there was the biggest flourishing of synagogue singing. Among others, there were educated singers, distinguished choirs which vocal became more varied and alternating. Singing was also very important mean in contact with God for the first Christians. Although Judaic tradition rooted in the consciousness of the faithful still dominated both of the rituals and the accompanying musical expression, growing faith and religious affiliation caused changes in previous musical aesthetics. There took place a return to the sources. There sung hymns, psalms and songs with simple musical melodies, thus obtained expression which was recognized most important – words. Through the common praise of the Resurrected Christ believers of different cultures and nations were united in thought and prayer, deriving comfort and spiritual joy and also forming their new religious identity.

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