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Hungary is often viewed as Russia’s new Trojan horse in the European Union owing to its deepening relations with Russia as part of its “Eastern Opening” policy, its increasing energy proximity and strong opposition to the EU sanctions. This article briefly outlines Hungary’s “Eastern Opening” policy in the Russian context and then analyzes whether the Trojan Horse observation is correct by discussing how Hungary’s trade and energy relations with Russia have evolved. It goes on to look at the Paks-2 deal and Hungarian reactions to the sanctions regime before concluding that by signing the Paks-2 deal, the Orbán government drove Hungary to a point at which the Russian side of its foreign policy came into unavoidable conflict with its relations within the EU. If the deal is set in motion, Hungary risks being tied to Moscow’s orbit and thus becoming its Trojan Horse.
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Recently relations between Russia and the European Union have been experiencing another dramatic period. Unfortunately this is not the first time in the centuries-long history of Russian-European relations. If we look back at the last quarter of a century i.e. the period when modern Russian foreign policy was created, it is clear that Russia was waltzing at least theoretically towards establishing and developing relations with Europe and implementing Eurasian integration projects, but lagged behind with its own projects. Relations between Russia and the European Union were complicated by the EU back stepping each time it became dissatisfied with Russia’s actions. Ultimately, the entire Russian and EU Four Spaces program collapsed as the EU opted for relations with Eastern Partnership countries which seemed more predictable. Notwithstanding this, Russian geopolitical strategy was focused on Europe. Russian experts believe that the main aspect requiring attention was and is to shape the political culture of a Russian–European consensus.
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YES2015. EUISS Yearbook of European Security, Paris: European Union Institute for Security Studies, 2015, 265 p., ISBN 978-92-9198-359-9
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Magdalena Hasiuk reviews the Théâtre du Soleil performance Macbeth. William Shakespeare's Tragedy as (presently) staged at Théâtre du Soleil (prem.: 30 Apr 2014). The author pays particular attention to the spectacular aspect of the performance, describing the multiplicity of the means of stage expression employed in it. The images built on the stage create parallels to the history of Macbeth's downfall. Hasiuk also describes the role of the actors in the meticulously structured onstage world. She particularly emphasises the title role performed by Serge Nicolaï, who expresses the metamorphoses and paradoxes shaping Macbeth through his body.
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The author attempts a reading of Witold Gombrowicz's work through the concept of periperformativity presented by Eve Kosofsky Sedgwick. In particular, she examines two works: Virginity and Ivona, Princess of Burgundia. Dauksza analyses how and to what purpose Gombrowicz employs the agency of the periperformative acts, and what the textual consequences of this are. The analysis becomes an opportunity to reflect on the qualities and functions of periperformativity. It also allows to realise anew the subversive and affective potential of Gombrowicz's work and draw attention to the scale of social criticism conducted by this writer.
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Magda Szcześniak introduces to the reader a very colourful figure, one of the most important researchers in the fields of queer studies and affective theory: Eve Kosofsky Sedgwick, the author of, among others, Epistemology of the Closet, Melanie Klein and the Difference Affect, Touching Feeling. Affect, Pedagogy, Performativity, Paranoid reading and Reparative Reading, or, You're So Paranoid, You Probably Think This Essay Is About You. Szcześniak mentions the most important phenomena absorbing the American scholar: the problem of closeness, queer, feminism, masculinity, performativity, affects etc. Interestingly, Sedgwick not only researched her theories, but also incorporated them into her writing and pedagogical practice. As a result, a strongly affective, bodily bond appears between the author and the reader.
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Olga Katafiasz analyses two performances directed by Michał Zadara at Teatr Powszechny in Warsaw, based on Juliusz Słowacki's plays. Reviewing the diptych consisting of Fantazy (prem.: 19 Jun 2015) and Lilla Weneda (prem.: 29 Aug 2015), the author focuses above all on examining the narrative strategies referring to film, its different genres and stages of chronological development. Katafiasz notices, among other things, references to silent cinema or the poetics of Quentin Tarantino's work. The review also discusses the problem of adapting historical drama and contemporisation.
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Thomas Irmer reviews Milo Rau's performance Civil Wars (prem.: 27 Aug 2014, shown during F.I.N.D. at the Schaubühne in Berlin: 17-19 Apr 2015) dealing with Muslism brought up in Europe who decided to become terrorists. The author describes the performance in the context of Milo Rau's directorial style. He points out that some questions posed in the show remain unanswered. However, he admits that the director has worked out a very consistent creative style, whose main feature is not agitprop or making statements, but presenting a new perspective on the subject and emphasising points that have been unclear or avoided.
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A review of Hamlet directed by Krzysztof Garbaczewski (Stary Teatr, Cracow, prem. 13 Jun 2015). Kwaśniewska notes that by cutting and editing, transferring text from character to character, multiplicating the figure of Hamlet and adding plotlines and characters absent from the play, the creators of this staging of Shakespeare's text the flavour of an unpredictable event. Tracing the different strands of the show and referring them to contexts from the interpretative and theatrical tradition of Hamlet suggested in the performance, the author notices that Garbaczewski's principal guide is Stanisław Wyspiański. However, in this reading, inspired by the Hamlet Study, the director lacks precision in naming the themes he regards as crucial. As a result, he leaves Hamlet in a state of chaos – both fascinating and irritating.
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Dorota Krzywicka-Kaindel reviews Francuzi (The French) directed by Krzysztof Warlikowski (premiere at the Ruhrtreinnale: 21 Aug 2015). The author gives a detailed description of selected scenes of the performance, empahsising the precision of their dramaturgy and praising the acting, stage design and music. She also points out that Francuzi is a statement about the dilution of the quality of art, standing against the impoverishment of culture. She claims that the performance is very distinctive and has a strong impact on the audience.
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Jolanta Łada-Zielke reviews Tristan and Isolde directed by Katharina Wagner, shown during the Bayreuth festival (prem.: 25 Jul 2015). The author recalls the biographical context of the creation of Richard Wagner's opera. She presents the outline of the plot, pointing out the differences between the opera and the legend. She also describes Katharina Wagner's staging devices, emphasising the skilful use of colour and light.
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The conversation between Hélène Cixous and Ariane Mnouchkine revolves around subjects connected to the working methods used by Théâtre du Soleil, especially in terms of dealing with the text. Out of the conversation emerges an image of Mnouchkine's directorial style, the evolution of the role Cixious (the author of the texts) has played in the ensemble and the character of the relationship between the two artists. Talking about the benefits of cooperation, the two women emphasise the importance of building a close link between the author of the text and the creative team, which proves beneficial to both sides. Describing the way of working on a Théâtre du Soleil performance, they pay special attention to the meaning of the category of character and the relationship between the actor and the character enacted on stage.
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Magdalena Hasiuk's conversation with actors of Théâtre du Soleil focuses on the working methods of Ariane Mnouchkine's ensemble. Judit Jancso and Sylvain Jailloux talk about the circumstances in which they joined the group and the way in which Mnouchkine's style of work changed over the years. They devote much attention to the work on Macbeth. They also tell about the emotion accompanying them in the course of the creative process and the ways of employing them in the creation of a performance.
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Waldemar Wasztyl writes about Maciej Korbowa i Bellatrix (Maciej Korbowa and Bellatrix)based on the work of Stanisław Ignacy Witkiewicz, and directed by Krystian Lupa (part 1 and 2 of the performance) and Tomasz Węgorzewski (part 3). The performance, shown for the first time on Apr 28, 015 at the Łaźnia Nowa Theatre in Cracow, is actually a reconstruction of the Ludwik Solski Academy for the Dramatic Arts diploma from 1993. The author juxtaposes it with its original sources: the 1993 diploma performance and the premiere directed by Lupa in 1986 in Zielona Góra. The review also contains references to the whole of Lupa's work, as well as remarks concerning the functioning of video cameras and film in his performances, especially in Maciej Korbowa i Bellatrix
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The author presents a critical analysis of the opera performance la bianca notte/die helle nacht by Beato Furrer, shown at the Staatsoper Hamburg (prem.: 10 May 2015). The work of the Swedish composer, created within the current of „Künstler-Oper”, tells the story of the life of a quirky Italian poet from the turn of the twentieth century, Dino Campana, which, as Pasiecznik notes, was “oscillating between numerous voyages (he was building his own myth of a nomad poet) and stays at psychiatric hospitals”. The main plotline dealing with the mad artist has not been used in an original way, and the performance itself is not exceptional in comparison to other excellent operas by Furrer. The article ends with a remark concerning the change of management at the Staatsoper Hamburg and the hopes associated with it.
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