„Łzy lejąca” w arcydziełach muzyki polskiej XX wieku

Author(s): Beata Bolesławska-Lewandowska / Language(s): Polish Issue: 1/2021

The theme of the sorrowful mother has been present in music for centuries. The medieval sequence Stabat mater dolorosa brought many excellent interpretations. As far as the music of Polish composers in the 20th century is concerned, the first name to be mentioned is Karol Szymanowski and his masterpiece: Stabat Mater, Op. 53 (1926). This work, using a text in Polish and referring to folklore, set one direction for the interpretation of the theme of the sorrowful mother in the Polish music of the last century. It was continued by Andrzej Panufnik in his touching interpretation of Gorzkie żale in the suite Hommage à Chopin for voice and piano (1949), and particularly Henryk Mikołaj Górecki in his Symphony of Sorrowful Songs (1976). The second line is marked by compositions referring to the Latin tradition, with no clear references to Polish themes – such as Stabat Mater by Roman Padlewski (1939) and Stabat Mater by Krzysztof Penderecki (1962). The article outlines both lines of interpretation of the “Mother weeping” motif in the works of Polish composers of the 20th century on the example of the above-mentioned masterpieces of Polish musical culture of the last century.

„Świat, który przezwyciężamy i pozostawiamy za sobą”. Import, rozpowszechnianie i widownia filmów z krajów kapitalistycznych w Polsce Ludowej w latach 1949-1956 w świetle badań archiwalnych

Author(s): Konrad Klejsa / Language(s): Polish Issue: 108/2019

The article deals with the repertoire policy in Poland (import of films and the arrangement of titles in the cinema programme) towards productions originating from capitalist countries during the Stalinist period. The author analyses the decision-making processes taking place at that time in the institutions responsible for film culture, trying to answer four related questions. Firstly, to what extent have films from Western countries been included in film distribution? Secondly, what elements did the process of qualifying foreign films for cinema screens consist of? Thirdly, how did the film distribution system combine political assumptions with economic aspects? Fourthly, how were the audience's preferences and responses monitored? The article is based on an in-depth source query in the documentation of the Polish Film Enterprise, Central Office of Cinematography and the Film Committee of the Central Committee of the Polish United Workers’ Party, as well as statistical data on the distribution of foreign films in Poland.

„Ten sobie mówi, a ten sobie mówi”. Ballady Adama Mickiewicza... – literatura czy partytura

Author(s): Małgorzata Litwinowicz-Droździel / Language(s): Polish Publication Year: 0

Development and concretisation of the original perspective concerning the word anthropology, which was formed at the Institute of Polish Culture at Warsaw University and used in language practice research. The perspective is considered the best method to perceive the language as cultural phenomenon. An extensive theoretical introduction justifies this approach and puts the undertaken research into the context of contemporary changes in cultural studies. The volume contains twelve articles which present study cases of language practice seen as cultural practice in historical context: from antiquity to modern times, from the forms of word art to swearing and searching the web.

„The Cherry Orchard” - Notes from the Theatrical Performance Lab

Author(s): Aurel PALADE / Language(s): English Issue: 1/2021

This article is a conceptual analysis of a selective biography regarding the performance based on Chekhov’s The Cherry Orchard. Its purpose is to emphasize the importance of this play through the performance’s creators, trying to come up with original elements to unveil hidden meanings of this text. Comparing different representations of this play, we can notice that each of them attempts to unfold obscure meanings within Chekhov texts. In this respect, besides having a brief analysis of the most important and famous performances of this play, I participated in this study with my own representation, brought out at Ariel Municipal Theater from Râmnicu Vâlcea.

„Them call we gypsy”

Author(s): Nina Kennel / Language(s): Polish Issue: 1-2/2020

The topic of this study is Invernomuto: Negus, a documentary film made by an Italian duo of artists – an example of applying the cinema as a non-historical method of conducting historical studies. A juxtaposition of research shown in the film concerning the Italian colonial war waged in Ethiopia with the contents of lectures constituting sequences makes it possible to assume that the interlocutor not only participates in the film but also negotiates his appearance in front of the camera, using it for the purpose of realising his intentions. Co-dependencies between the makers of the film and those who appear in it allow us to regard the latter as “users” (Michel de Certeau) of the cinema.

„To jest twój człowiek – idź z nim”. O zakłóconej identyfikacji w filmach Alana Clarke’a

Author(s): Karolina Kosińska / Language(s): Polish Issue: 114/2021

Alan Clarke’s later films – like Made in Britain (1983), Christine (1987), Elephant (1989) – reveal a fully crystalized, mature creative strategy of the director. This strategy is defined by extreme reduction and repetitiveness of the narrative, emphasis on the compulsiveness of the characters’ actions, concentration on behavioural aspects combined with a radical rejection of psychology. It is realized primarily through long “walking” shots, and it results in a corporeal, trans-like experience of the film, in a specific relationship of the viewer with the characters and also, consequently, with the body of the film itself. Clarke forces on the viewer the constant contact with the human figure on the screen, while methodically depriving him or her of the possibility of identification. The author problematizes this disturbed identification by analyzing Alan Clarke’s films and by situating them in the context of Robert Bresson’s Notes on Cinematography, which in a way anticipate Clarke’s style, and also in relation to the theoretical concepts of bodily perception of the cinema developed by Jennifer M. Barker.

„Toată viața m-am abătut de la șoseaua principală” – Interviu cu regizorul Radu Afrim

Author(s): Călin Ciobotari / Language(s): English,Romanian Issue: 2/2020

„Totus Tuus” św. Jana Pawła II. Od teologicznej głębi po ikonograficzną mistyfikację

Author(s): Andrzej Witko / Language(s): Polish Issue: 4S/2020

The life motto of Karol Wojtyła – of the Pope St John Paul II – was contained in two words: Totus Tuus. They were derived from the work dating back to the 18th century and published in 1843: Treatise on True Devotion to the Blessed Virgin Mary by St Louis Marie Grignion de Montfort. The choice of such a life’s motto was expressing the total and limitless offering of the exceptional follower to the Mother of God, also being an expression of his living, concrete, overwhelming and all-encompassing faith. This very motto has inspired Izabela Delekta-Wicińska, a Cracovian artist, to paint – in the year 1984 – a unique picture Totus Tuus, which gained enormous popularity in the whole world, thus becoming an object of fraud in respect of piety. Even though the artist held that she was inspired by an exceptional embrace of John Paul II and Cardinal Stefan Wyszyński on the day of inauguration of the pontifi of the Polish Pope, a photograph of the Totus Tuus painting was circulated in the entire Christian world as a miraculous picture of Pope John Paul II that was taken accidentally. In the early 1990s one of the then most pre-eminent mariologists, Rev. René Laurentin, was interested in the matter. Even as late as in the 2018 the www.infovaticana.com website explained that the Totus Tuus depiction is not a miraculous photography of the St. John Paul II but a painterly vision of the Cracovian artist, Izabela Delekta-Wicińska.

„Tovább él. Mert halhatatlan...” – beszélgetés Kovács Levente rendezővel, egyetemi tanárral

Author(s): Éva Patkó / Language(s): Hungarian Issue: 4/2020

The theatrical work of Levente Kovács encompasses the domains of creation, theory, teaching and cultural institution management. He has been for years the dean of the Hungarian department of the University of Arts from Marosvásárhely/Târgu-Mureș, the director of the Tompa Miklós Company of the National Theatre of Târgu-Mureş, of the Apollo 4 Pocket Theatre and the Thalia Laboratory, as well as the principal director of the Szigligeti Theatre. His experiences gained from fulfilling such diverse roles – theatre and institution director, teacher, writer – are reflected in this interview through the lens of contemporary theatrical events such as the changes brought about by the current pandemic or the blockade of the students of the University of Theatre and Film Arts from Budapest. Éva Patkó has asked “Professor Kovács” – as she respectfully refers to him in this dialogue – about all these issues and about his activities outside the theatre.

„Tu nie będzie rewolucji”, ale tańczmy!

Z Aśką Grochulską rozmawia Łucja Iwanczewska

Author(s): Łucja Iwanczewska,Aśka Grochulska / Language(s): Polish Issue: 163-164/2021

„Tylko nie dres, bo się źle kojarzy”. Rola wizerunków ciała w kształtowaniu podmiotowości w klasie ludowej

Author(s): Dorota Olko / Language(s): Polish Issue: 30/2021

Przedmiotem artykułu jest znaczenie uklasowionych reprezentacji w kształtowaniu stosunku do ciała i konstruowaniu własnej podmiotowości przez osoby z klasy ludowej. Tekst opiera się na jakościowej analizie kilkudziesięciu wywiadów pogłębionych z kobietami i mężczyznami, a także programów typu reality show z udziałem klasy ludowej: Projekt Lady i Warsaw Shore. Wbrew wcześniejszym badaniom (Skeggs 1997) w świetle przeprowadzonych analiz klasowe reprezentacje są negatywnym punktem odniesienia nie tylko dla kobiet, lecz także dla większości dorosłych mężczyzn z klasy ludowej. Badanie pokazuje, że o ile trudno zrekonstruować wzorzec atrakcyjnego ciała, który byłby obiektem pożądania i aspiracji badanej grupy (bo średnioklasowe wzorce dbałości o ciało nie są przez nią przyjmowane bezkrytycznie), o tyle kluczowe w procesie budowania podmiotowości jest dążenie do odróżnienia się od reprezentacji klasy ludowej funkcjonujących w kulturze popularnej (figura dresiarza i dresiary) oraz od osób będących najniżej w strukturze społecznej (bezdomni i menele).

„Utrwalam się w przekonaniu, że człowiek zawsze jest w drodze…”

Author(s): Danuta Benedyktowicz / Language(s): Polish Issue: 4/2021

In the private and editorial archive of Aleksander Jackowski, containing manuscripts, research notes and photographs extremely valuable for Polish cultural heritage, great historical and cultural significance belongs to documents associated with forgotten non-professional artists. Frequently, such documents constitute the sole preserved trace of artworks. Upon the basis of preserved material the presented article demonstrates the emotional relation linking A. Jackowski and the sculptor Józef Lurka.

„Viharos” karanténhangulat elfojtott érzelmekkel

Author(s): Réka Bartha / Language(s): Hungarian Issue: 818/2021

„W Gugle wpisuję swoje nazwisko...”. Społeczne i kulturowe funkcje praktyki wyszukiwania w sieci

Author(s): Jerzy Stachowicz / Language(s): Polish Publication Year: 0

Development and concretisation of the original perspective concerning the word anthropology, which was formed at the Institute of Polish Culture at Warsaw University and used in language practice research. The perspective is considered the best method to perceive the language as cultural phenomenon. An extensive theoretical introduction justifies this approach and puts the undertaken research into the context of contemporary changes in cultural studies. The volume contains twelve articles which present study cases of language practice seen as cultural practice in historical context: from antiquity to modern times, from the forms of word art to swearing and searching the web.

„We are making cyber-history.” Az online színház nem ma született

Author(s): Ágnes Karolina Bakk / Language(s): Hungarian Issue: 2/2020

Ágnes Karolina Bakk’s article offers a short overview of theatrical performances and experiments that took place in the online space since the start of the internet-era. In this paper she analyses and contextualizes shortly the listed production based on their characteristics such as co-presence and liveness.

„Widzieć jasno w zachwyceniu”

Author(s): Tadeusz Szczepański / Language(s): Polish Issue: 113/2021

A Memory of Professor Wiesław Juszczak (1932-2021).

„Zapowiada się nadzwyczajny aktor”. Karol Wojtyła w podziemnym Teatrze Rapsodycznym

Author(s): Stanisław Dziedzic / Language(s): Polish Issue: 1S/2020

Karol Wojtyła’s decision to start Polish Philology at the Jagiellonian University after graduating from the State Marcin Wadowita Secondary School was no surprise to those who knew him in Wadowice. His theatrical interests and talents, mainly acting and directing, were widely known. He helped found a high school theatrical group, acted in the Amateur Universal Theatre run by Mieczysław Kotlarczyk, and on the stage of the Catholic House. His mentor in the field of the theatre was Mieczysław Kotlarczyk. As a secondary school student, Wojtyła had already started writing poetry, and possibly his Beskid Ballads had already been created.He wanted to become an actor, but also developed as a writer. Cracow, with its creative environment and student peers, supported his theatrical and literature endeavours. Besides his university studies, he also developed his acting skills in the Studio 39 theatre group. During the Nazi occupation of Poland, Studio 39 members continued their underground activities. After Mieczysław Kotlarczyk arrived in Cracow in 1941, the Studio was transformed into the Rhapsodic Theatre. Wojtyła participated in all 7 premiere performances. With his talent and acting capabilities, together with his deep theatrical knowledge, he was a rising hope for his underground companions in the field of acting. His skills were appreciated by such famous actors as Juliusz Osterwa. Osterwa, the chief Polish actor of those times, stated “We seem to have an extraordinary actor” after Juliusz Słowacki’s Król-Duch was performed with Wojtyła starring. He intended to employ Wojtyła after the war. However, the time to make definitive choices finally arrived and Karol Wojtyła entered the Higher Seminary for Priests in 1942. His rhapsodic experience and literary achievements were to be the measurement of his charismatic call to millions of followers and believers as the future Pope.

„Zeneszerető város lett”

Papp Máriával, a Székely Színház egykori gyerekszínészével Ungvári Zrínyi Ildikó beszélgetett

Author(s): Ildikó Ungvári Zrínyi / Language(s): Hungarian Issue: 1/2021

Mária Papp, the former child actor of Székely Színház (Szekler Theatre) evokes the career of music director Sándor Tóth and the world of art-loving theatre in Târgu-Mureș in an interview entitled „It became a melomaniac city”.

„Złoty wiek” – arcydzieło prowokacji

Author(s): Marcin Giżycki / Language(s): Polish Issue: 109/2020

Ninety years ago, on 31st June 1930, a private screening of Luis Buñuel’s film "L’âge d’or" took place in a Parisian mansion of Marie-Laure and Charles de Noailles. At the end of November of the same year, the film officially premiered at Studio 28 in Paris. A few days later, on 3rd December, inkwells and other dangerous objects were thrown at the screen, and one of the biggest brawls in the history of cinema started. Everything in the movie, including the music carefully chosen by the director, was provocative, and the resulting tumult was well planned and it pleased André Breton and other surrealists enormously. Giżycki recalls these facts and deliberates whether this act of provocation still resonates in present-day world.

„Албена” от Йордан Йовков – думи и отзвучавания

Author(s): Veneta Doicheva / Language(s): Bulgarian Issue: 3/2021

The article comments on Yordan Yovkov’s play Albena in one aspect: with respect to sensibility, especially focusing on the artistic devices used to include and achieve sound sensibility in the general dramatic life. The point of reference of this exposition is Yovkov’s personal understanding of language as an artistic device. Highlighted are the comparisons he made between the living colloquial and literary languages, underscoring his striving to use language as a medium, maximally close to the natural environment of its usage. Attention is paid to the relationship between music and language, where musicality in Yovkov’s understanding is innate to a genuine literary work. Underscored are his auto-poetic requirements for the art of storytelling and observation is made that the strategy of the author’s abstracting himself makes it similar to dramatic works. On the basis of these observations the specifics of the language of Albena are commented from the viewpoint of the observed literary norm and the fitted in east-Bulgarian vernacular. The example of two characters and their linguistic expression is used to observe the applied by Yovkov technique of individualisation, based on lexical and syntactic repetitions, defined as ‘refrainness’. It is noted that starting from a concrete linguistic point, with this move Yovkov achieves consolidation of themes and transforms the dialogue into revealing an authentic existential experience. Suggested are perspectives of theatrics shown through these specifics.