„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.

„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.

„Алцек и българите в средновековна Италия“

Author(s): Kalina Peeva / Language(s): Bulgarian / Issue: 1-2/2020

A presentation of the documentary "Alcek and the Bulgarians in Medieval Italy", author and producer Rositsa Lazarova-Sbaralia, director Ivo Ivanov, cameraman Kamen Rozov.

„Вампир” – стихиите на разрушението

Author(s): Nikolay Yordanov / Language(s): Bulgarian / Issue: 3/2021

In 2021, the 120th anniversary was marked since the drama The Vampire was composed by Anton Strashimirov. It has been a permanent fixture on the bills of Bulgarian theatres ever since then, becoming an integral part of the classics of Bulgarian playwriting. This analysis of The Vampire seeks to find the universal dimensions to Strashimirov’s text that has been traditionally put on as a domestic, folk or social drama. Still, it was the first Bulgarian play delving into the depths of the subconscious. This is why it can be safely said that it belongs to modern Bulgarian drama together with the plays by P. Todorov and P. Yavorov. The character of the vampire is of a romantic origin, belonging not to the symbolic type of the modern project of the world order. Still, very much like Masons by Petko Todorov it calls for an allegorical reading: the vampire is man’s subconscious compulsion to destruct. Could The Vampire be successfully staged nowadays referring solely to the patriarchal morality and the social mores of bygone times? Starting from the poetics of drama, we should see that this text is like a well leading to remote cultural layers of the life of Balkan people, and perhaps to the entire Mediterranean littoral too, as well as to the primordial elements in man, when the compulsion to destruct gains the upper hand over the instinct for continuing the life cycle.

„Времето“ като аспект в творбата (избрани примери от полско концептуално изкуство, собствени и студентски творби)

Author(s): Artur Chrzanowski / Language(s): English / Issue: 2/2020

Attempting to visualize concept of “time” has a great tradition in contemporary art, in particular in conceptual art in the 20th century. The starting point for that consideration are conceptual activities in Polish contemporary art and their influence on the didactic program of teaching photography – the topics and selections taken for the visual structure of the work. Discussion on the example of selected works of Polish conceptual art of the 20th century, including the effects of the didactic process of the Photography and Multimedia Activities Studio that I run at the Academy of Fine Arts in Łódź. As a part of research and didactic observations, for many years students have been given the task of creating a visual work that shows the passage of time. The selection of photographic pictures and the method of working should be treated as an attempt to create a personal commentary on the surrounding reality. Students are choosing a theme, planning and recording over for a long period of time, for example a few weeks or months, the natural variability of the motif with particular emphasis on the type of light resulting from the time of day and the environment. The collections are presented in the form of a slide show, and the rhythm of the appearing photographs can be variable, consciously used as an additional artistic element. In the initial phase, the students discuss the selected issue and chosen artistic convention, while the technique and artistic form are free. In my own artistic work, too, the aspect of the “time” is an important factor. In many art works and art projects it is an important semantic element. Years later, I return to the same themes or places to reinterpret them and relate to the past. It concerns both the topic, issues and the composition of the visual implementation. Examples of artistic projects implemented over many years are cycles regarding the identity of the home city, for example “Postcards from Łódź”, “genius_lodzi” or “The Origin”.

„Всекиму неговата реалност“. „Реализмът“ – актуалност на Изток и на Запад в края на 50-те и през 60-те години на ХХ в.

Author(s): Irina Genova / Language(s): Bulgarian / Issue: 2/2020

In the decade up to 1968, “realism” was a key ideological notion on both sides of the Iron Curtain. It was not unambiguous; it expressed misunderstandings and contradictions, and gave room for manipulative interpretations and diversion of meanings. The visions of “reality” and “realism” were often conflicting in national artistic milieus, as was the case in France. The Neo-avant-garde communities did not stay away from the dispute over the notion and Pierre Restany even appropriated it by using it to name the art group which he unified as an ideologist in 1960. The complex dynamics of the ideas in “the opponents’ field” was closely followed both in the East and the West. At international art forums the notion of “realism” played a role in different critical discourses. The opposing ideologies, through mediation and transfer, mutually modelled both its use by critics and the art practices themselves.

„Да бъдеш свободен през 1968 означава да вземеш участие“. Aкцията “Tap and Touch Cinema” на Вали Експорт и идеите на Ги Дебор като провокиращ акт на освобождение на публиката чрез участие

Author(s): Denitsa Milusheva / Language(s): Bulgarian / Issue: 2/2019

The desire to participate in the 1960s was symptomatic of this period.Through the “Tap and Touch Cinema” action of Valie Export and “Society of Spectacle” a movie of Guy Debord, attempts have been made to present two methods for making the audience an active participant. What connects two authors is their struggle against alienation and passivity.

„Древно“ и „съвременно“ в най-новата иранска архитектура (2000–2018)

Author(s): Sasha Lozanova,Stela Tasheva / Language(s): Bulgarian / Issue: 2/2021

The material culture of Persia (in architecture, design, arts) from Ancient and Middle Ages have been well known and deeply examined on a world level. However, this is far less true for the latest Iranian creative production. Therefore, the authors of the paper (historians of art and of architecture) are investigating some issues related to the visual and design features of the latest Iranian architecture. Here, we are exploring samples representative of the beginning of the 21st century, including both public (religious, secular) and residential buildings. Although partly limited by the availability of information (existing publications, translations from Farsi, etc.), our selection is based on: • the originality of their design concept • the final performance qualities • the expression of an attitude towards the traditional and the world-wide artistic heritage. The analysis of the chosen examples is based on their shape and stylistic character, most widely understood, including: their urban environment; the chosen volumes, proportions, silhouette, material, the play of colors, light and shadows, decorative elements, etc. The expected results are to illustrate the forms of interactionbetween the rich regional building environment and the universal architectural trends.

„Изкуствата на тялото“: автор, творба, публика

Author(s): Nikolina Deleva / Language(s): Bulgarian / Issue: 4/2020

The work is devoted to different forms of body art, where the author uses his own body as a material for making art. These art practices are related to questions about their ontological nature and the criteria for defining and distinguishing art and reality, object and subject, author and work of art. An Identification of different components of the art process - author, work, public, as well as the relationship biological–mechanical–virtual have also been considered.