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Nieśmiałość i niska motywacja uczniów lub brak pomysłów na ćwiczenia to problemy, które najłatwiej rozwiązać dzięki teatrowi improwizacji. Ten rodzaj dramy wykorzystuje humor i energię tworzącą się między ludźmi do rozwijania komunikacji. Niezwykłe skojarzenia oraz zabawne zwroty sytuacji w improwizacjach mają wiele zalet edukacyjnych. Ich wykorzystanie scala grupę, ośmiela do mówienia i poprawia jego płynność oraz wzmacnia motywację do nauki. Artykuł przedstawia propozycje wybranych gier improwizowanych.
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The aim of the article is to show a theatre and film actor in the “theatre of everyday life”. The author, using sociological literature on social roles (e.g. E. Goffman, M. Łoś, W. J. Goode) discusses the problem of actors’ performing their professional roles. She is particularly interested in selfpromotional strategies used by actors on a daily basis. As an exemplification of a “performance” outside the artistic context, (stage or film set), the author analyses the course of the Great Actor's meeting with the audience and defines it as a quasi-spectacle requiring the adoption of certain roles, both by the artist and the audience. A new concept of “celebrity illusion” appears in the text, which concerns the illusory conviction of many artists that everyone should know them. They take it for granted that as “inhabitants of the mass imagination” they should be noticed in public space and correctly identified. The article uses the following sources: (1) existing: journalistic interviews with theatre and film actors published in popular monthlies and on the Internet; (2) evoked: in-depth free interviews with theatre artists (mainly actors) representing six Polish theatre centres. In 2015-2017, the author conducted twenty interviews - the respondents were recruited using the “snowball” method. Younger and older generation artists, fourteen men and six women, participated in the study The research technique was supported by the observation of actors' behaviour in non-artistic contexts (e.g. during meetings with the audience).
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Art from the Visegrad Countries is in the focus of attention at the region’s leading international art fair in 2021. Founder and Director of Art Market Budapest Attila Ledényi spoke about the reasons why.
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This article aims to discuss how the individual-mass relationship takes the form of a dramatic conflict in three important plays of the universal drama: "The Rhinoceros" by Eugene Ionesco, "An Enemy of the People" by Arthur Miller and "The Visit of the Old Lady” by Friedrich Dürrenmatt. I broached this question during the “Mass Trilogy”, a staging project that I developed between 2011-2016. The difficult question of treating / and representing the masses as the main character in each of these plays required a good understanding of the phenomena of contagion and resistance, given the extent of social contagion in our societies of the 21st century. The theoretical framework of my study is provided mainly by the psychological theory of the masses of Gustave le Bon and the cultural criticism of Ortega Y Gasset and Elias Canetti. The results of the comparative analysis applied at different levels during the staging process support the relevance of dramatic models of individual-mass conflict as a cognitive framework for understanding the confusing realities that shape our lives and societies in the 21st century.
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A phenomenon encountered since ancient times, censorship has taken on different forms of manifestation in puppet and marionettes theatres, which have become animation theatres since 2008. The mutual influence of society on this kind of theatre has led to often virulent reactions and exposure to realities that have disturbed the leadership and the political system. As a result, the creators of this (traditional or professional) theatre area faced all the repercussions they generated, and assumed them, knowing the censorship, prohibitions, persecutions, amputations of the messages and even going to jail and paying with their life. Nowadays, censorship has different aspects, it is no longer exercised by the system, but it is under the direct analysis of the public, whose power has increased with the new media and under the encouragement of entertainment institutions, which want to be transparent and customer/public oriented, an attitude sometimes found at the fine line between artistic and commercial.
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In addition to its drawbacks, the e-school experience has prompted an important restructuring of how the entire teaching and assessment system should be reorganised to support learning. We focused our research on the formative – educational value of using complementary assessment methods in online schools as successful practices, both for improving the general assessment process and for achieving the central goal of education – learning.The advantages of using these methods, proven through the implementation of the online questionnaire as a research method, have led us to expand our findings on how assessment can support learning, with the conviction that technology has entered our lives and brought alternatives in finding the most effective ways to keep education and learning at high levels in online schools as well. By interviewing 97 teachers who have carried out online teaching activities, we can conclude that it is beneficial to use complementary assessment methods in virtual classrooms as well, through a harmonious combination with traditional ones.
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The hypothesis of this article is that recent discoveries in the field of neuroscience can provide essential knowledge about the organic processes involved in stage speech specific to authentic acting creation, thus contributing to improving pedagogical approaches in both Voice & Speech and also Acting.The article presents the premises for the integration of voice & speech into the organic approach of acting, from a neuroscientific point of view, as well as some tools and pedagogical approaches modelled from this perspective. Documentation in the field of neuroscience has allowed me to adapt a method of applied psychology in order to create exercises that enable the integration of new habits regarding voice production in everyday speech. These new exercises increase the work autonomy of students, who are encouraged to create micro personal habits, individualized according to their own needs and lifestyle. The re-evaluation of a well-known pedagogical tool – the vowel chain, from the viewpoint of the neurological processes of speech, allowed me to develop a working method that enables the integration of text recall along with activating emotionally competent stimuli, while correlating the speed of speech with the one of reprocessing ideas.
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In the last 20 years the distinct intensification of research on the importance of artistic activities in prisons can be observed. It is stressed in literature that the results of artistic activities in penitentiaries have educational and therapeutic value. The article describeses „Last Mila” – the project carried out in Gębarzewo prison in 2015–2016. The „Last Mila”, by giving the prisoners opportunity to readaptation, establish a dialogue with people from the „outside” and contact with art, creates a chance to develop awareness, and so take a significant step on the path to personal freedom
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With the practice of falsification works of art we are dealing for centuries. Basically since they just appeared. It is very difficult to determine the scale of this crime. These items are threatened by the phenomenon of counterfeiting due to the fact that they have not only the value of assets but also the non-pecuniary value: artistic, aesthetic and historical. Occurrence on the market of counterfeits is a serious threat fot the collectors and for a proper functioning art market. In the Polish legal system protection of works of art against falsification ensure the regulations contained in the Act of 6 June 1997. – Criminal Code and the Act of 23 July 2003. On the protection historic monuments and care of monuments. This paper presents a protection system of works of art in our country against the practice of falsification by analyzing the constituent elements of criminal offenses involving the forgery of works of art and turnover of fakes. The summary also highlights the imperfection of the current system and the lack of adequate protection of works of art which are not monuments.
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The author raises the question of the scope of freedom of artistic creation in the light of Polish criminal law. Artistic creation has always been an important area of human activity. It is associated directly or indirectly with other aspects of life, including religion, culture and politics. Its progress and transformation is accompanied by constant controversy about the limits of its freedom involving debates based on the grounds of philosophy, ethics, aesthetics and the law. Despite the significant place of art in human life, the guarantee freedom of artistic creation is one of the youngest and least examined rights. The analysis contains three groups of issues. The first topic is devoted to the scope of the freedom of artistic creation. The analysis was subjected to provisions conferring freedom, but also showing the limits of the range of action of the artist. The second part of the paper covers offences which they can usually prevent, i.e. the offence of defamation of religion and the offence of the public presentation of pornographic content. The third part addresses the issue of the limits of artistic freedom presented on the basis of high-profile examples of Polish lawsuits.
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This paper analyses the issue of visitors touching the exhibits and the touching ban common in museums and galleries. In this analysis, it was assumed that the touching ban can be considered in two different ways – as an absolute necessity and as an unnecessary impediment. Accordingly, the author presents issues, doubts and examples for each of the above-mentioned approaches.
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This paper analyses the normative boundaries of freedom of artistic creation in France. France has long been recognized as a cradle of art and culture and, for this reason, any interference of criminal law in the field of artistic freedom is considered serious. The paper also draws attention to the fact that the cult of freedom and creativity has dominated the art market and has led to many discrepancies in the interpretation of the law. Currently, the number of trials against artists proves that censorship is still alive in France. Many scandals involving artistic freedom are heating up the public debate on the issue of creativity. The author analyses crimes against artistic freedom in reference to the rules of criminal liability. The paper also examines the scope of artistic freedom in France in relation to copyright and certain related rights, freedom of speech and artistic freedom of expression in cinematography and theatre.
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This article attempts a sociological analysis of a specific musical trend – disco polo – through the prism of the figuration theory proposed by Norbert Elias. Street music of the 1990s was an extremely accurate musical illustration of the period of systemic transformations in Poland, because disco polo’s characteristic elements (e.g., kitsch, impermanence, and banality, as well as optimism, a sense of community, and freshness) were combined with social feelings and attitudes toward the rapidly changing reality. Disco polo documented the social life of the time, as is visible in its symbolic layer as well as in its purely musical arrangement: it was the hallmark of a generation.
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The researcher describes her experience of participating in the 22nd Biennale of Art for Children. Discussions conducted as part of the meetings of the Observatory, a group created to observe and talk about events as an integral part of the project, show the polyphony of opinions about who is a child and what art is for a child. As Schütz points out, subjective meaning is an inherent attribute of human activities. People experience phenomena on the basis of their previous experiences. According to the premises of phenomenology, the discussions of people from different socio-biographical locations will provide a variety of visions. The author describes how the experience of people who are involved with art for children but who differ in their social and professional roles influences the planning of events for children.
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This paper focuses on the issue of comic book lettering in mainstream American comics with an aim to introduce theoretical and methodological framework for further analysis of comic book typography. First, it addresses numerous aspects of relations between text and image in comics and presents the brief history of lettering in American comic book industry, as it grew apart from its European counterpart in the early years of development and became much more institutionalized, in no part because of the works of Will Eisner, Gaspar Saladino and especially Richard Starkins, who introduced an affordable means of using the digital typography in early 90s' comic books. In its main part the paper presents the classification of usage of lettering in comics' communicates, which distinguishes the diegetic (graphic, verbal and mental) and non-diegetic (meta- or paratextual and narrative) communicates. This analysis was based on the research sample of over 700 comic book issues, mostly from the Ultimate Marvel imprint (2000–2015) In the final paragraphs, the author critically examines functions of comic book typography and outlines three possible fields of further study.
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The article raises the issue of artistic image. It examines the mechanism of its shaping and the connection with the quality of the artist’s work. The growing emphasis on the promotion of one’s own image is a cause for concern, as intensive self-promotion sometimes seems to be the overriding goal in relation to the art itself. Artist-estettist, idealist, educator was placed by artist-celebrity. However, today’s cultural reality is much more complex and multi-layered. The results of the research of art audiences and the analysis of examples of contemporary phenomena in art indicate a very unequal level of cultural offer. It is conditioned both by the diverse needs of the viewers themselves, as well as by the search for new solutions in art and the voice of the mass artist. In an excess of artists and creativity, self-promotion often becomes the only way to be noticed and exist in culture.
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