Teatr to dla mnie rodzaj jogi
Iwan Wyrypajew in an interview with Paweł Dobrowolski and Sebastian Duda
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Iwan Wyrypajew in an interview with Paweł Dobrowolski and Sebastian Duda
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Sztukę można uznać za barometr zmian w życiu duchowym. Co powiemy na tej podstawie? Podczas gdy ta tworzona do kościołów znajduje się w stanie stagnacji i uwiądu, poza murami świątyń – w galeriach i muzeach – rozwija się ona w najróżniejszych kierunkach. To tam właśnie zdarza się doświadczać epifanii.
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In the Grand Duchy of Lithuania in the second half of the 17th century main power, income and significant possessions were concentrated in the hands of the Pacas family. The most magnificent Baroque buildings in the Grand Duchy of Lithuania were built at that time the Camaldolese Monastery of Pažaislis and the Monastery of the Canons Regular of the Lateran in Vilnius Antakalnis. The first one was financed and supervised by the Chancellor of the Grand Duchy of Lithuania, Kristupas Zigmantas Pacas (1621– 1684), and the second one was built by the Grand Hetman of the Grand Duchy of Lithuania and the Voivode of Vilnius, Mykolas Kazimieras Pacas (1624–1682). Despite the fact that both constructions were carried out by members of the Pacas family, and that they were carried out at the same time, the artistic solutions were quite different. The Pažaislis Church is characterised by its unique architecture and luxurious decoration fulfilment decorated with various materials – marble, stucco, frescoes, while in the Antakalnis Church, stucco moulding predominates. The article raises the question – are these buildings really so far and different from each other? In his will of 1665, K. Z. Pacas appointed M. K. Pacas as his main inheritor. There is no doubt that he trusted his relative who would not only receive his wealth after his death, but also would complete his works. So even though M. K. Pacas was not directly involved in the construction of Pažaislis, he was well informed not only about the activities of the patron of Pažaislis, K. Z. Pacas, but also about his thoughts, ideas and plans he would have had to carry on after his relative’s death. The article expresses the idea that that this is what led to the fact that the church in Antakalnis was consciously and purposefully built differently from the one in Pažaislis. However in Antakalnis, innovations were also applied: for the first time, a stone church and monastery were built in a suburb of Vilnius, and for the first time, stucco moulding was used so extensively to decorate a whole building. Therefore, in the article the conclusions are drawn that the significant differences in the patronage of both Pacas were primarily due to the close communication between the two men and the fact that they were aware of each other’s construction in sufficient detail.
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George Banu's article is focusing on a theme that has always been present: the true meaning of applause and the way it is used in performing arts. On the premise that the applause is the start of a progressive absolution from the character, the author is analyzing its function in Oriental cultures, during William Shakespeare's age or during the avant-garde of the 1960s. For George Banu, the applause is a greeting between actors and audiences by which the cast is strongly affirming the solidarity of the actors. In the same time, during the applause, the audience is apprehending the success or the failure of the performance. Eventually, during the applause, an actor may be able to briefly give with the eye to a member of the audience and this is a very interesting situation, as it becomes a discrete and distinct individual greeting that is placed right in the heart of the group.
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Peter Stein draws from his own 50-year-old experience as a theatre director to evaluate the importance and value of classical texts in the process of acknowledging the eternal nature of humanity, as opposed to the superficiality of ideas and common language of more contemporary texts that are gaining popularity in the German theatre production. Through the mature understanding of classical plays, such as Faust by J.W. Goethe or the Greek tragedy, by learning from the inner rhythm of these texts and by avoiding the urge of deconstruction and modernization in the sense of applying one’s personal experiences and obsessions, theatre can assert the higher sense of communion between actors and audience. Peter Stein’s process of developing large productions, apprehended as an act of construction, is intertwining with his experience as theatre founder. His conviction that spatiality is the theatre’s core, made way to the construction of several venues that could organize the life of the performance, but could also accommodate the needs of the public for as long as the performance lasts.
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In the following paper, Gigi Căciuleanu explains the process of creating and the act of perceiving a dance performance, based on terms such as space, steps, energy, group, or discussing references and inspiration, giving as example the performance Mozart Steps and his first experiences as a dancer. The dancer is defined as a funambulist, suspended above the ground, always trying to reach equilibrium by the continuous act of recovering himself in a life and death situation. Dancing is achievable for each human being, as it uses the body, but beauty and seduction are achieved only through an intelligent body that has the knowledge to manipulate its own energy and the state of mind. The basis of each dance is the simple steps, one learns in childhood, and a dancer must identify with them completely in order to achieve a work of art. The performance is described as a living organism, a process, different with every representation and for each viewer, depending on his attention span, metal and spiritual implication and angle of view.
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The opera genre is recently subjected to an accelerated process of investment with theatrical techniques and a new language of theatricality. Saint François d’Assise written by the French composer Olivier Messiaen is based on new expressions in musical language: from the ancient greek melos until the indian harmonic structures and Oriental rythms, the colour which is transformed into sound, etc. He also suggests new musical images, capable of adapting the old eficacity of the medieval miracle plays to the contemporary sensitivity and comprehension. The essay is focused on three versions of stage directions, Peter Sellars, Pierre Audi, Hermann Nitsch, tracing the strategies of both expression and meanings of the musical discourse, transformed in „spectacular text” through non-conformistic methods (video art, naive expressionism, ritual).
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Crime represents a trigger that automatically entailed a new series of murders, which were either continued indefinitely, or followed by a suicide. The followers of the slain were obliged to avenge the dead, triggering the emergence of a range of families of dead and their avengers. When a few generations in conflict meet and both sides are equally entitled to seek justice, tragedy appears. The Oracle of Delphi is the most popular merchant of destinies. It has the ability to look into the future, the personal future of a person, but also into the collective future of a people. The Oracle of Delphi might appear to us as an expression of mystical beliefs, full of Orphism, magic and mystery, in fact they were usually callings and duties of the national spirit, or expressed the interests of the ruling classes. The oracle preached the future through the verbalization of facts that occurred, entailing their awakening, and becoming unavoidable. Orpheus’s failure is due to a single act of defying a prohibition, never to look back, which was the equivalent of bringing the dead into the future. By breaking the rule imposed by Persephone, Orpheus turns his head toward the past, crossing not only a space with his look, but a past where death dwells.
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Tadashi Suzuki is one of the most celebrated auteur directors of the 20th century, among other prolific and recognized visionaries of this era, such as Peter Brook, Jerzy Grotowski and Eugenio Barba. During his career Suzuki combined ancient Greek theatre with traditional Japanese theatre (noh, kabuki and butoh) to create what is known today as the Suzuki Method. He designed and developed a series of movements and exercises which range from falling down, standing up, to stamping, walking and isolated stillness. His work is heavily influenced by the 14th century actor/playwrite Motokiyo Zeami, whose technique juxtaposes violent and gentile body movements. These movements are centred in the pelvic area, from where Suzuki believes energy is controlled. Tadashi Suzuki believes that “A performance begins when the actor’s feet touches the ground...”. His method makes the connection between the upper and the lower body, which creates a more balance performance.
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We live in a visual rush generated by an amalgam of messages and information and their manifestation is as diverse, as it is contradictory. A dynamic, unpredictable, sinuous world, whose "slips" are hard to accept, but, although it seems difficult-to-handle, can be understood and decrypted once one knows its mechanism of communication. Theatrical performance is built on the basis of spatial structures and visual assemblies, architectural configurations belonging to different semiotic systems, and to some types of codes and diverse conventions. This totalizing perspective, we consider that it is the most appropriate approach to theatre performance, both to detect structural elements and to the decryption of features related to the specifics of stage imagery.
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The theme of the study was born out of a personal and professional urge to understand how and what makes an individual so unpredictable, an attempt to decode and decant the scenic process through the analysis of the social and essential theatrical instrument – physic and psychic memory. The art of acting is based on “self-discovery, self- disclosure and self-knowledge”, a process of “initiation and a loss of specialization, of conventional behavioural habits gained in society”. All methods and theories are mentioning the same concept, the recovery of the whole individual potential and the formation of new skills specific to the activity mentioned, to overcome the limits. But how do we get there? Which is the main source? Ion Cojar mentions that „the actor has to master simultaneously two entities: Sense and Sensibility”. Sense means control and moderation, but what do we mean by Sensibility? Or, what triggers sensibility in a theatrical act, to what do we appeal to help us understand a certain situation and character, physically and psychically? The author has tried to prove that every process that has been realized during a person’s lifetime, is based on memory – the function which determines the continuity of an identity over time – and also that it can become an instrument in the interpretative and theatrical art, which offers methods of solving situations which are more or less actual.
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The enormous role of the Internet in the life of modern societies has been additionally strengthened and confirmed during the SARS-CoV-2 coronavirus pandemic. The author analyzes the importance of the Internet in the process of popularizing culture in a case of limiting direct contacts and activities of stationary cultural institutions. The paper is an attempt to in-depth reflection on the strengths and weaknesses of promoting culture in mediated communication. One can observe the fluidity of the roles of broadcasters and recipients and the emergence of new ways of artistic expression. Human relations are of great importance in increasing the participants’ involvement in artistic activities, which confirms the importance of the communicative function of art. High content dynamics, short form and interactivity are the features of online art communications that are attractive to the young generation. The unfavorable phenomena include fragmentation of the message and impoverishment of the context. It can be assumed that the popularization of culture on the Internet will gain in importance even when the pandemic is over. For its effectiveness, it is crucial to combine online and offline activities, as the quality of previous non-Internet aesthetic experiences determines the quality of online contact with art.
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The theme of pandemic in arts (pestilence, plague, viruses) has always been quite relevant. Almost each generation that faced the similar catastrophes left rather detailed descriptions of such catastrophes in literary works. For instance: “The Iliad” (pestilence), “The Decameron” by G. Boccaccio (plague), “The Canterbury Tales” by J. Chaucer (plague), “A Journal of the Plague Year” by D. Defoe, “The Plague” by A. Camus,“Pale Horse, Pale Rider” by K. A. Porter (Spanish flu) and numerous modern variations, like “I am the Doorway by S. King (virus), “The Eyes of Darkness” by D. Koontz (virus), “Doomsday Book” by C. Willis (plague), “Blindness” by J. Saramago (virus), “The History of Pride” by L. Zoja (epidemic), “Snow Crash” by N. Stephenson (virus), “The Year of the Flood” by M. Atwood (epidemic), “Station Eleven” by J. Mandel (pandemic), etc. It is essential that literature does not only actively responds to global social issues like pandemic, but quite frequently predicts them. No wonder that cinema also lays particular emphasis on this theme, turning at first to the prior literary texts (film adaptations: The “Decameron” by P. Pasolini (1971), “The Andromeda Strain” by R. Wise (1971), “Death in Venice” by L. Visconti (1971), “The Plague” by L. Puenzo (1992), “The Painted Veil” by J. Karen (2006)), and later releasing its own creative versions: “Shivers” by D. Cronenberg (1975), “Epidemic” by L. Trier (1987), “Twelve Monkeys” by T. Gilliam (1995), “28 Days Later” by D. Boyle ” (2002), “Pontypool” by B. McDonald (2008), "Carriers” by D. and A. Pastor (2009), “Contagion” by S. Soderbergh (2011).
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Polish satirical discourse related to the figure and activity of Ignacy Jan Paderewski was present in the Polish satirical press from the moment when he began to notch up great successes as a pianist until the time when his political activity eventually ceased. The press materials on this topic, collected for the needs of this paper, come from the years 1898–1936. They are literary texts (anecdotes, poems, and mini-dialogues) as well as iconography (caricatures and cartoons) appearing in press titles that represent three main centres in Poland under the Partitions: Warsaw, Lwów (now Lviv), and Poznań. The materials mostly come from three Warsaw magazines (‘Mucha’, ‘Kurier Świąteczny’, ‘Kolce’), Lwów’s ‘Szczutek’, and Poznań’s Bocian. This source material has been submitted to multifaceted analyses, focusing first and foremost on deciphering allusions to current historical events. These contents, presented in sometimes radically different ways by the individual magazines, depending on their political bias, substantially complement Paderewski’s official biography, while at the same time reflecting the diverse attitudes of the Polish society (represented here by the satirists) towards these events. Thanks to the vigilance and uncompromising approach of contributors to satirical magazines, we can get behind the scenes of such episodes from Paderewski’s life as the celebrations at Grunwald (Tannenberg), participation in the Paris Peace Conference and the League of Nations, his one-year tenure as Poland’s Prime Minister, contacts with the Polish community in the US, establishment of the Rzeczpospolita daily, and successive attempts to regain political power in the 1930s. The paper’s other aim is to characterise the overall character of the collected material from the perspective of image studies, with a discussion of the manner in which Paderewski is represented in caricatures created by Bogdan Nowakowski, Zygmunt Kurczyński, Kazimierz Grus, Antoni Romanowicz, Bronisław Fedyszyn, and several anonymous authors.
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Book Review of:Ewa Kowalska-Zając, 'Zobaczyć muzykę. Notacja polskiej partytury współczesnej', Łódź 2019
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Book Review of: 'Polsko-rosyjskie spotkania w przestrzeni kultury muzycznej: XIX wiek i początek XX stulecia. Studia, szkice i materiały', ed. Renata Suchowiejko, Kraków 2022
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Book Review of: Olena Berehova, 'Dialoh kul’tur: obraz inshoho v muzychnomu universumi' [Dialogue of Cultures: The Image of the Other in the Musical Universe], Kyiv 2020
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Колико пута нам се догодило да овлашан траг неког затуреног мириса или неки давни призор, стихови једноставне дечије песмице или звуци некада присне мелодије, изненада искрсну пред нама и запљусну нас плимом успомена из прошлости, па занемели и омамљени застајемо усред покрета, док холограм усковитланих слика из заборављених давнина детињства израња из таме сећања и буди жестоке емоције у нама.
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José Ortega y Gasset studied painting in depth from the standpoint he called ratio-vitalism or the philosophy of vital reason. This paper explores whether the term živopis corresponds more to ratio-vitalist philosophy than the term pintura used by the Spanish philosopher. In other words, the question is whether the translation, in this case, is better than the original. Following Ortega’s thesis on the historicity of human creations, we will look for the origin of the word živopis, which contributes to the consideration of whether it is an appropriate word for the art of painting from the perspective of the philosophy of life.
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Review of: Daniela Rywiková: Speculum Mortis. The Image of Death in Late Medieval Bohemian Painting. Lexington Books. Lanham u.a. 2020. XXIII, 235 S., Ill. ISBN 978-1-4985-8655-9.
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