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"Filmet írni": Karinthy és Molnár Ferenc kinemaszkeccsei

Author(s): Izabella Füzi / Language(s): Hungarian Issue: 2/2020

Kinema-sketches were introduced in Hungarian cinema theaters around 1912 as a new practice of projecting moving images alternating with theatrical scenes on the stage. Internationally renowned Hungarian playwrights (Ferenc Molnár, Frigyes Karinthy, Miksa Bródy) embarked on the project of writings scripts for the sketches and some of the movie theatres (Apolló) were transformed into sketch theaters. Just a few of the scripts survive and the film scenes through which Hungarian directors (like Mihály Kertész, aka Michael Curtiz) learned mastering cinematic storytelling are even less accessible today. From the different types of sources (journal accounts, the fervent debate about the aesthetic character of the kinema-sketch, photos, posters) it is possible to reconstruct − in a media archeological way – a genre which embodies forgotten and transient uses, alternative trajectories of moving images. In the first part I sketch a film historical context in which kinema-sketches can be examined as the first surviving Hungarian film scripts. In the second part I investigate the way kinema-sketches design and realize the labor division between moving images and theater <em>in writing</em>. Inhabiting the space between writing (page), screen, and stage, the sketches inscribe and indicate the borders of these media and their trespassing. Furthermore, they propose new dramaturgical solutions to the challenges of contemporary theater and enhance the uses of fictional moving images by introducing the social and the subjective gaze.

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Írás fénnyel: Balázs Béla a forgatókönyv megjelenéséről

Author(s): Eszter Polónyi / Language(s): Hungarian Issue: 2/2020

Film was fast becoming the dominant form of narrative discourse by the time of the establishment of the great European film studios in the 1940s. While many writers regarded film as undercutting other systems of narrative delivery, namely print, others discerned potential in the new industry for a form of authorship that possessed attributes of the prior, literary regime of writing. This piece considers the case made for literary authorship in and through film by the Hungarian film theorist and film scenarist, Bela Balazs. Balazs’s bases his claim regarding the return of literature on the scenario. While the scenario is habitually defined as the verbal projection of a film, Balazs also locates its effects at the level of the photographic image, so that film is read as symptomatic of the language of the scenario. Tying developments in the conventions of film editing to the writing techniques of the scenarist, Balazs describes the authorship of the scenarist as both palpable and yet non-visible, which this piece argues explains the obscurity into which historic „film authors” have fallen, including Balazs himself. Although Balazs makes every effort to recognize the scenario, when it comes to acknowledging the scenarist, there is a distinct inability and unwillingness to designate them as the scenario’s author.

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Új irodalmi műfaj: a filmszcenárium

Author(s): Béla Balázs / Language(s): Hungarian Issue: 2/2020

Béla Balázs: New Literary Genre: The Film Scenario

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U źródeł światowych sukcesów Polskiej Szkoły Ilustracji

Author(s): Anita Wincencjusz-Patyna / Language(s): Polish Issue: 1/2009

Polish book illustration for children has a long, rich tradition of almost two hundred years now. However, the decades 1950-1980 seem to be of a unique significance for its artistic development, present situation and worldwide recognised quality, certified by numerous successes in international competitions and exhibitions of book design. That is precisely when book illustration, together with poster design, reached an extremely high quality and artistic value, soon becoming a renowned Polish speciality. The author describes the qualities deciding such a high level of Polish book art, resulting in creating the term ‘Polish Illustration School’. In the early 1950s a huge wave of new creative force of young illustrators with excellent skills joined the older colleagues, who had been continually active after World War II. All of them took advantage of propitious situation on publishing market, connected with strong state patronage, winning an enthusiastic reception of home audience. Thanks to that Poland stepped onto the international stage triumphantly at the end of the decade. In the years 1960s and 1970s Polish book illustration was regularly present at all the most important international competitions: Bratislava, Brno, Bologna, Padua, Frankfurt-on-Main, Moscow, São Paulo. Since 1965 UNESCO indicated Poland as a model country in the field of art for children, especially book illustration. The freedom of creation derived also from the so-to-speak safe matter of artistic activity: poetry, fairy tales, fables, children’s stories, unreal worlds and wildlife seemed to lack the ideological burden, being as distant as possible from the reality of Poland of the period 1950-80. The first common feature of Polish book illustration is its unusual variety, effecting undoubtedly from artistic independence. The range of artistic temperaments and preferred styles and sources of inspirations seems to be infinite. Another feature is a great freedom of graphic expression, not rarely aiming to clear painterly effects, also to be found in Polish posters, film and stage set, being a distinguishing element of the so-called Polish style. The painterly elements came forward as the biggest value of the whole book design. The artists also benefited from folk art with its simple expressive forms, bright colours, straight humour. Polish illustration lacks infantility, bending down to the level of easy didactic message and oversweeten aesthetics of kitsch. The article mentions: Butenko, Gaudasińska, Grabiański, Kilian, Majchrzak, Mróz, Murawscy, Rechowicz, Rychlicki, Siemaszko, Srokowski, Stanny, Strumiłło, Szancer, Wilbik, Wilkoń, Witkowska, Witwicki among others.

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„Das Riesengebirge. Die Künstlerkolonie Schreiberhau”. Gemäldegalerie Dachau, 07.11.2008-08.03.2009. Omówienie wystawy

Author(s): Anna Jezierska / Language(s): Polish Issue: 1/2009

Artists’ interest in the Karkonosze Mountains (Das Riesengebirge) began already in the period of Classicism when such artists as Ch.F. Nathe and S.C. Christoph Reinhardt made their views popular in coloured engravings. Among the nineteenthcentury painters who preserved the Karkonosze landscapes C. D. Friedrich, J.Ch.C. Dahl or Ludwig Richter should be mentioned. However, the greatest popularity of the Karkonosze Mountains among artists came after World War I when A. Nikisch, H. Oberländer and F. von Jackowski settled in Szklarska Poręba. They established St Lucas Artistic Society of Creators, which gathered many artists arriving mainly from Wrocław, but also from other German centres. The group’s activity was presented within the exhibition held by The Painting Gallery and The District Museum in Dachau. The exhibition showed over fifty works of painting (P. Aust, W. Fechner, M. Hagedorn, C.A. Heinisch, F. von Jackowski, E.W. Knippel, A. Nikisch, H.E. Oberländer, W. Oltmansam, M. Uhling, A. Wasner, P. Weimann, G.H. Wichmann and J. Wichmann’s among others), as well as their teachers’: A. Dressler, C.E. Morgenstern and M. Wislicenus. There were also presented some works by the artists not strictly bound to the artists’ colony in Szklarska Poręba (e.g. E.H. Compton), and some sculptures by C. dell’Antonio and O. Wache who were active mainly in a wood-carving school in Cieplice.The exhibition presented works of high artistic value created by the members of the artists’ colony from Szklarska Poręba, which often come from private collections. Good exposition of the works in the spacious interior of one of the Gallery’s rooms let the organisers create a complete image of a stylistically varied group of the Silesian landscape painters. Too little information on the group’s activity is partly completed in the introduction to the exhibition catalogue.The exposition is completed by another exhibition taking place in the nearby District Museum, related to the legend of Rübezahl – the Karkonosze Spirit of the Mountains, which presents numerous examples of the legend’s reception in the 19th– and 20th-century culture, not only in German language countries.

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W stronę dekonstrukcji w architekturze

Author(s): Cezary Wąs / Language(s): Polish Issue: 3/2010

Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished:the first one, in which philosophy of deconstructivism deals with architectural terms but does not interfere with real architecture,the second one, in which a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced,and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The two first variations are analysed foremost in the article.

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Średniowiczne miasto idealne we Włoszech

Author(s): Rafał Eysymontt / Language(s): Polish Issue: 3/2010

The concept of the ideal city is usually associated with Early Modern cities (Antonio Filarete’s treatises), it may be connected however, also with the Middle Ages. On the one hand it can be illustrated by philosophical and theological treatises where an idea of ‘heavenly Jerusalem’ appeared (Tychonius, St. Augustine, St. Thomas Aquinas), on the other hand by painterly images, eventually by cities themselves, which were erected in reality. The thesis about a medieval ideal city can be best illustrated with examples from Apennine Peninsula. As a certain ideal we can treat both the cities which were created as a result of subsequent stages of their development, erected in an organic way though subordinated to aesthetic rules during these changes (Siena, San Gimignano, Orvieto, Genoa, Pisa, Lucignano), and the cities that were realised according to an earlier plan. In the first case idealisation can be observed in forming the city silhouette, its main squares, street courses and eventually also in the architectural disposition of street frontages (Siena, Pisa, Genoa). Aesthetic laws on Apennine Peninsula of that time used to have their theoretical support (a modular disposition of a frontage can be related to mathematical and geometrical practice of those days – works by Leonardo Fibonacci, the author of Practica Geometriae from 1220-21). It was also the case of the cities designed as a whole. Plans concerned not only social matters and functional systems but also the very shape of a city. Here as the best examples come cities-colonies of The Republic of Florence from the beginning of the 14th century (San Giovanni Valdarno, Castelfranco, Terranuova, Firenzuola, Scarperia). Rules of aesthetic formation are also confirmed by preserved urbanistic designs, originated from the beginning of the 14th c. (Talamone). Eventually there are cities in Italy which are original works connected with an obvious intention of a founder and a strictly defined both in an urbanistic and architectural scale artistic concept (Pienza). Concerning this a medieval city in Italy is not only a complex of burgher plots and monumental edifices surrounded by city walls but an artistic artifact subordinated to thomistic theories of beauty comprising three fundamental elements: integritas, proportio et claritas.

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Dekoracja malarska i rzeźbiarska kruchty północno-zachodniej kościoła św. Elżbiety we Wrocławiu

Author(s): Piotr Oszczanowski / Language(s): Polish Issue: 3/2010

Rich painterly and sculpturesque decoration of north-western entrance of St. Elisabeth Church is the most flamboyant example of a work of Mannerist art of this type in Wrocław. Despite its eventful history, a rapid process of deterioration, its hiding away under a layer of wall plaster, and quite controversial conservation, or even at present a difficult access to it – the entrance still appears to be a monument in which case various hypothesis concerning time of realisation, authorship, ideological programme, graphic patterns and last but not least its founders can be reported. Time of creation – a tragic for Wrocław year of 1585; artists – painters Bartholomaeus (no doubt one of the three of this name: Fichtenberger, Weiner the Elder or Strobel the Elder) and Hieronymus the Younger Beinhart, sculptor – Hans Hoffmann; founders – probably Georg von Althoff called Scholtzem and his wife Anna née Spremberger; ambitious graphic pattern (etchings by Hieronymus Wierix after the paintings by Maerten de Vos) – all the above mentioned elements make this decoration worth defining as a representative work of art of the city-republic of scholars at the end of 16th century We can only wish that more and more inhabitants of Wrocław as well as more and more visitors to the city would be able to convince themselves about it.

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Klara Kaczmarek-Löw, „Wendel Roskopf. Architekt wczesnego renesansu. Mity i rzeczywistość” Wrocław 2010 (seria: „Studia z Historii Kultury Europy Środkowej”, pod red. Jana Harasimowicza), Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe, s

Author(s): Magdalena Poradzisz-Cincio / Language(s): Polish Issue: 3/2010

Klara Kaczmarek-Löw’s book is the first in the series „Studia z Historii Kultury Europy Środkowej” (‘Studies on History of Culture in Central Europe’) edited by Jan Harasimowicz. The publication is an abridged and changed version of her doctoral thesis entitled: „Wendel Roskopf – architekt Czech, Łużyc i Śląska w pierwszej połowie XVI wieku” (‘Wendel Roskopf – an architect in Bohemia, Lusatia and Silesia in the first half of the 16th century’), written under Prof. Jan Harasimowicz’s guidance and defended in 2003 at Wrocław University.In the book all attributions of Roskopf himself, his workshop and his followers were taken into account. To create a possibly complete picture of the oeuvre of the Werkmeister’s from Görlitz as well as to verify the repeated by researchers theses and the already made attributions. Verify them on the basis of a careful stylistic-and-formal and comparative analysis. An enigmatic figure of Wendel Roskopf and his artistic work gathered a lot of inexact information. To explain this it was necessary to reveal Roskopf’s place in the previous literature of the subject in a neutral way. The author succeeded in following a long-lasting process of accumulation of myths around the Werkmeister from Görlitz. In the following part we can find a rigorous verification. How accurate is the subtitle of the book: ‘Myths and Reality’. To conclude: Klara Kaczmarek-Löw’s book certainly is an excellent monographic study of an artist of the Early Renaissance. The author succeeded in achieving a goal defined at the beginning of her work – a verification of the oeuvre of Wendel Roskopf, a Werkmeister active in the first half of the 16th century.

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Polichromie w oratorium nad północno-zachodnią kruchtą kościoła św. Elżbiety (dawna kaplica Mathiasa Smedchina)

Author(s): Jan Gromadzki / Language(s): Polish Issue: 4/2010

In 2004, a few years after completion of the rebuilding of St. Elisabeth church destroyed by the fire of 1976, under a layer of plasterwork polychrome decorations from the period before Reformation were found unexpectedly in a chapel situated over north-west entrance hall (formerly called an inspector entrance (InspectorThür) or a parish hall (Pfarrhalle)), which had not been used for a century and a half. It occurred that the decorations filled the whole interior and they came out as exceptionally well preserved and, what is important, represented a remarkable level of execution. Neither tradition, nor the already known sources foreshadowed this discovery, not much was known about the very chapel. The first reference originated in 1389 and concerned a foundation for the already existing oratory, which belonged to Mathias Smedchin – dead already at the time, a member of the city council, who was most certainly the chapel‘s founder as with his name it was called still in the early 15th century. Architectural details of this two-level building indicate the second half of the 14th c. as the time of its possible errection. Later references (1404-1405) inform that Holy Trinity and Virgin Mary altar was situated in the chapel. Yet another certain notice concerning the chapel refers to placing there in 1766 a library of J. F. Burg, inspector and pastor of St. Elisabeth church. The library was placed there for the following hundred years, afterwards the chapel remained empty.The decoration covers the whole two-bay interior of the chapel, concentrating on its western and eastern walls (in its northern wall there is a huge window, and the southern wall opens in its nearly whole width and height towards the church northern aisle). It comprises three great figurative compositions that are almost as high as the wall, painted in three of four available fields on the nave walls – on the eastern wall Crucifixion and The Agony in the Garden were depicted. On the western wall, in a bay facing a window, St. Christopher was shown, whereas in a bay facing the nave four minor separate scenes were painted depicting (downwards, from left) St. Gregory the Great and Madonna Immaculata, and below The Virgin and Child with St Anne and the martyrdom of St. Mark. Single figures of saints are placed on both sides of the window (St. Benno and St. Bartholomew with splendid unidentified coats of arms) and on the wider wall beside the western side of an arcade that joins the chapel with the nave (St. Joseph). The whole interior has a frame of a red-and-brown dry branch which runs along edges of the walls and arches formed by the ceiling and closes the scenes from the bottom. Over the entrance a painted inscription describing the chapel’s dedication is placed. Polychrome decoration of the ceiling was much restored, some significant motifs are placed only on keystones – Christ’s Face is depicted in the northern bay, on the second keystone we have a red shield with a house mark that most certainly refers to one of the chapel users (it may be even the mark of its first owner). The decoration, despite the long use of the chapel in other than original function, is kept in an amazingly good condition. It is uniform and it was undoubtedly created following a specific iconographic programme which, what is important, does not show any direct relation with the patronage of the altar situated in the chapel. The two scenes, that cover nearly the whole of the eastern wall, depict basic facts from the history of Salvation, they belong to the canon of iconography related with the Eucharist and they most surely created the meaning context for the former altar. The scenes on the western wall – a huge image of St. Christopher, patron of a good death, and the other four scenes (Immaculata, St. Gregory the Great, the Martyrdom of St. Mark, the Virgin and Child with St. Anne and the connected with the latter motif St. Joseph on the southern wall) constitute cycle of de sanctis. The images of St. Benno and St. Bartholomew on the northern wall also belong to this group, however, as their monumental form and the coats of arms placed beneath them are concerned, should be considered in the context of being related to the persons of founders of the decoration, who, in view of not recognised arms, have remained unknown. The programme of the decoration focuses on church matters. Especially the presence of motifs that were controversial in regard to the Reformation developing at that time in the city (St. Benno of Meissen, the Virgin with Child and St. Anne) seems to favour the thesis that the decoration founders belonged to the clerical state – they might have been e.g. altarists serving the chapel, members of the convent of St. Mathias hospital or even members of cathedral clergy. The year of bishop Benno’s of Meissen cannonisation (1523) allows us to narrow down the time of the painting execution to the period of 1523-1525. A painter also remains anonymous, though he was distinctly talented and introduced many Renaissance elements in his traditional in numerous aspects work. The appearance of this work in St. Elisabeth church short before the conversion of the whole parish to Luther’s teachings demonstrates that the process of adopting new ideas in the city and the commune itself was not without compications.

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Architektura sepulkralna wrocławskich Romów

Author(s): Rafał Eysymontt / Language(s): Polish Issue: 4/2010

Chapels in the Osobowice Cemetery are few in Wrocław objects connected with national minorities. The Roms appeared in Lower Silesia after the second World War, partly free willingly, partly within the ‘Vistula’ action, though it should be stated that in the area of the Recovered Territories, which were settled by new comers from Poland, they felt good enough. Forms and ideological contents of their chapels-mausolea are related with extremely complex Romany funeral rituals on the one hand and on the other hand they show integration of the Romany circles with culture of the Polish lands. The chapels of Romany families, of the royal Łakatoszes among others, designed by Wrocław architects, refer to the tradition of Polish Renaissance and resemble to a large extent the chapels of Kalwaria Zebrzydowska. Some of them, however, to some extent have relations with architecture of Transylvania. One of the chapel designers also speaks on the Roms’ interest in European architecture. Deep vestibules with columns allow families of the burried one to meet together during his drom passage to heaven’s door. An original relief of one of the Romany tombstones depicting a car also indicates the symbolics of a passage. The Roms from Wrocław pay large sums to build chapels for the passed away members of their families, even for those who had died on the other side of the Atlantic, although in many cases the sums are not sufficient to end up the commissions. On economical grounds some of the chapels are raised by the Roms themselves. In this case, however, the effect is far worse, despite their attempts to follow classical architectural motifs.

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Chopin – artysta

Author(s): Waldemar Okoń / Language(s): Polish Issue: 1/2011

In this article were discussed various forms of Frederic Chopin’s oeuvre’s memoir and biographical reception, from E. Delacroix and Ch. Baudelaire’s writings, through J. Słowacki’s remarks, to more contemporary texts by J. Iwaszkiewicz, K. Wierzyński and A. Zamojski. ‘Styles of reception’ revealed in this article have changed in time – from Romantic inscribing Chopin’s biography in the stereotype of ‘an accursed artist’, to attempts to demythologise his biography and to make it more real, directed towards historic truth and not lyrical romance-like fiction (A. Zamojski’s book). ‘Chopin the artist’ is still, in view of literature, memoirs and biographical sources, the most fascinating creator of Polish national art. It has not been changed even by the most ‘realistic’ attempts of interpreting his work and life, what may be proved by close in their meaning statements, both the twentieth-century ones (S. Kisielewski) and those expressed right after Chopin’s death – an obituary written by another distinguished artist of this age – C.K. Norwid, the text which indicates the main interpretational plot of artistry sources of our national most eminent composer.

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Znana czy nieznana? Kontrowersje wokół interpretacji kaplicy w Ronchamp

Author(s): Cezary Wąs / Language(s): Polish Issue: 1/2011

The research on Le Corbusier’s work led in the recent twenty-thirty years has dented his position of a rationalist in architecture. As the focal point of attention has come his late oeuvre as an architect which differs formally and in an iconographic context to a great extent from his so called puristic period. Winding instead of straight lines and many figural motifs inspired by mythology or alchemy were initially stated as symptoms of giving up the earlier attitude and a manifesto against rationalism. More accurate studies proved, however, that the new forms develop the solutions applied earlier and they still have rational grounds (S. Cohen and S. Hurtt). This was also the case of studying acoustic metaphors, used in Le Corbusier’s writings, whose core occurred to be the dependence of architecture from landscape forms (Ch. Pearson). Studies on iconography showed his interest in alchemy (R. A. Moore) but also in this case the architect’s aim was applying ancient reflection over the question of transformation in pursuit to achieve a perfect final formula of a work. The corresponding with alchemy reflection on rising from lower to higher states was applied to considerations over architectural creation and its destination. Le Corbusier’s cult of sensuality and femininity, described by F. Samuel, was about to complete rational elements of his activity and to enable creation of works of more universal character. New elements in his work, though different from the previous ones, did not express contradiction against rationalism but reflected his quest for its more complex version. Alchemy or sexuality – in this aspect – completed forms of acquainting the world being mathematical and mystical to the same extent.

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Renesansowe i manierystyczne epitafia z kaplicy św. Materna w kościele św. Elżbiety we Wrocławiu

Author(s): Piotr Oszczanowski / Language(s): Polish Issue: 1/2011

The topic of this article are Renaissance and Manneristic epitaphs originating from the medieval chapel of St. Maternus in St. Elizabeth church. Since 1850 they have been situated at the north aisle of this city parish church in one of the richest chapels which used to belong to the family von Rehdigers auf Striesa (no. XII). These four funerary monuments – Hermann von Mühlpfort and his wife Maria maiden name von Roth (†1606), Fabian Reiff and his wife Hedwig maiden name Greusser (†1555), Matthias Renisch (†1592) and Daniel Kienner (†1610) with his two wives’ – were restored in 2010. The restoration was an occasion to regain their original shapes. As it has occurred, during their transfer from the destroyed St. Maternus chapel their elements were falsely combined and this way hybrid, heterogeneous stylistically and formally monuments, were created. Their present reconstruction (based on iconographic sources, namely Heinrich Mützel’s drawings of 1824, and results of archival queries) has allowed us to perceive them as interesting examples of sculpture in Wrocław in Early Modern times and works by such representative artists of this era as Monogrammist „AW” (Andreas Walther?) or Gerhard Hendrik from Amsterdam. This is how, making corrections after German renovators from the mid 1850s, the precious artistic monuments, traces of the former richness of St. Maternus chapel furnishing, have been restored. This article as well confirms the need of continuous archival search over the inheritance of St. Elizabeth church, but it also expresses deep interest for any renovators‘ actions. As they absolutely have to be consulted with historians of art!

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Nowo odkryte malowidła ścienne w kaplicy św. Anny przy kościele Franciszkanów w Opolu. Cz. I

Author(s): Jacek Witkowski / Language(s): Polish Issue: 1/2012

In 2007 the original ceiling paintings were discovered in St. Anna chapel of the Franciscan church in Opole. Since the second half of the 14th c. the chapel was also a necropolis of the Piasts of Opole. Style of the paintings allows their dating back from the beginning of the 16th c., most certainly from 1509. Mixed plant motives and images of angels playing are accompanied by the main subject of a set of ten (originally twelve) coats of arms. Reading their message reveals close relations between the decoration and Silesian and Central European political machinations of that time, namely between courts of Prague, Buda and Cracow, in which leading persons were involved. Except for a group of Silesian duchies or dukes’ coats of arms there are repeated three times coats of arms of Margrave Georg Hohenzollern on Ansbach and his wife, Croatian Princess Beatrix Frangipan (died in 1510). The idea of the heraldic programme may be summarised as follows: Georg Hohenzollern, as related with ducal houses in Silesia, with Prince John II of Opole in the first place, is predestinated to succeed in the Duchy of Opole, as well as in other duchies belonging to John. Performing of the paintings was thought by Margrave George as a distinct signal for rivals and a pictorial argument for his inheritance, presented in the very heart of the duchy he wanted to gain. Placing this programme in the burial chapel of the Piasts of Opole is also meaningful, as its ceiling, built in the times of Prince John II is decorated by a key-stone with sculpted coat of arms of this Piast branch. After a few years a new ideological programme of painted heraldic decoration directed to the future and continuation was put onto the older symbolic layer of the ceiling with a heraldic sign referring to the past and the memory of ancestors and relatives.

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Artystów irlandzkich ilustracja książkowa dla dzieci

Author(s): Anita Wincencjusz-Patyna / Language(s): Polish Issue: 1/2012

The article resulted from the Trinity Long Room Hub Visiting Research Fellowship in the Arts and Humanities within the project “Children’s Book Illustration in Ireland” carried out at the Trinity College in Dublin in May 2011. It is an outline of history of illustration designed in books for children and younger audience. The history of book illustration in Ireland is not very long as the real beginnings are dated at the 1880s. The author tries to indicate three main streams in graphic design of Irish children’s books. As the first one, somehow most original, comes the Celtic stream deriving from the ideas of Celtic Revival, vivid not only in book illustration till today. The second stream was connected with ideas of Book Beautiful and the realisations show pure art nouveau style. The last one was named Anglo-Saxon realistic-humorous stream. The author casts a glimpse also at contemporary Irish illustration choosing a few well-known and frequently awarded names.

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„Boris Podrecca. Architekt”. Wystawa we wrocławskim Muzeum Architektury

Author(s): Cezary Wąs / Language(s): Polish Issue: 1/2012

The show of Boris Podrecca documents the architect’s oeuvre from the period of almost a quarter of a century of his activity. Beginning with a specific starting point, namely research revision of theory and history of Modernism, the architect took his own peculiar path, beyond any main stream of architecture of the second half of the 20th century, although he was often counted among Post-Modernists. Being far away from the eccentricity of Loos or Plečnik, Podrecca continues their treating architecture as a kind of personal experience of deeply rooted rules of architecture. This approach results in checking trendy contemporary streams in regard of their classical rules and humanistic values.

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Wielki odrzucony. Wystawa „ERNST MAY (1886–1970). Neue Städte auf drei Kontinenten”. Deutsches Architekturmuseum, Frankfurt am Main, 27 VI – 6 XI 2011, od III 2012 we Wrocławiu

Author(s): Agnieszka Zabłocka-Kos / Language(s): Polish Issue: 1/2012

Ernst May (1886-1970), active in Wrocław since 1919, in 1925 left Silesia forever only to develop his activity as one of the leading German Modernists, firstly in Frankfurt am Main, then in Soviet Union and Africa, eventually, since 1954, back in Germany. To celebrate the 125th anniversary of the architect’s birthday an extensive monograph exhibition was held at the Deutsches Architekturmuseum [German Museum of Architecture] in Frankfurt am Main showing all periods of his life and work. The exhibition will soon reach Wrocław, too. This is the third already show dedicated to the architect, whose ideal social housing estates in Frankfurt am Main, with the famous “Frankfurt kitchen”, have become icons of European Modernism. The exhibition has been accompanied by a large German-English catalogue being the first such extensive discussion of the architect’s work and including bibliography. The exhibition was arranged chronologically, its biggest part obviously was dedicated to May’s foremost realisations of Frankfurt housing estates (1925-1930), archival films, including these propagating building with ready prefabricates, were presented. A 1:1 model of “Frankfurt kitchen” was also exposed in this part of the exhibition. The fact of accentuating questions of postwar rebuilding and renovation of these estates is also worth mentioning. The exhibition may be counted among the most interesting presentations of architects from the circle of Neues Bauen shown within the last years in Germany.

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СТВАРАЊЕ ПРВОГ ПРОФЕСИОНАЛНОГ ГЛУМАЧКОГ АНСАМБЛА У БАЊОЈ ЛУЦИ

Author(s): Ljiljana Čekić / Language(s): Bosnian Issue: 20/2020

This paper analyzes founding first professional ensemble of National Theater of the Vrbas Banovina during the time of Kingdom of Yugoslavia and the Aleksandar I Karađorđević’s dictatorship. Different individual biographies caused heterogeneous, aesthetic and qualitative inequality results of the eclectic structure of the troupe. Despite of numerous problems, the ensemble was formed, and its quality developed over time and gained an authentic aesthetic expression of the oldest Krajina Theater. Nine decades of continuous development and growth of this art house is a valid proof of its founders efforts, but also those who continued to strengthen it during the turbulent historical and social circumstances.

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THE ITINERANT PUPPETEERS OF JAPAN: WHAT KIND OF PROJECTION OF THE IMAGINARY IS THERE IN THE PUPPET THEATRE?

Author(s): Rosa Isabella Furnari / Language(s): English Issue: 3/2023

To answer this question, let's examine some theories of anthropomorphism, channeling them as an introduction to anthropological studies on the puppet theatre, in particular the Japanese puppet theatre. Japanese puppets, known as “bunraku theater” were originally tools used in magic rituals not unlike the use of woo doo dolls. In a brief historical excursus involving the use of the human anthropomorphic figure, we examine its archaic origins as a religious idol, proceeding then to insert them into a typical and current animistic panorama of the Japanese archipelago.

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