Po co nam ta choroba?

Author(s): Jakub Papuczys / Language(s): Polish Issue: 109/110/2012

In his review of Michał Borczuch’s newest play, Hans, Dora and the Wolf, performed at the Polski Theatre in Wrocław (premiere: 9.03.2012), Jakub Papuczys points out that the director has managed, in a subversive way, to “return to Freud.” The show’s creators, avoiding a detailed reconstruction of psychoanalytical theory, treat the three title cases as vivid and vital theatrical stories. By fragmenting these stories and stripping them of chronology and cause-and-effect logic, Borczuch presents material to the viewers which they must interpret for themselves.

Od rekonstrukcji do mistyfikacji i z powrotem

Author(s): Iga Gańczarczyk / Language(s): Polish Issue: 109/110/2012

Iga Gańczarczyk’s text hinges on is a consideration of Krystian Lupa’s play, Factory 2. The author presents and proves the thesis that “in Lupa’s quests […] we can see a new variant of documentary theatre founded on the gesture of constantly negotiating the arrangement of theatrical reality, balanced on the thin, shifting border between what is real and what is fictional.” Gańczarczyk observes, however, that this type of “documentary turn” is still treated with suspicion in Polish theatre. She calls upon a wide range of examples from visual art and literature (primarily the work of Zbigniew Libera and Aneta Grzeszykowska, the books of W.G. Sebald and Georges Perec, and the novels and photographic collages of Ewa Kuryluk), and draws upon a wide theoretical foundation in her analyses.

Przewartościowanie z ducha Wagnera. Z Mariuszem Trelińskim rozmawia Tomasz Cyz

Author(s): Tomasz Cyz / Language(s): Polish Issue: 109/110/2012

Tomasz Cyz talks with Mariusz Treliński about Richard Wagner in the context of his rendering of the Flying Dutchman. Cyz asks the director about grappling with Wagner the genius, with whom the artist has a fairly complex relationship. What seduces him in Wagner, and what he seeks in the composer, is the music of transgression and a new dimension of reality.

SARAJEVSKE UMJETNIČKE PRIREDBE U DRUGOJ POLOVINI OSAMDESETIH

Author(s): Ješa Denegri / Language(s): Bosnian Issue: 01/1998

Wprowadzenie do dramatu bizantyjskiego,

Author(s): Iosif Vivilakis / Language(s): Polish Issue: 02/2007

This lecture starts with a reference to the Byzantine dramatic tradition. The Byzantium, and in particular the church, did not encourage the growth of religious theatre and this is mainly due to theological reasons. During the 15th century, a few years before the end of the Byzantine Empire, the religious theatre of the catholics was characterized as “sect” and “innovation”. They are terms which ostensibly show a theatrophobia, but which are comprehended in the context of the liturgical art of the church and by the study of another view of the world where the catalytic presence of the holy dominates. It is distinctive that only one Byzantine manuscript that emanates from Cyprus gives elements for a theatrical performance of the Passion of the Christ. Nevertheless, some of the researchers tried to apply the conclusions for the religious theatre of the catholic west in the Byzantine culture, attributing to phenomena irrelevant to the stage, the terms “theatre” and “drama”. This study examines the role of theatre in the Byzantium (through the comparison of theatrical experience between west and east) and it negotiates texts and practices that can be considered as belonging to the religious drama, with the literal importance of term: a text with instructions, which is intended to be presented on a stage in front of a crowd.

Schola Teatru Węgajty

Author(s): Monika Paśnik-Petryczenko / Language(s): Polish Issue: 02/2007

The Schola of the Węgajty Theatre, an international company of artists active since 1994, deals with the reconstruction of medieval liturgical drama, research into the tradition of sacral songs and tracing the traditional cultures of assorted regions of Poland and Europe. The author discusses the prime programme premises, repertoire, history, work and composition of the company.

Poszukiwania Gestu – Moje spotkanie z zespołem Scholi Teatru Węgajty

Author(s): Anna Łopatowska / Language(s): Polish Issue: 02/2007

My encounter with the Węgajty Schola. The first presentation of the kudijattam theatre in Gdańsk, initial conversations about eventual cooperation with Wolfgang Niklaus and his company. Some basic information about the kudijattam temple theatre from Kerala. Several remarks about the possible application of original gestures in liturgical drama upon the basis of my acting and theatrical experiences as well as those connected with studies on kudijattam. Select information about the manner in which my imagination created gestures for the needs of the performers from the Schola of the Węgajty Theatre.

Indyjski teatr świątynny i dramat liturgiczny

Author(s): Krzysztof Maria Byrski / Language(s): Polish Issue: 02/2007

The invocation, which preceded my presentation in its last line, calls theatre a sacrifice. What does that mean? Hindus basically have a monistic vision of reality. The entire universe emerged from the One that was at the beginning of time. The most important and characteristic feature of our universe is perception. This is why it is termed – perceptive reality. In order to create such reality the One had to become a perceiving subject and at the same time a perceivable object. It just had to die as the One and had to become many, just for the sake of joy of uniting again. This union can be a joyful experience because the one divides itself also into one who desires and into another one who is desired. While watching this loveable sacrifice for the eyes that theatrical performance is, we emotionally identify ourselves with the process of such unification, follow it and experience the joy of merger into One. The question now has to be answered why can it happen in theatre and why it is so difficult to experience in our daily life? The answer is an emotional distance, which we do not have in our normal life, in which we shun unpleasant experiences and seek only pleasant ones. In theatre we enjoy both of them equally. Why? Because the stage reality is not the proper reality of a hero of a play. It is also not the proper reality of an actor or a spectator. Therefore it is a non-particular reality, which evokes non-particular emotional responses. The Kudiyattam theatre of Kerala by its highly conventionalised form makes it even more striking and by associating it with temple ritual turns theatre into ritual as well.

Brčko – susreti sukobljenih kanona

Author(s): Dragan Komadina / Language(s): Croatian Issue: 16/2013

Brčko već kao administrativna jedinica, dakle, distrikt, postaje izuzetim mjestom nakon sukoba, mjestom u kojemu je on odgođen ili odložen, ono postaje luka (ne)mira. A kao jamci tog (ne)mira pojavljuju se pozorišni/kazališni emisari iz susjedstva – iz Hrvatske, Srbije i Crne Gore. Tako je regionalna selekcija za koju se dodjeljuje Grand Prix festivala postala svojevrsni ekvivalent supotpisnicama Daytonskog sporazuma, pa Susreti postaju kazališna imitacija daytonske zbilje. Ako je svijet po Baudrillardu u hiperstvarnosti, u svojevrsnoj simulaciji zbilje, onda je život festivalskih Susreta u Brčkom vrhunac predmodernističkih imitacija kazalištem u postmodernističkoj zemlji par excellence. Predmodernističkih jer je kazalište i u postdaytonskoj BiH ustanova organizirana s ciljem podržavanja dominantne ideologije – u troetničkom ključu to implicira i tri društva u kojima je teatar oruđe u dovršetku formiranja nacionalnih kanona

Lächelnde Zeitgenossen und vergrabene Seelen: Die deutsche Einheit und der Alltag in der DDR im Spielfilm - eine Bilanz zehn Jahre nach der Wende

Author(s): Wolfgang Döbber / Language(s): German Issue: 03-04/2000

MOTIVE BIBLICE ÎN DRAMATURGIA LUI VALERIU ŢURCANU

Author(s): Maria Mîţu / Language(s): Romanian Issue: 1/2010

The first reading emphasizes a particular trait that raises the dramatic creation of Valeriu Turcanu to a distinct dimension compared to other Romanian dramatic texts. The defining attribute that characterizes his works is the biblical motif.

Dziury w niebie

Author(s): Agnieszka Goławska / Language(s): Polish Issue: 683/2012

Polityka w muzeum

Author(s): Jacek Maj,Piotr Piotrowski / Language(s): Polish Issue: 683/2012

Krytyczne ostrze sztuki

Author(s): Piotr Kosiewski / Language(s): Polish Issue: 683/2012

Hét színházi est

Author(s): Andor Horváth / Language(s): Hungarian Issue: 02/2011

This article contains seven reviews about the festival named Interferences in Cluj-Napoca in 2010. Different national ensembles showed new perspectives, and moved away from the traditional viewpoints. We can find dance theatre in Beckett’s style, drama of Pyramus and Thisbe, four types or Cyrano de Bergerac’s prose redesigned to dramaon the list of theatrical plays. According to the article’s author, the dramas analyzed the function of theatre, the relation between the world and theatre, a philosophical question of vital importance, or simply discussed a new social problem dressed in a robe of 17th century.

Politikum és esztétikum

Author(s): József Koto / Language(s): Hungarian Issue: 02/2011

This article discusses the fight between (theatrical) art and totalitarianism of Romanian communism. From 1971 onward, culture belonged to the system of command authority. During this period, artists searched for artistic freedom, free thinking, and inquired about people’s personality who live in absolute authority and an immoral age. The censors realized that the text and the acting were not the same, so they controlled all the performances. In spite of it, the theatrical culture was a forum which confronted dictatorship. The Transylvanian director György Harag represented the Hungarian theatre in Cluj-Napoca, his main stage effect was the play with spaces. György Harag and the drama writer András Sütő showed how to make a connection between the aesthetics and the politics.

A színház és a szavak 1. (Mozgó könyv)

Author(s): Andrea Zsigmond / Language(s): Hungarian Issue: 02/2011

This review is a subjective listing of Hungarian and Transylvanian festivals with critical notes by the author.

A másik bábszínház

Author(s): Olga Levitan / Language(s): Hungarian Issue: 3/1992

Pravi junak ne umire lako

Author(s): Mladen Kristić / Language(s): Croatian Issue: 12/1995

Montesquieu i Machiavelli - Razgovor na onome svijetu

Author(s): Maurice Joly / Language(s): Croatian Issue: 12/1995