O dwóch światach, które istnieją dzięki słowom
5. Międzynarodowy Festiwal Open the Door, Katowice, 19-26 czerwca 2022
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5. Międzynarodowy Festiwal Open the Door, Katowice, 19-26 czerwca 2022
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Teatr im. Stefana Żeromskiego w Kielcach, Nowy Teatr w Warszawie, Teatr Łaźnia Nowa, Międzynarodowy Festiwal Teatralny Boska KomediaWolne ciałakoncept i choreografia: Marta Ziółek, kreacja i performance: Dominika Kimaty, Karolina Kraczkowska, Oskar Malinowski, Aleksandra Osowicz, Gieorgij Puchalski, Ana Szopa, Rob Wasiewicz, perkusja: Bruno Jasieński, muzyka: Lubomir Grzelak, reżyseria światła: Jacqueline Sobiszewski, wizualizacje, rysunki: Rafał Dominik, kostiumy: Marta Szypulska, tekst: Marta Ziółek, Rob Wasiewicz, Andrzej Woźniak, zdjęcia: Witek Orski, wideo i montaż: Adam Zduńczykpremiera: 27 sierpnia 2022Spektakl powstał w ramach projektu „Poszerzanie pola – choreografia w nowym teatrze”, edycja III, kuratorka programu: Joanna Leśnierowska
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Ruhrtriennale Festival der Künste, 11-31 sierpnia 2022 Ich geh unter lauter Schatten (I walk among many shadows)dyrygent: Peter Rundel, reżyseria: Elisabeth Stöppler, dramaturgia: Barbara Eckle A Plot/A Scandalkoncept i choreografia: Ligia Lewis, dramaturgia: Sarah Lewis-Cappellari
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Reactor de creaţie şi experimentDă-te din soarescenariusz: Alexa Băcanu z zespołem, reżyseria: Leta Popescu, scenografia: Mihai Păcurar, kostiumy: Teodora Frîncu; muzyka: Radu Dogar i Adonis Tanțapremiera: 6 września 2021
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Bayreuther Festspiele 2022Richard WagnerTristan i Izoldakierownictwo muzyczne: Markus Poschner, reżyseria: Roland Schwab, scenografia: Piero Vinciquerrapremiera: 25 lipca 2022 Richard Wagner Pierścień Nibelungakierownictwo muzyczne: Cornelius Meister, reżyseria: Valentin Schwab, scenografia: Andrea Cozzipremiera: 26 lipca 2022
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On the occasion of the fiftieth anniversary of the great actress' death Dese Dugalić Nedeljković (1897-1972), unjustly pushed out of theatrical consciousness, this text arose as a resistance to oblivion. She was the queen of the stage in NP in Belgrade for two decades (1921-1944), having performed about a hundred roles in collaboration with about twenty directors (mostly with J. Lj. Rakitin, thirty-three, and with M. Isajlović and J. Kulundžić about ten), writer, whose play "On the Other Shore" was performed in the NP, as well as the author of the first textbook of acting "Elements of Visual Acting" (1935). She spent twenty years abroad and when she returned to Yugoslavia in 1964, Mira Trailović opens the doors of Atelje 212 to her, where she had three theatrical roles and made her film debut at the time. In the rich, diverse literature, we have tried to establish the life story from the document itself, through preserved interviews, numerous theater reviews and period between two worlds war, have left lasting testimonies of her theatrical highlights, and the actors wrote with inspiration, about her, as one of the most gifted and intelligent among themselves.
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The aim of the paper is to provide a reflection on the choreographic practice in the field of dance performance for families in the context of related fields of politicalness, from the perspective of performance as research. The author describes some important moments in the global and Polish cultural policy concerning dance for children and presents an understanding of politicalness after Ana Vujanović and Mark Franko. The text undertakes reflection on the usefulness of the language of posthumanism (Chikako Takeshita, Karen Barad and Donna Haraway) in research into choreography intended for families. The author gives an insight into the creative practice by analysing the dimensions of politicalness in three performances by the Holobiont collective which she co-founded.
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The article addresses the issue of badania artystyczne (BA; literal translation: artistic research) in the field of performing arts, with a particular emphasis on movement, dance, and choreographic practices, and set in the Polish context. The authors aim to identify and describe examples of artistic research processes in the field defined above; to explore the specificity of BA practices and the contexts in which they are realized; to share tools, methods, and knowledge about them at the level of the BA practices themselves and of studies on BA. The paper is divided into five parts: 1) a definition of artistic research; 2) an auto-choreo-ethnographic reflection; 3) a spider-map of BA practices; 4) an in-depth analysis of three artistic research processes (I: Przyszłość Materii (The Future of Matter) byMagdalena Ptasznik; II: Badanie/Produkcja (Research/Production) curated by Maria Stokłosa; III: a continuum of practices by Ania Nowak); 5) ‘interlacing’ – a cross-sectional reflection. The structure of the narrative is based on two orders: a) a textual order – the main axis of the article; b) a graphics-mapping order – a complementary collection of visual textual materials presented on the Research Catalogue platform.
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This article is a self-analytical description of the work of the Laboratorium Teatralno-Społeczne (Social Theatre Laboratory), an artistic collective based in Warsaw. It mainly focuses on the Theatre’s audience/participant involvement strategies and their ways of constructing theatre experiences and telling stories in a participatory style. The author discusses examples of performances, performative actions, ways of creating the dramaturgy and the type of relationships that performers establish with the audience in the work of the Laboratorium Teatralno-Społeczne collective. At the same time, she examines what kinds of challenges are faced by groups and artists who declare their willingness to create participatory art. She seeks to propose interpretative notions for naming and describing these challenges.
More...Research Perspectives on Contemporary Knowledge-Creative Practices of Local Cultures
In this paper, the author attempts to outline the cognitive benefits of studying contemporary knowledge-creative practices of local cultures. She perceives such practices as a response to the demands formulated within decolonial studies and the new humanities to remedy the epistemic injustice typical of the Western world. Beginning with Boaventura de Sousa Santos’s concept of epistemicide and its specific relevance to the Polish cultural context, the author shows how it can be opposed within the framework of various models of situated and relational cognitive practices developed within decolonial, feminist and performance studies. At the same time, she enquires what modifications must be made to these models in the context of Central and Eastern Europe to foster the development of humanities, both locally and in a broader global context. Analyzing the recent performances in the cultural milieu of Upper Silesia and Dąbrowa Basin, i.e., Teatr Śląski (Silesian Theatre) in Katowice, Teatr Korez (Korez Theatre) in Katowice, and Teatr Zagłębia (Zagłębie Theatre) in Sosnowiec, the author proposes her concepts of local knowledge, which she calls ethno-nostalgia and ethno-futurism. She treats them as examples of micro-utopias which can, firstly, have an apotropaic function in the face of contemporary challenges and, secondly, be an alternative to the various versions of ‘folk histories of Poland’ that are currently emerging, and thirdly, develop the idea of pluriversum put forth within decolonial studies. Furthermore, the paper presents the author’s future research agenda at the Laboratory for the Study of Knowledge-Creative Practices of Local Cultures that has been recently opened at the Jagiellonian University.
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The article, which is a revised and expanded version of a chapter of the doctoral dissertation Devising Institutions. Institutional practices in contemporary performing arts, applies institutional critique as a perspective for reflection on modes of production and distribution of the international performing arts circuit. Based on an analysis of hypermobility as the prevailing political condition among artists and artworkers active in this field, the text introduces the notion of situated instituent practices as a tool to reflect those artistic approaches that challenge the prevailing modes of production and distribution. The examples of works by Sarah Vanhee and Benjamin Verdonck are presented as a gesture of ‘active withdrawal’ from the dominating working modes and rhythms that opens up for a political potential of the process of ‘home making’.
More...Censorship as a Mechanism of Local Theatrical Life; the Case of Ula Kijak’s ‘Nieskończona historia’ at Teatr Nowy in Zabrze
The article highlights an attempt at modifying the performance Nieskończona historia (Unfished Story) by Ula Kijak at the Teatr Nowy in Zabrze in 2012 – after a protest by some local Catholic and right-wing activists, and also by the sponsors of the theatre. Jerzy Makselon, the managing director of the theatre, tried to organize a special non-public performance of the play with the Mayor of the City as an expert in order to decide on the future of the performance. The author of the play, Artur Pałyga, declared that the Zabrze case is just the tip of the iceberg because the problem of censorship is very present in Polish theatre, and often generates conflicts between managers and local politicians on the one side and artists on the other side. However, the strategies of censorship and mechanism of power are usually not as apparent as in Zabrze. The research approach applied in the article combines institutional analysis, legal aspects and reflection upon the social significance of the artistic phenomena described.
More...Some remarks on the Warsaw experience in the life and work of Helena Modrzejewska
This article concerns the Warsaw period in the life and work of Helena Modrzejewska. The years 1869-1876 are the least researched and described period in the entire career of this actress. The article refers to Zbigniew Raszewski’s essay ‘Modrzejewska-warszawianka’ (‘Modrzejewska the Varsavian’), debating the significance of the experience of the Krakow theatre in Modrzejewska’s work. In the light of a factual analysis, he presents the actress as a Drama Artist of Warsaw theatres, posing questions about the evaluation of the experience of working on the Warsaw stage in the context of her career. The methodological framework of the article is an attempt to see the principles of realistic idealism, i.e. the model style of the art of acting in the nineteenth century, not only in the actress’s stage performance, but also in social life and the iconographic material based on Jan Mieczkowski’s photographs.
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The subject of our research is the pedagogical work of Hugo Klein at the Faculty of Arts, who was one of the first professors of directing after the Second World War. His students, distinguished directors and professors who were also students in the first three postwar classes talk about Hugo Klein as a professor, man, and artist.
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In this research, we will analyze conflicting and often contradictory aspects of the construction of male identity, as well as the way in which the image of man is determined within cultural forms. This was greatly influenced by socially constructed parameters that limited the representation of masculinity within classical ballet expression. The tabooing of the male body contributed to the sudden disappearance of the male dancer from the ballet stage in a certain historical period. Female domination in classical ballet has contributed to the feminization of this artistic field and the destabilization of male identity on the stage.
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The structure of a theatrical play is based on the principle of horizontality and verticality. The action of Aeschylus' Prometheus in Chains takes place exclusively on the vertical axis, while Sophocles' Oedipus Rex, in addition to the vertical, also has a horizontal structure. Even during the festivals of Dionysus and the Middle Ages, performances took place in the streets and squares. In the contemporary theater, i. e. the modern understanding of theatrical space, Shakespeare's play The Tempest and Romeo and Juliet can be connected with the sculptures of the same name by Milton Hebald, which are located in the open-air theater Delacorte Theater in Central Park in New York.
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The paper discusses the aspects of gestures and facial expressions, body movements and vocal manipulation in one of the stage roles of the actress Kornélia Prielle (1826-1906), the role of Zikka in Dora (V. Sardou). In order to explore the performative dimensions of her stage play, it explores questions such as: in what context does the spy appear on Hungarian stages? How and with what tools did the artist convey the meanings of Dora? What did Prielle’s style of acting mean and what audience needs did it satisfy? The study demonstrates that by transforming the norms of performativity beyond the contemporary pigeonholing of the salon actress, Prielle breaks out of this role type and, by showing the modulations of passion and the suspension of social rules on stage, introduces a style of acting that goes beyond and reinterprets Paulay’s ideal of national theatre realism.
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The study is a tribute to Professor dr Peter Volk, a tireless theatrologist and filmologist, who marked the twentieth and the first decade of the twenty-first century with his work. Born in Bosanski Petrovac on November 9, 1931, he graduated in Yugoslav literature in Zagreb in 1953, and received his doctorate in 1971, at the famous Charles University in Prague, Aesthetics of Modern Animation. His second doctorate was at the faculty of Dramatic Arts in Belgrade, 1985, major work History of Yugoslav Film 1896-1982. He has published numerous theater and film reviews in the magazines Izraz, Kultura, Književnost, Scena, Teatron (co-founder), as well as in the magazines Književne novine (editorial board member), Telegram, Politika, Ilustrovana Politika and others. Professor Petar Volk was one of the most prolific Serbian film and theater historians, whose studies are indispensable for the study of Yugoslav artistic practices. He taught Film History at the FDA and was the boss Departments of Theory and History. He passed away on December 6. 2021, at the age of 91.
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