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Гага език на движение: Въображение и движение в тялото на артиста

Author(s): Yanitsa Shopova / Language(s): English,Bulgarian Issue: 16/2022

The purpose of the manuscript is to serve as a short study on the topic ‘Gaga language of movement: imagination and movement in the artist’s body’. Following the need for a connection between body and consciousness/subconscious, in the proposed analysis the artist’s body is presented as a ‘visual design of the mind’, whose perceptions lead to а different possibilities for allowing imagination in the movement. The fantastic reality that the body can create under the influence of an inspiration is viewed through the prism of experienced bodily ideas, taken and modified by the Israeli dance language of the Gaga movement, which is the work of the choreographer Ohad Naharin. Research on the path of the artist, starting from observation and reaching a possible artistic ingenuity, brought to physical form.

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Изразни средства, подпомагащи изграждането на съвременен танцов спектакъл в сценично пространство

Author(s): Anna Pampoulova / Language(s): English,Bulgarian Issue: 17/2023

In this paper, I will centre my attention on the expressive implements that accompany a dance performance, not as a method of creating an artistic image, but as a means of reaching the desired message – a leading factor for the idea of creating a dance performance. I will trace the relationship between the author`s idea, the interaction between the individual components necessary for the integration of said idea in creating a final stage performance. I consider stage space as one of the primary components for developing the artistic-creative idea, the individual dance approaches and methods, the benefit and meaning of the chosen dance movements. I will look at how movement and dance affect not only the physical level but also the spiritual, and how well-chosen means of expression support these processes.

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Trzy tancerki flamenco – trzy transkulturowe historie. Tożsamość transkulturowa dziesięć lat później

Author(s): Jadwiga Romanowska / Language(s): Polish Issue: 59/2024

This text analyses the explanatory potential of the concept of transcultural identity, in- scribed in the broader framework of terms such as “transculturality” and “transcultura- tion.” The author refers to a study of foreign flamenco dancers in Seville she conducted ten years ago. In the new research, she goes back to three of her respondents to learn about their subsequent transcultural steps. New, in-depth interviews are confronted with the previous research and analysed through the lens of transcultural identity ex- tended by the concept of transcultural capital.

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Türkiye Halk Oyunları Federasyonunun Kurulmasında Dr. Hasan Basri Öngel’in Katkıları

Author(s): Aktan Müge Ercan,Aysu Hançer / Language(s): Turkish Issue: 2/2024

Folk dances are an important art form that reflects the deep-rooted cultural heritage of a society and has a history of thousands of years. These dances are a reflection of traditional dances and rituals from the past to the present and are an important form of expression that shows the values, identity and unity of the society. Institutions such as the Ministry of National Education, Ministry of Culture, General Directorate of Youth and Sports have taken many initiatives to develop Traditional Turkish Folk Dances. One of these initiatives is the establishment of the Turkish Folk Dances Federation. The Turkish Folk Dances Federation is an important organization that was established in 2001 for the purpose of protecting, promoting and developing this valuable heritage and entered into force after being published in the Official Gazette dated 01.02.2003 and numbered 25011. The folk dances federation in Turkey is a sports and cultural organization established to protect the living values of our culture, to transfer them to future generations and to promote them to large masses. While popularizing folk dances through competitions, training activities and rule regulations, it has also promoted unity and solidarity and has done a great job in promoting all kinds of cultural heritage related to folk dances and has made significant contributions to the field of folk dances. During these activities of the Federation, the names of some people came to the forefront. One of these names is Hasan Basri Öngel. Under the leadership of Hasan Basri Öngel, the establishment and progress of the Turkish Folk Dances Federation was supported and strengthened. Hasan Basri Öngel both undertook the founding of the federation and ensured the institutionalization of the federation and the development of Turkish folk dances within the federation through his activities. In this study, the contributions of Hasan Basri Öngel, who is one of the prominent names with his personal contributions during the establishment process of the federation in the early 2000s, to the field will be evaluated.

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Класификация на традиционната китайска народна вокална музика и нейните певчески техники

Author(s): Wang Shuaitong / Language(s): Bulgarian Issue: 1/2023

After Chinese history has experienced ancient, ancient, middle and modern times, in the modern period, various ethnic groups and regions have presented various styles and types of vocal genres and forms. Traditional Chinese national vocal music mainly includes three categories: traditional folk song singing, Chinese folk art forms and opera singing.

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Музикални особености на жанра Ар Жън Джуан в североизточен Китай

Author(s): Li Gen / Language(s): Bulgarian Issue: 1/2023

In the 21st century, with the rapid development of information culture, television and other electronic media are gradually entering people’s lives, which are welcomed by everyone with great enthusiasm. Er ren zhuan is a popular genre of Northeast Chinese folk music and dance, usually performed by a man and a woman, alternating during the performance. This musical art originates from the Manchu-shamanic culture of the Northeast. The lyrics are mostly in the local dialect. In recent years, with the support of famous actor Zhao Bengshan and a number of cultural and music professionals, er ren zhuan has gained great popularity not only in China, but also on the international stage, allowing audiences around the world to experience the unique style and charm of this art. This article examines the origins and artistic characteristics of er ren zhuan, analyzes the relationship between the creation of er ren zhuan and the geographical environment, focuses on its musical characteristics, and explores its development and legacy.

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Identité migrante et ses manifestations discursives dans Trilogia de Marco Micone

Author(s): Witold Wołowski,Renata Jakubczuk / Language(s): French Issue: 1/2024

This article – focused on three plays that make up Marco Micone’s dramatic trilogy (Gens du silence, Addolorata, Déjà l’agonie) – consists of two parts. First, it outlines the historical-political environment of Quebec in the context of immigration and identity issues. Then, the article analyzes some compositional and linguistic aspects – micro- and macrostructural – linked to the migrant identity of the protagonists (monology, adialogism, plurilingualism, metalinguism).

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Leon Schiller’s Theatrical Adaptation of Victory in Lwów

Author(s): Agnieszka Adamowicz-Pośpiech / Language(s): English Issue: XVI/2021

Although Joseph Conrad’s dramatic work is rather limited, he is a writer whose fiction is frequently imbued with theatricality and dramatic irony. He wrote three plays altogether: the one-act One Day More (1905), the two-act Laughing Anne (1922) and a full-length play, The Secret Agent (1922). However, there are also novels of great dramatic potential, for example, Victory or Under Western Eyes, which proved most popular for adaptation. The present paper aims to show how Victory’s dramatic potential was creatively transformed into a theatrical performance by Leon Schiller (1887-1954). Schiller was one the most prominent and influential Polish theatre directors as well as theatre pedagogue and activist, composer, singer, translator, and scriptwriter. He studied philosophy at the Jagiellonian University, next he went to Paris to study at the Sorbonne. When he returned to Poland, he became a theatre critic showing himself an expert on the European theatre. He was employed as artistic director of Teatry Miejskie in Lwów [the Lviv City Theatres] and introduced and developed the idea of monumental theatre that he borrowed from Edward Craig. Victory was chosen by Schiller as the spectacle to inaugurate his new theatrical season in Lviv in 1930.

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Imágenes errantes en dos dramaturgas chilenas: María Asunción Requena e Isidora Aguirre

Author(s): Pía Gutiérrez / Language(s): Spanish Issue: 39/2024

This article reviews two plays, Mi primo Federico (1997) by Isidora Aguirre and Oceánica y dulce Patagonia (2019), a posthumous work by María Asunción Requena. It explores the influence of theatrical and biographical images that intersect with the relationship to Spain. This text initially seeks to establish a network between the two playwrights within their own contexts, and then examines the ‘wandering’ (Quintana) that arises around these images in the poetics of the artists. Finally, the portrayal of female characters and their power to escape in both plays suggests a vanishing point that positions the playwrights within the 20th-century Chilean theatrical scene.

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Nauczanie żywego słowa według Marii Wiercińskiej Publikacje artystki z lat 1935–1938

Author(s): Anna Chojnacka / Language(s): Polish Issue: 2/2024

This article discusses Maria Wiercińska’s publications. The artist abandoned her acting career in the season of 1934/35, and she got qualified to work as a theatre director only after WW2. In the second half of the 1930s, she was occupied exclusively with recitation performances and—with real commitment—to teaching recitation at various levels; this is what all her publications are about. She wrote from a practitioner’s point of view. She distinguished the necessary stages of working on a recitation performance: taking interest, developing understanding, feeling the text, and delivering the presentation, with an emphasis on individual interpretation; the basis was to master enunciation. This was the model she herself adopted in her recitation work, and she proposed it to students of acting, teachers, school and pre- school children. Working with children was particularly important in her view; she believed that teaching recitation not only gives them technique and expressiveness, but also shapes their aesthetic sense and social skills, and develops creativity. The article presents Wiercińska’s program in the context of the development of radio broadcasting, new pedagogical methods, publications for schools, and the popularity of school theatre. It showcases ordinary, under-appreciated work and retrieves an interesting but forgotten artist for theatre history. It thus fits into the framework of revising the dominant narrative of theatre history, focused on canonical titles and names, as well as into the feminist agenda in theatre research.

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Między traumą a resentymentem O pamięci rabacji galicyjskiej i przemocy pańszczyźnianej w dramatach ludowych drugiej połowy XIX wieku

Author(s): Agata Koprowicz / Language(s): Polish Issue: 2/2024

This article discusses the representation of the (absent) memory of the peasant revolution of 1846 and serfdom-related violence in folk drama from the second half of the 19th century. Theatre is understood here as a vehicle of class memory, in particular of the memory of landed gentry and peasants. Two works by two most popular authors of folk drama in this period are analyzed: Chłopi arystokraci (Aristocratic peasants, 1849) by Władysław Ludwik Anczyc and Wspólne winy (Guilty together, 1882) by Jan Kanty Galasiewicz. The former, usually interpreted as a satire on the realities of the countryside after peasant enfranchisement, is read by the author of the article as a reaction to the trauma induced in the landed gentry by the Galician Peasant Uprising and an attempted reconstruction of stable identities that were shaken by this event. The latter, in turn, whose author came from a peasant family, is presented as a treatise on peasant resentment stemming from the violence of serfdom.

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Performer vs. Actor? Grotowski and the Tradition of Italian Theatre

Author(s): Dario Tomasello / Language(s): English Issue: 2/2024

This article is devoted to the provocative proposal of a plausible relationship be- tween Grotowski’s last season (above all his idea of the Performer) and a certain tradition of the Italian actor’s theatre. We understand this relationship and this provocation essentially in terms of micro-theatricality and intra-theatricality. By intra-theatricality we mean that method of composition which is inscribed in the tranches de vie of layered, multi-generational actors, in their ability to reuse exi- stential sequences and to reproduce on stage the complex relational routine that the company represents as a community. Apart from the fact that the distance between the twentieth-century Performer and the traditional Italian actor has often been emphasized, there is something in the traditional profile of the Italian actor that, in the mid-twentieth century, paradoxically coincides with the mission that Grotowski assigns to the Performer. The purpose of this article is to explore these analogies.

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Od antropologii teatru do antropologii lasu O pewnym rozumieniu Teatru Węgajty jako teatru antropologicznego

Author(s): Magdalena Hasiuk / Language(s): Polish Issue: 2/2024

The reference to the anthropological perspective in theatre research and the de- scriptions and definitions of the Węgajty Theatre as an anthropological theatre became the starting point for presenting one of the possible approaches to the company’s work. From the concepts of the social anthropologist Tim Ingold, who has studied the relationship between humans and the environment since the 1990s, three aspects were chosen: “environment,” “landscape,” and “education,” which are particularly important to Erdmute and Wacław Sobaszek. The article is organized around Ingold’s observations concerning “being along the paths,” development taking place “along the lines” of relationships, the environment as “a zone of en- tanglement,” and education which involves “leading novices out” into the world. Searching for a framework for the activity of the Węgajty Theatre, the author draws on the notion of modal anthropology, formulated by François Laplantine in 2005. The founders of the Węgajty Theatre are presented as creators of a new theatre tradition characterized by the perception of theatre as a bio-social process. And since their theatre-within-a-forest today encompasses a network of activities that can be presented as the image of a theatre-forest, it seems justified to turn from theatre anthropology to forest anthropology.

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Brud, czyli o regule geografii Interdyscyplinarnej Placówki Twórczo-Badawczej „Pracownia”

Author(s): Maja Dobiasz-Krysiak / Language(s): Polish Issue: 2/2024

This article is devoted to the analysis of the performative activities of the Interdis- ciplinary Creative Research Center “Pracownia,” which was active in Olsztyn and the region of Warmia at the turn of the 1970s and 1980s. It presents the results of ethnographic and archival research on the traditions of Polish cultural animation understood as research in action and research through art. The organizing category of the text is dirt, understood metaphorically as a continuum of “cleansing” and “making dirty,” characteristic of this group. Starting creative work often required “clearing” the area, but not to get rid of dirt, but to “take it straight into your hands,” get to know it and work with it. Dirt connected the members of “Pracownia” with the soil and land and enabled them to act in accordance with the activist “rule of geography”: rooting and deritualizing. It was the domain of work, it connected them with local people and also allowed them to know themselves better—in hard- ship, in discomfort, in relationships. Dirt knocked them out of mental habits ruts and, increased the critical view of reality—political, social, geographical, focused on concerning the problem of housing. It enhanced bottom-up creativity, enabled the creation of households/clusters that were important and inspired the exchange of ideas. Finally, it is also a subversive action, a shelter, a hiding place— when dirt was used as camouflage and came into played with the environment, allowing the “march through institutions” to create democratic social and cultural organizations.

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Kalevala—Unwritten Fragments by Teatr Węgajty / Field Project: Trevor Hill’s Autoethnographic Narration

Author(s): Magdalena Hasiuk,Trevor Hill / Language(s): English Issue: 2/2024

The text discusses the performance Kalevala The Unwritten Fragments of the Węgajty Theatre / Field Project, which in 2000/2001 opened a new phase in the theatre’s activity. The performance continued the thematic, aesthetic, and method choices of the Węgajty Village Theatre, while also opening new paths of exploration. The group’s work was particularly transformed, and a new quality was brought into its accompanying reflection, by the presence of the actor and anthropologist Trevor Hill. The analysis of Hill’s autoethnographic description of their work on Kalevala allows us to distinguish three dimensions of autoethnography: as an innovative technique of obtaining information, as a research method (analytical autoethnography), and as an indicator of a new paradigm of producing knowledge about social life and its participants (evocative autoethnography).The use of the autoethnographic method in research on the Węgajty Theatre made it possible to access information that is otherwise difficult to obtain, including the actor’s experiences and internal processes.

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Doświadczanie Węgajt: Wielogłos

Author(s): Marzenna Wiśniewska / Language(s): Polish Issue: 2/2024

The article discusses the book Polifonie: Rzecz o pracy twórczej Teatru Węgajty (Polyphonies: The Creative Work of the Węgajty Theatre), edited by Katarzyna Kułakowska and published by the Institute of Art of the Polish Academy of Sciences in 2023. The reviewer analyses the implications of the volume’s research methodo- logies, structure, and the arrangement of contributions within its sections. She also discusses the main thematic areas and specific problems that come to the fore in the course of reading and are especially interesting in the context of contemporary postulates regarding the writing of the history of theatre and institutional critique.

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Characterisation through Linguistic (Im) politeness in A Doll’s House

Author(s): Müjde Demiray,Ömer Şekerci / Language(s): English Issue: 117/2024

Pragmatic aspects of characterisation have currently been of great interest to scholars. Characterisation is a process of introducing characters in a play to the audience by the playwright. It is also an artful attempt to make the audience indulge in the characters’ private or public life. Additionally, characterisation is crucial for a playwright to construct his/her characters with unique and different character traits with whom the audience can easily feel sympathy or empathy. Everyday interactions and dramatic dialogues are full of character faces. Naturally, everyone wants and desires to keep their faces unassailed for smooth interaction and conversation. The paper examines the linguistic strategies of (im)politeness in dramatic text, namely Henrik Ibsen’s A Doll’s House (1879), according to Penelope Brown and Stephen Levinson’s Politeness Theory (PT) and Jonathan Culpeper’s Impoliteness Strategies. This play has been chosen for our analysis because A Doll’s House is one of the masterpieces of Ibsen, known for his social realistic plays. Moreover, it is one of the renowned modern plays depicting strong characterisation. The paper also focuses on analysing the dramatic interactions of the major characters, Nora and Helmer, living in a patriarchy-driven society from a linguistic and discourse-oriented perspective. It also demonstrates that Nora has transformed from a subservient, meek and obedient character to a rebellious and independent one, while Helmer Torvald has become a submissive, tolerant and accepting character.

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Precarity, Hope and Despair in Nadia Fall’s Home

Author(s): Hakan Gültekin / Language(s): English Issue: 119/2024

This paper examines Nadia Fall’s Home (2013), which delves into youth homelessness in London against the backdrop of the UK government’s austerity measures. These measures included budget reductions in education, health, social security, and culture, along with the introduction of ‘Universal Credit’, a new benefit system. Crafted by Nadia Fall, Home offers a paradoxical panorama that draws attention to resilience and despair, sociability and loneliness in an old building housing over 200 young residents. Known for directing plays such as Three Sisters, The Suicide, Dara, and Chewing Gum Dreams at the National Theatre, Nadia Fall has collaborated with major theatre companies including the Bush Theatre, Chichester, and Lyric Hammersmith. Fall, renowned for her directing prowess, has demonstrated her success as a playwright with Home, which she produced based on over thirty hours of interviews with homeless individuals. This research situates Nadia Fall’s play Home within its historical backdrop, seeking to comprehend the historical factors influencing the political circumstances depicted in the play. It aims to grasp the characters’ social class placement by applying Guy Standing’s concept of the precariat. The paper scrutinizes how Home employs hope and despair, along with a utopian socio-economic background, to highlight the unbearable nature of precariousness and homelessness. Additionally, the paper explores the utopian aspiration for an alternative way of life.

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Jean Vilar – életrajz levelek tükrében

Author(s): Dóra Schneller / Language(s): Hungarian Issue: 1/2024

The writer, theatre director and actor Jean Vilar (1912-1971), the founder and director of the Avignon Theatre Festival, was a prominent figure in twentieth-century French theatre. His letters were published in 2023 by Actes Sud. The volume traces Vilar’s career through his letters, from 1943, when he first gained success as a director, until his death in 1971. The professional correspondence also gives the reader an insight into French theatrical and cultural life in the second half of the twentieth century. Dóra Schneller’s review of the book sheds light on how this book paints a more nuanced picture of Vilar.

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Szkéné – a találkozási pont. A Színház a másodikon. Ötvenen a Szkéné 50 évéről c. interjúkötetről

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Szkéné – a találkozási pont. A Színház a másodikon. Ötvenen a Szkéné 50 évéről c. interjúkötetről

Author(s): Apollónia Bilibok / Language(s): Hungarian Issue: 1/2024

The book review presents Tamás Jászay’s book, which includes fifty interviews with people who have had some connection with the Szkéné Theatre over the past half-century, and through them presents the history and significance of this iconic theatre in Budapest. The book is about the Szkéné Theatre as an inspiring host theatre centre, open to new ideas and alternative artistic trends. The review underlines the comprehensive nature of the book, which summarises the experiences, memories and opinions of the interviewees, while providing insights into the functioning of the theatre and its role in society. This diverse volume will be of particular interest to anyone concerned with theatre and cultural life in Budapest and an interest in alternative art movements.

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