Proces twórczy w improwizacji teatralnej z perspektywy retorycznej

Author(s): Agnieszka Budzyńska-Daca,Aleksandra Łukowska / Language(s): Polish Issue: 4/2023

The research subject is the creative process in improvisational theatre. Contemporary improvisational theatre (improv) is a form of theatre in which all or part of what is performed is created spontaneously in front of the audience, without a script or a plan. The plot, dialogues and characters are shaped and acted out simultaneously during the performance. The research focuses on the mechanisms of creating text in front of an audience. The preparation for the analysis were the questionnaire interviews with artists representing three theatre groups, who presented their own intuitions regarding creative invention. Their answers influenced the choice of research methods. To reconstruct the creative process, a critical-rhetorical perspective was adopted (rhetoric is understood here as a generative-inventive method) in its three versions: classical, pentadic and cluster criticism. The analysis included material from the Hurt Luster group’s theatre performance, which was recorded and transcribed. To illustrate the creative process in improv, the article presents an analysis of one scene in order to focus on the process of complex creative motivations of the improvisers. The triangulation of critical and rhetorical methods allowed for an analytical view of the same fragment of the performance, distinguishing in it (1) the cause-and-effect consequences of the creative process, (2) reconstruction of the dramatic situation and (3) reconstruction of associations that had a maieutic function, provoking reactions to verbal and gestural stimuli.

Rola teatru w edukacji 4.0. W stronę kompetencji nie‑cyfrowych

Author(s): Agnieszka Ogonowska / Language(s): Polish Issue: 3/2023

The aim of the article is to show the role of theater in cultural education focused on new media and cyberculture 3.0, mediatized and medialized contemporary theater, and the development of the so‑called key competencies. In addition to digital competencies, which are closely related to the media, soft and transversal competencies play an important role in adaptation and cultural transgression. They are both the final effect (at the higher level of the competency pyramid) and the foundation of all basic forms of learning. Theater performance competencies and theater criticism allow you to develop the competencies necessary for cooperation, communication, and creative activities using digital media, which makes theater education closely related to education through theater. As part of education 4.0, it is worth remembering non‑digital competencies, which are important for the effective use of tools and resources of the digital environment and the very subjective, creative, and participatory cooperation with its other users. In addition, the development of cultural competencies related to and through theater makes it possible to acquire other performance and cognitive competencies related to the social, political, and civic spheres, which proves the performative power of the theater itself and its “tools” or means of expression.

W teatrze 'virtual reality' Krzysztofa Garbaczewskiego

Author(s): Judyta Pogonowicz / Language(s): Polish Issue: 3/2023

The theater of Krzysztof Garbaczewski is filled with media and new technologies. The director creatively uses cameras, screens, and virtual reality. Together with the Dream Adoption Society (DAS) group, which he founded in 2017, Garbaczewski realized intermedial projects. VR and AR have become an integral part or even the entire space of DAS’s and Krzysztof Garbaczewski’s recent performances. The discussed A Midsummer Night’s Dream (2022) was created using VR technology. An actor‑ cyborg appears on stage, experiencing a new reality together with the audience.

Aktor teatralny z perspektywy prawnoautorskiej

Author(s): Aleksandra Bagieńska-Masiota / Language(s): Polish Issue: 3/2023

The article describes a theatre actor from the point of the Act on Copyright and Related Rights using a dogmatic‑legal method consisting of an analysis of Polish law. The theatre actor belongs to the category of performing artists, protected by the construction of the right related to artistic performance. From the point of view of copyright law, all performers are protected in the same way insofar as they artistically perform a work or a work of folk art. However, the paper places particular emphasis on those activities and characteristics of a performer’s performance that relate to the work of a theatre actor. How artistic performance is defined in the 1994 Copyright and Related Rights Act is similar to the way in which a work is defined. Hence, some doctrines describe it using concepts characteristic of works. Such an approach is possible because these concepts are given meaning and adapted to the role played by the performer and artistic performance situated in copyright and related rights. This is the role of an intermediary between the creator of the work and its audience – the public and the viewer.

„Prawdziwym cesarzem cały czas było społeczeństwo”. Sowi dom i jego wizja faszyzmu

Author(s): Agnieszka Urbańczyk / Language(s): Polish Issue: 3/2023

Terrace Dana (twórczyni). 2020–2023. Sowi dom [The Owl House]. USA, Disney Television Animation.

Media i współczesny teatr

Author(s): Agnieszka Ogonowska,Magdalena Grenda,Marek Pieniążek,Sinitta Kazek,Judyta Pogonowicz / Language(s): Polish Issue: 3/2023

Paradoksy kina u schyłku PRL‑u. Kino w cieniu kryzysu

Author(s): Ilona Copik / Language(s): Polish Issue: 3/2023

Technologia jest częścią nas. Z Krzysztofem Garbaczewskim rozmawia Judyta Pogonowicz

Author(s): Judyta Pogonowicz,Krzysztof Garbaczewski / Language(s): Polish Issue: 3/2023

Julie Weitz

Author(s): Agnieszka Ogonowska / Language(s): Polish Issue: 3/2023

Текст – представление

Author(s): Anne Ubersfeld / Language(s): Bulgarian Issue: 32/2024

Ubersfeld begins her book “Reading theatre” by refuting the view of performance as the simple ‘translation’ of a dramatic text, and outlines a much more complex dynamic. She writes about paradoxical nature of theatre, which is both eternal (indefinitely reproducible) and of the instant (never reproduced identically). The first chapter examines the relation text-performance through linguistic and semiotic perspective. The author considers different approaches concerning this relation – assigning privileged status to the text, diminishing its role or its radical rejection; she speaks about risks that lie in refusal to distinguish the domain of the text and the domain of the performance. In this chapter the author starts examining the basic elements of theatrical text and performance, traces out the questions of theatrical sign and communication process in terms of theatrical activity and scrutinizes the phenomenon of denial and theatricalization. She shows how such formal analysis can enrich the work of theatre practitioners, offering a fruitful reading of the symbolic structures of stage space and time.

Предучилищно образование чрез театрално-игрова дейност - теоретични и практически аспекти

Author(s): Viktoriya D. Kovchazova / Language(s): Bulgarian Issue: 1/2023

The contribution presents the meaning and the specific organizational structure of theater-play activity, which combines creativity, interaction and performance. Emphasis is placed on the possibilities of using play theater forms in kindergarten as a strategic advantage and presents their role in the formation of children's personality. Attention is directed to organizational variants of verbal-performing and theatrical activity in kindergarten, which aim to emphasize the educational, training and social role of theatrical-play activity. Theater-game activity is distinguished as an independent type of creative game activity based on its interaction with other types of games. In a pedagogical aspect, one of the most important functions of theater-play activity is educational, because theatrical art in itself, in interaction with play, educates.

Tsuneko Marija Skušek kot posrednica japonske kulture na Slovenskem

Author(s): Aleš Gabrič / Language(s): Slovenian Issue: 1/2024

After moving to Ljubljana in 1920, Tsuneko Kondō Kawase, later officially Marija Skušek, was the first promoter of Japanese culture in Slovenia, and many knew her as the “Ljubljana’s Japanese woman”. She learned Slovenian and lectured on Japan, Japanese women, and Japanese customs in many cities in the 1930s. Cultural institutions representing the Far East would ask her for help. She would lend objects from the collection she and her husband owned for exhibitions and explain the particular features of the exhibits on display. She advised the producers during the preparations for the performance of Puccini’s opera Madama Butterfly in Ljubljana. When representatives from Japan visited Slovenia, Marija Tsuneko Skušek was usually invited as a translator. During the last years of her life, she worked on her domestic collection of mostly Chinese and Japanese artefacts and participated in the preparation of exhibitions in the central Slovenian museums, which opened shortly after her death.

Feminism and Antifeminism in Romanian Theatre Criticism in Interwar Years

Author(s): Miruna Runcan / Language(s): English Issue: 1/2024

In Romania, during the interwar years, it seems that theatre reviews – much like theatre criticism in general, narrowly as it was and sometimes continues to be defined in Romania – was only considered legitimate if signed by men. There were but two timid exceptions, two female voices whose writings were partially recovered as late as 1978-1983 and have been insufficiently explored since: the poet and memoirist Otilia Cazimir, who worked as an inspector for the Ministry of Arts’ Theatre Directorate for a decade, and the aesthetics professor Alice Voinescu. This paper is an attempt to turn the spotlight not onto the two writers’ theatre-related activity, but rather to the way they engaged, in writing or in action, with the thorny issues of feminism. Their opposing standpoints – a feminism of emancipation vs. an anti-feminist type of feminism – still proves emblematic to our day for the specific way in which socio-cultural mentalities and perceptions on women’s condition in 20th-century Romania were preserved; it appears that post-socialist theatre criticism, especially from the decade 2000-2010, coalesced around the same positions.

Утраченная пьеса Достоевского «Борис Годунов» (источники, концепция)

Author(s): Vladimir Aleksandrovich Viktorovich / Language(s): Russian Issue: 1/2024

According to contemporaries, the play “Boris Godunov” was written by Dostoevsky before he began work on the novel “Poor People.” The manuscript of the play is lost. Some assumptions about its composition have been made in the scientific literature, but this article for the first time undertakes a systematic analysis, if possible, of all the alleged sources of the idea, as well as some of its reflections in the writer’s later works. The article examines the situation in Russian historiography and fiction related the coverage of the reign of Boris Godunov and the personality of the tsar himself prior to Dostoevsky’s undertaking of this topic. The key sources for him were the 9 volumes of Karamzin’s “History of the Russian State” and Pushkin’s “Boris Godunov,” which formed the consciousness of the future writer since the times of family readings in his parents’ house. Subsequently, Dostoevsky faced an acute dispute in literature around Karamzin and Pushkin, who declared Godunov guilty of the murder of Tsarevich Dmitry. Their position was supported in the 1830s by the authors of historical dramas V. T. Narezhny, A. S. Khomyakov, and M. E. Lobanov. The historians M. P. Pogodin, N. S. Artsybashev, and A. A. Kraevsky defended Godunov; their point of view was reflected in the dramas of the same Pogodin and G. F. Rosen. F. V. Bulgarin took an ambivalent position in both journalism and prose. Dostoevsky was undoubtedly familiar with Schiller’s printed sketches for the tragedy “Demetrius,” where the figure of Boris Godunov as psychologically complex and ambiguous. The critics of Pushkin’s Boris Godunov N. I. Nadezhdin, N. A. Polevoy, and V. G. Belinsky played a certain role in shaping Dostoevsky’s idea. In “interacting” with them, Dostoevsky obviously developed a new twist in the dramatic plot, which resolved the historians’ dead-end disputes. In his play, which absorbed the dramatic experience of Shakespeare, Racine, Schiller, as well as the historical legends around Alexander I and Napoleon, a version was proposed about Godunov’s indirect guilt in Dmitry’s death and about the hero’s unwavering moral responsibility even for indirect complicity in a crime. This motif was developed in Dostoevsky’s subsequent works, such as “Netochka Nezvanova” (Efimov), “Demons” (Stavrogin), “Brothers Karamazov” (Ivan). It can be stated with a high degree of confidence that the origin of the concept of expanding guilt and responsibility for it occurred in the very first works of the writer — the tragedies “Mary Stuart” and “Boris Godunov.” The author of the article suggests the formation of Dostoevsky’s aesthetics in the context of the development of Russian historical drama.

Müze Ziyaretlerinde Eğitimde Dramanın Kullanımına Yönelik Öğretmen Görüşleri

Author(s): Gökhan Karaosmanoğlu,Filiz Kara Bilgin / Language(s): Turkish Issue: 01/2024

This study investigates the methods and strategies used by 42 teachers during museum visits and their views on the use of drama in education. The interpretative qualitative research design involved online training and organizing a museum trip with students. A form was shared with participants, and 15 filled in, and their responses were analyzed by descriptive analysis. The results showed that participants used art criticism strategies, asking students to define, interpret, and analyze works of art. In addition, it was seen that the participants had used drama strategies such as improvisation, roleplaying, still image, and dramatization, that they took into consideration the developmental characteristics of the students, the course subjects and achievements, and the scope and facilities of the museum while choosing the strategies used. It can also be suggested that the same study can be conducted with teachers from one subject area instead of varying subject areas, or by focusing on a particular method or strategy.

Анализ на идеята на Верди за операта като оръжие на патриотизма

Author(s): Qi Yixuan / Language(s): Bulgarian Issue: 1/2023

In the 19th century, Italy was torn apart by internal contradictions and external threats. The Italian people face the urgent task of achieving national unity and independence. In such a historical setting, the great opera composer Verdi was born, whose operas inspired the patriotic enthusiasm of Italians and sustained their fighting spirit. In this article, an attempt is made to gain a deeper insight into Verdi’s idea of opera as a weapon of patriotism on the example of the Nabucco opera.

Китайската опера – важен независим жанр в семейството на световната опера

Author(s): Zhou Xiangfei / Language(s): Bulgarian Issue: 1/2023

The art of Chinese opera has absorbed the developed compositional techniques and performance methods of European opera, combining them with Chinese folk music and traditional opera music, as well as other elements of musical art with pronounced national characteristics. The development of Chinese opera art is a process that started from scratch, enriching itself to a type of theater characterized by its diversity. Finally, this art formed a unique theoretical opera system established in the world opera scene, becoming an important independent faction in the world opera family.

TEATRUL ȘI CRIZA LUMII MODERNE. DANIEL NIȚOI

Author(s): Sebastian Fitzek / Language(s): Romanian Issue: 2/2023

In The Theatre and the Crisis of the Modern World, Daniel Nițoi critically examines the dynamic relationship between theatre and contemporary socio-cultural changes. The book highlights theatre’s role in reflecting societal transformations and discusses its significance in contemplating morality and collective identity. Nițoi links theatre with human experiences such as happiness and ethics, and critiques the detrimental effects of modern society’s materialism on theatrical art. Additionally, the book evaluates the ethical aspects of technology in theatre, advocating for the revitalization of values to counterbalance the prevailing materialistic culture.

THE CHALLENGE OF POSTHUMANISM AND TRANSHUMANISM IN FRANCESCA TELENTI’S THE UNCANNY VALLEY

Author(s): Khawla Muzahim Ali / Language(s): English Issue: 37/2024

Artificial intelligence (AI) and robotics have transitioned from speculative concepts in science fiction to tangible entities capable of reshaping societal landscapes. The convergence of human and machine realms is increasingly blurred owing to swift technological advancements. Francesca Telenti's theatrical work, "The Uncanny Valley," delves into this complex domain, fostering dialogues on the ethical implications and outcomes associated with the pursuit of posthuman or transhuman futures. This examination inspects the challenges presented by posthumanism and transhumanism as depicted in Telenti's play. The impact of digital technologies on modern artistic expression and cultural creation is indisputable. In the realm of performing arts, technology has significantly altered the interaction with audiences and narrative development, providing a platform for exploring current dramaturgical methods.

Artyfikacja jako innowacyjna metoda aktywizacji twórczej seniorów

Author(s): Jolanta Jastrząb / Language(s): Polish Issue: 2/2023

The end of working life results in social isolation for seniors, which can be compensated by using art therapy, understood as a therapeutic practice. Its development, among other things, is provided by medicine, especially neurology and the results of research into brain ageing. Used for geriatric rehabilitation purposes, it is based on equivalent elements: art and therapy, with the overriding function of the idea as the cause of the work. Artification, on the other hand, understood as a situation or process in which objects not commonly regarded as art are transformed into something similar to art or into something that alludes to artistic ways of thinking and acting, is a more subtle form of working with emotion and perception in older people. These considerations inspired the development of a working method on the interface between (art)therapy and art education. Tested at institutions supporting seniors and people with disabilities (Hospicjum Cordis in Katowice, Hospicjum Dar Serca in Częstochowa), artification became a method aimed at strengthening the creativity and sense of subjectivity of seniors by means of a creative process and involvement in discovering their lives as art. The method was developed by a team of researchers from the Academy of Fine Arts in Katowice and the University of Silesia in Katowice, and the project developed with grant support of the ‘Good Innovations’ programme. The process is depicted in a video accompanying the handbook, enabling therapists to create their own therapeutic plans, inspiring the exploration of their own creativity and that of their clients, targeted at improving selected areas of functioning. Artification is a way of activation that can be applied to different groups. It is also a service based on stimulating the ability to perceive the world spontaneously and creatively.