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Shakespeare’s King Lear is the third book of the new bilingual library "English Poetic Classics" by the East-West Publishing House. The bilingual format of this library provides readers with the opportunity to get deeper into the subtleties of the text regarding some of the most valuable works of English literature by comparing original text and its translation, and also to get into the specifics of poetic translation of classical works. Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving.
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German-language monograph on professional theatre in Brno during the baroque historical period is based on original research of so far unreflected and unpublished archival sources stored in the Brno archives. Thanks to the topic with numerous important overlaps the local history of professional theatre in Brno is included into the large context of Baroque theatre in Central Europe. The Czech edition of the book (2009) was received with enthusiasm in professional circles and superlative reviews in professional journals. The German version comes after repeated requests from foreign experts.
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A biographical analysis of roles played by three great Polish actresses in the times of Polish People’s Republic. Each role is set against broad social, political and cultural background and within appropriate context of artistic work, historical events and social changes. The main research material consists of the reviews of the plays, which are analysed not only with regard to reconstructing the plays and the chosen roles, but also from the perspective of associations, metaphors and contexts used by critics.
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The text is devoted to different strategies of working with texts which belong to the historical and theatrical canon. The point of departure is constituted by the competition “Classics alive” and – in consequence – the understanding of the classics which the competition forced upon theatres and artists; and the attempt to break this traditional frame. Writing for the stage is understood here as a number of interventions – interfering with the text in case of an adaptation; breaking the frame of the production; and as such; entering into a relation with the social reality. The author attempted to demonstrate that an intervention at each of these stages serves; at the end of the day; to broaden the field of play and to break the theatricality; to reveal it as a certain convention. Thus; I write about Forefather’s Eve of Michał Zadara and Radosław Rychcik; Catherine the Great and Towiańczycy. Krolowie Chmur (The Towanians. Cloud Kings) of Jolanta Janiczak and Wiktor Rubin. The most spectacular example of such interventions in the recent times is; naturally; The Curse by Oliver Frljić; the repertoire of textual intervention strategies which resonate into the social reality is; of course; much broader. According to the author; this strategy has the greatest power; allows for responding to the extra-theatrical reality and infects the spectacle with it; but also vice versa – theatrical interventions become a virus released into the social order.
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The article; referring to the reception of The Curse directed by Oliver Frljić and The Painted Bird directed by Maja Kleczewska; constitutes a discussion of ideological debates conducted in the area of culture in Poland. The clash of the conservative and liberal visions of politics resulted here in the so-called “war for culture;” which is particularly apparent in context of institutionalized theatre. The author; relating to the programme declarations of artists; notices that the way in which they treat art is connected with their worldview. It influences not only the formal organization of stages or the content presented there; but also the poetics of spectacle; which results from a particular attitude of artists and organizers of the scenic art towards the theatrical text. In the conservative version; this means being faithful to the author; in the liberal – respecting the performative openness written into the practice of post-dramatic theatre. The author indicates; on the other hand; that the dramatic; colliding different visions; reveals itself at different levels of the spectacle. Realizing the main task of art; i.e. undermining the discourses dominant in the contemporary world; vector narrations collide together diametrically opposed view. Thus they contribute to revealing “the drama of our times” (Theodor Adorno) and dispose of the aesthetic formula of art in favour of engagement. Making use of the dramatic tensions within the portrayed world; as well as between the presented content and the audience’s expectations; they show the possible multiplicity of voices and activate the viewers – they force them to make individual interpretative choices.
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The article constitutes a reflection over the roles and functions of history in the space of contemporary art and theatre. The author asks which strategies and artistic and political practices are involved in constituting history as knowledge and as material for staging (theatrical, social). On the example of the theatrical works of the duo Janiczak-Rubin, and in particular the spectacle Żony stanu, dziwki rewolucji, a może i uczone białogłowy [Stateswomen, Sluts of Revolution, or the Learned Ladies], the author analyses the mechanisms of community building among the audience through the history working on stage.Analyzing the artistic historical montages, found footage films and strategies of writing on theatre and theatrical spectacles, the author describes the models of assembling and deconstructing history in modern discourses and artistic practices. She reflects upon the issue of engaging the audience into public space, the participative role of art and theatre and the alliance of the public life with the theatrical medium. The article also considers the roles and functions of theatre in manipulating national and communal identity, its negotiative power over identity politics.
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The idea of the viewer’s emancipation in theatre is gaining on popularity. Artists make use of the audience’s presence; provoking it to various actions and interactions. In place of the spectacle understood as a text to be read; artists propose an event; characterized by unforeseeable meanings and behaviour; which result from the interaction between the artists and the audience. The viewer is also someone who produces meanings; though his/her level of engagement may differ. In consequence; the course of the spectacle is dependent both on the artists and on the audience’s readiness to engage. This mode of theatre is by Josette Féral named “performative theatre.” Hans-Thies Lehmann; on the other hand; relates the dominance of the performative level of the spectacle to the postdramatic theatre.Wiktor Rubin has for years been consistently including the viewer into the space of play: beginning with his first spectacles which brought him recognition; or at least interest of the critics; to the most recent productions; prepared in cooperation with Jolanta Janiczak. The purpose of the article is the demonstration of the evolution of the director’s strategy in emancipating the viewer; which in this case means provoking his activity; drawing into the plot; and thus assembling him in all manners into the world of the stage. Through the actors’ provocation; The Rubin−Janiczak duo does not only intend to cause consternation and curiosity; but also to invoke on the audience’s part a reflection over various social and political phenomena; to provoke actions which invite various forms of citizen activism.
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In his text, Stanisław Godlewski attempts to answer the two title questions: how theatrical criticism works and how can one make it work? He defines theatrical criticism as any judgment concerning theatre – not only the written one, and turns attention to the problematic nature of theatrical criticism as a source in theatre history. On the one hand, theatrical criticism is a reconstruction of a theatrical work (and thus a kind of performance), and on the other, a subjective recording of the reviewer’s reception. Godlewski analyses the way in which the position of “the review as a witness” can be dangerous in studies on theatre, as theatrical criticism has not only a reconstructive but also a preserving function and contributing to the discussion on theatre may become hermetic. Simultaneously, the author of the article notices that the unobvious narrative-making power of criticism reveals itself in the moment of historical studies, when theatrical criticism becomes a source – it is precisely then, that its use may lead to various, frequently surprising conclusions.
More...Panel dramatopisarzy z udziałem Julii Holewińskiej, Marzeny Sadochy i Artura Pałygi Prowadzenie: Ewa Wąchocka i Aneta Głowacka
The playwright’s panel took place at the Faculty Council Hall of the Department of Philology of the University of Silesia in Katowice as an event accompanying the national academic conference Writing for the Stage – Narrations of Modern Theatre. Among the invited guests were Julia Holewińska, Marzena Sadocha i Artur Pałyga. The audience and the interlocutors were represented by the conference participants and the academic community. The discussion concentrated around the issues connected with contemporary writing for theatre, and it concerned, among different subjects, the role of the theatrical text in the process of creating a stage production, the ways of writing for the stage and the factors determining various authorial strategies. The playwrights attempted to reflect over their own roles as artists, to define their understanding of theatre, which influences the employed artistic strategies and the manner of working with the text. They shared their thoughts on the aesthetic changes in contemporary theatre, where an increasingly greater role is played by fine arts and media and the directors more and more often share the responsibility for the staging with their co-workers. The discussion also raised the motif of dramatic manifestos, which, once published by playwrights as separate texts, are now woven into the works written for the stage.
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The book The Topoi of Performance Art: A Local Perspective (Durieux, HS AICA, 2017) by Suzana Marjanić is a follow-up on the research of performance art from a local perspective, which I sought to integrate in the book The Chronotope of Croatian Performance Art: From Traveleri until Today (Bijeli val Association, Institute of Ethnology and Folklore Research, Školska knjiga, 2014), structured as the first review of the history of performance art in Croatia focusing on the performative energies of individual centres (e.g. Zagreb, Varaždin, Osijek, Dubrovnik, Split, Rijeka, Labin, Pula). By changing the chronotopic perspective to that of motif and subject, in the book The Topoi of Performance Art: A Local Perspective I seek to explore performance art within the framework of its dominant topoi ranging from personal (personal mythologies) to political (criticism of political ethno/myths). While relying on the very political dimension, as the motto of the book I have chosen the statement of Igor Grubić on the occasion of his anonymous individual action Black Peristyle (held in the night between January 10 and 11, 1998), which was the first action and provocation supported by Croatia’s civic initiative of the 1990s and an action of exceptional civic courage. (author) “The edition you are holding in your hands is a different book in terms of content and organisation – many of the texts it contains were written and published following the finalisation of the Chronotope, and focus on specific subjects present in performance art or regard the performance works in relation to other genres and contexts outside or on the margins of that which we conventionally label with the term visual art. The author sovereignly tackles the analysis of the intertwining of performance art and experimental and pop music, performing arts, feminist and environmental activism, struggle for animal and human rights, as well as phenomena such as terrorism, refugee crisis, and other key political and social issues of our time.” (Marko Golub, editor)
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The texts in this book analyze Croatian national theater policy from the 19th century to the present day pointing out the continuity of the ongoing crisis caused by the chronic lack of a strategy for its development and the lagging behind of Croatian theater production in relation to our neighbors and other theater models from the past. Also, some of the texts deal with the development of numerous political systems throughout history and their strong influence on the work of the Croatian National Theater in Zagreb, on festival culture and the positions of key figures from the theater's past and present. It also includes other theater personalities and brings several controversies related to currently important officials and administration holders who have decisively influenced or are influencing the orientation of Croatian cultural and theater policy. This is a book that continues the author's masterful book The State and Its Theater, and it equally articulates her scientific research abilities as well as live public participation and numerous quality contributions in polemics about the fate of Croatian theater today. The book is the result of serious research and a document of the author's professional and public engagement. Snježana Banović is a theatre director, writer and full professor at the Department of Production of the Academy for Dramatic Art in Zagreb. She holds a PhD in Performance Studies from the University of Zagreb. She published four books (State and its Theatre, Theatre of Crisis Official Exit and Theatre for People). Her main interest is in the area of cultural history, cultural management, national theatres, national festivals in the context of cultural policy in Croatia and the EU and most of her work is focused on these topics. She publishes reviews, studies and articles in journals, newspapers and on-line publications and is a member of various Croatian and international cultural associations. She was appointed two times as head of the Cultural Committee for Theatre at the Ministry of Culture of the Republic of Croatia and was Artistic manager for Drama of the Croatian National theatre in Zagreb. As a professor she has been a mentor to numerous students and was leading as well various research projects at the University of Zagreb.
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The thesis aims to map the theater life in Mikulov between the period when the estate belonged to the aristocratic family of the Dietrichsteins until the beginning of the World War II. The large time span of the scope understandably, has its negatives, as it does not allow a more thorough analysis of the Piarist school theatre in Mikulov. On the other hand, it enabled greater heuristic research, the results of which are collected here and offered to the needs of further researchers interested in the history of theater in Moravia and Silesia. The most important period in the history of theater in Mikulov, which currently has a significant overlap to the development of the Central European theater, begins with the era of Cardinal Dietrichstein in the first half of the 17th century, when Mikulov became an important political and cultural-social as well as religious center of Moravia. At that time the oldest castle theater in our territory was built and simultaneously the Piarists arrived, they used the theater as an educative tool. Piarist school theater remained the main mediator in performing arts in the city until the mid-18th century. The peak of the designated period came with the reign of Leopold Josef of Dietrichstein in the turn of the 17th and 18th centuries. Archival materials revealed Leopold as a significant lover of the performing arts, who had been in touch with theater since his childhood, whether at the Jesuit college or during his own activities in the home theater. Later on, he became a supporter of professional theater companies. During his reign, there was a significant heyday of the Piarist school theater, which managed to produce three performances per year. Two synopsis of Piarists’ plays from this period involves an interesting phrase “Nickolspurgerischen Parnasso” which emphasizes the importance of the performing arts in Mikulov together with its position in the contemporary consciousness. The professional traveling theater companies also played an important role in the theatre history of Mikulov. We can trace the presence of these travelling theatre companies from the end of the Thirty Years War. Records concerning their stay in Mikulov are unfortunately very scattered. They can be traced predominantly in the accounting documents of the Dietrichstein family, which proves that their performances had a connection with entertainment of nobility. From the second half of the 18th century, we can also work with requests from the theater directors who intended to perform their plays in the bourg. The Provincial Office, which usually approved these requests, however, did not grant the permission and rather limited the theater productions in the “small” subject towns. In the 19th century, the situation changed and theater companies increasingly appeared in Mikulov. From the second half of the same century, basically every year, unless there was a war or other unfortunate events, the city was visited by theater companies regularly. The repertoire included mostly comedies, farces, magical fable or “singspiele” and later mainly operettas. The repertoire varied according to the new trends stemming mainly from the Viennese theater environment. After the First World War, when the local German population became a minority in the newly established Czechoslovak Republic, the theater companies considered also national defensive and educative role of theater and they performed the dramas of German and Austrian classics. At the beginning of the 19th century the emancipated citizens tried to take over the initiative of the cultural life in Mikulov. At that time, unfortunately, they alluded to the limited possibilities of citizens and also the problem of inadequate facilities. The townspeople could occasionally use the castle areas for musical productions. For the operation the theater it was necessary to have a place with more permanent facilities, where it would be possible to build the stage and store the coulisse and props. Since 1812, the townspeople managed to get an space for the theater in the winter riding hall, but this cooperation lasted only until 1819, when it was (based on complaints) ended by Prince Franz Josef Dietrichstein. The problem of the shortage of suitable premises for holding the cultural and especially theater events in Mikulov continued into the early 20th century. This is a paradox, especially when there had been a piarist theater in the city since 1771, unfortunately it was unused at that time. A city theater that could be used by a professional travelling society did not exist at that time, even though this idea has existed in Mikulov, at least in the second half of the 19th century. There has never arisen any “German House”, where thelocal companies could meet, as was established in the nearby and smaller Valtice and Hustopeče towns. Theater companies and associations used the halls of local inns or a town shooting gallery for their per formances. Probably the most representative theatre scene in the modern history of the town was created in 1914 at the Hotel Rose. Translated text is an initial step for further research, which should facilitate a deeper understanding of Castle Theater, processing history piarist school theater and research theater activities of Leopold Ignác Dietrichstein. The presented study is an initial step for further research, which should help to facilitate a more elaborated understanding of castle theater, processing of the history of the piarist school theater and for a research of theater activities of Leopold Ignác Dietrichstein. These three branches of the research topics, which are mutually intertwined, are currently the most important stages in the theater life of Mikulov. Finally, the research also remains open for the roots of the important theater principal Johann Georg Gettner in Mikulov, whose years spent in Mikulov are still shrouded in mystery.
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Series: Media i Kultura (1), ISSN 2719-9789 The texts composed in the monograph, however different in assumptions, in the adopted methodology, in the choice of (sometimes point) material that has become the basis for the diagnoses, enter into mutual interactions, creating a space for the participation of cultural researches and and cultural practices. The articles collected in the first part of the volume present a variety of conceptualization of cultural texts, recognize moduses and effects of joining its heritage, point out aspects of its co-creation and use, exhibit and critically analyze the variety of ways of participating in culture. The second part of the volume was dominated by reflections on the situation (and transformation) of the subject, culture, its recipients, and finally: the entire humanities in contemporary media reality. The basic context of the phenomena discussed here by the authors is the digital revolution, the effects of which are still not fully perceptible to us. This situation not only forces researchers to develop new tools and methodologies, but also provokes to ask questions about the opportunities and threats posed by new technologies in building (post) human identity, modifying social communication principles and establishing relationships between high and low culture.
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MIKSER, Jelena Veljić i Emil Kovač: Liberalni kult smrti – sloboda da se mre; ŠTRAFTA, Anke Vandereet: No Name Kitchen u susretu sa antimigrantskim trendom u Šidu Nevena N.: Dajte nam azilante – evo vam žandarmerija; ARMATURA, Sonja Sajzor: Položaj trans populacije u klasnoj borbi; ZID, Zoe Gudović: Jukebox
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MIKSER, Tara Rukeci i Galina Maksimović: Suđenje gospodinu Kapitalizmu; CEMENT, Vladimir Bjeličić: Oni žive – a ko su oni?; ŠTRAFTA, Aleksandra Sekulić: Tranzicije – Oberhauzen 2022; VREME SMRTI I RAZONODE, Bojana S. Knežević i Vladimir Bjeličić: Epitaf Prestonici Kulture; ZID, SVI U AKCIJI!
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The edition presents report on the Grand Tour of Johann Christoph and Johann Seyfried Princes of Eggenberg. The journey occurred between 1660 and 1663, the aim was to attend the University of Louvain (Löwen) and then to travel through France and Italy. The report is written in German, it includes a long description of Paris and Italian cities. The introductory essay is written in German, it tells the history of the Eggenberg family and their possessions in Southern Bohemia. It also explains the methods used to finance the Grand Tour. All the explanatory footnotes are also in German. There are also explanatory comments annexed to the report, in which the editors discuss the German language style, the identity of the author, the purpose of the report and the art monuments commented in the report. The e-book does not include pictures.
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The project "EVERYTHING IS VERY NORMAL - DIALOGUE WITHOUT TABOOS." is organized by the Replika Cultural Association and co-financed by the National Cultural Fund Administration - AFCN.
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On Friday, 4 February 1983, spectators gathered for the premiere of Târgu-Mureş National Theatre’s Hungarian department. The performance entitled Egy öngyilkos világa was directed by Dan Alecsandrescu and is based on the drama signed by an autochthonous and even local author, Romulus Guga: Amurgul burghez (The Bourgeois Twilight). The analysis of this theatrical event shows the evolution of the interpretation of the contemporary local drama in the Ceauşescu period. I reviewed the semantic changes of the term, and I examined how they affected the repertoire of the theatre from Târgu-Mureş in that time.
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