Five Centuries of Th eatre

Author(s): Tamás Tarján / Language(s): English Publication Year: 0

The start of Hungarian-language theatre is open to debate. Traditionally, it has been considered to begin in 1790. Th e classic three-volume scholarly series Th e History of Hungarian Theatre [Magyar színháztörténet; first volume published in 1990] starts in 1790, but even before 1790, thousands of theatrical performances – or something resembling theatre – took place in Hungary. In the 200 to 250 years before 1790, theatre performances showed signs of aesthetic planning and at least partial institutionalization. Th ey were held in theatres – or places similar to modern theatres, with plans to build proper theatres in the works.

Пять веков театральной игры

Author(s): Tamás Tarján / Language(s): Russian Publication Year: 0

The start of Hungarian-language theatre is open to debate. Traditionally, it has been considered to begin in 1790. Th e classic three-volume scholarly series Th e History of Hungarian Theatre [Magyar színháztörténet; first volume published in 1990] starts in 1790, but even before 1790, thousands of theatrical performances – or something resembling theatre – took place in Hungary. In the 200 to 250 years before 1790, theatre performances showed signs of aesthetic planning and at least partial institutionalization. Th ey were held in theatres – or places similar to modern theatres, with plans to build proper theatres in the works.

Язык наших родных движений

Author(s): Ferenc Novák / Language(s): Russian Publication Year: 0

There are three important branches of Hungarian dance today: classical ballet, folk dance, and contemporary dance, as the independent companies identify themselves these days. We can approach Hungarian dance from several points of view. Th e question can be raised, for instance, whether the little groups that went from castle to castle in the Middle Ages to sing verse chronicles, if included a pantomime artist or dancer, could be considered to be related to the art of dance.

La voix des femmes dans le théâtre français de ontestation sociale au tournant du XXe siècle

Author(s): Tomasz Kaczmarek / Language(s): French Publication Year: 0

Until recently not many people recognize the feminist theater movement existing in the end of the 19th century. For almost a century it was condemned to oblivion for above all political reasons. Most scholars were focused on anarchist male authors while in this the article works of the two feminine authors are analyzed, these include: Vera Starkoff and Nelly Roussel. Starkoff, the Russian Jew, was inspired by Tolstoy, Zola and Ibsen, and wrote the didactic dramas in which she discussed gender inequality between men and women at that time. She in her works seems to be more moderate then Roussel who is more uncompromising in her works. Roussel ridicules canonic values represented by the Roman-Catholic Church enslaving not only women but each individual’s thinking.

Robienie cyrku. Krótka historia zmiany – od rytualnego eksperymentu do eksperymentalnej sztuki

Author(s): Rafał Mielczarek / Language(s): Polish Publication Year: 0

This article is an attempt to analyse the change of the cultural meaning of the circus institution which took place during the long historical process of civilization evolution, affecting Western societies. The category of the sacred, the relation to which determined the cultural meaning of the circus, is crucial for this analysis. The change of meaning began from the original religious sources of the early forms of the games, when the circus was one of the ritual formulas used to celebrate socially significant events, and went through the secularisation of this formula during the domination of Christianity to the stage where the circus became a secular institution of mass entertainment.

Wstęp

Author(s): Zofia Snelewska-Stempień / Language(s): Polish Publication Year: 0

Taniec i ruch jako środek ekspresji Nowego Cyrku. Analiza spektaklu "Dralion" Cirque du Soleil

Author(s): Zofia Snelewska-Stempień / Language(s): Polish Publication Year: 0

The article is an analysis of the performance entitled „Dralion” by Cirque du Soleil. The author locates the circus shows in the context of other performing arts, especially dance and dance theatre, using among others the theories of Richard Schechner and Erving Goffman. Special attention is paid to the performer’s body concerning the works of the following dance researchers: Sondra Horton Fraleigh, Ewa Wycichowska and Dominika Byczkowska. The body is the main instrument, both for the circus artists and for actors or dancers. In all of these arts it is the body that conveys meanings, emotions and reflections. In case of the circus, the body is also the topic itself – the viewers admire its agility and fitness. The work of the circus ‘body masters’ (according to Alessandro Serena’s classification) is based on overcoming its weaknesses and limits, on achieving what seems to be unachievable. However, the New Circus, represented by the Canadian group, uses performer’s body as a means of expression in the way which is close to dance and theatre. Dance is also a way of meanings’ communication – through using and even parodying some traditions and conventions. The performance „Dralion” is, therefore, situated somewhere on the boundary of the circus and dance theatre. The New Circus, combining the elements of the traditional circus, dance theatre and other arts, can be analysed in the context of contemporary tendencies for arts synthesis and aesthetics of stimulation described by Jean-Marie Pradier.

Żywa natura z postronkiem. Szkic o małpach w wiedeńskich cyrkach w XIX wieku

Author(s): Monika Wąsik / Language(s): Polish Publication Year: 0

This article presents the history of performances of trained monkeys in circuses and theaters of Vienna in the nineteenth century. In the 30s in the nineteenth century the monkey shows were in fact one of the greatest attractions of the Vienna circus, which amused not only the audience eager for simple entertainment, but also theater reviewers. Monkeys’ performances – especially when they appeared in costumes and imitated human behavior – aroused no less interest than shows with animals of prey. The popularity of this pastime in Vienna may be proved by the fact that the Prater formed only theaters that specialized in taming these animals. A trained monkey was once even a heroine of one of the plays by Johann Nestroy and in 1836 it appeared on stage in the famous Theater an der Wien.

Dwudziestowieczna awangarda teatralna a cyrk

Author(s): Małgorzata Leyko / Language(s): Polish Publication Year: 0

Initiating the process of theatre revival at the beginning of the 20th century, the reformers of the theatre art drew from many sources. Along with the visual arts, film, avant-garde literature, they also restored the relationship of the theatre with other forms of spectacles, including the circus. Theatre makers used some elements of the circus show to define the theatrical space, composition of the performance, acting techniques and the spectator-viewer relationship anew. The article is a review of the avant-garde theatre practices that refer to the circus. The impact of the circus on the arrangement of theatrical space and the formation of the arena scene has been indicated, for example in Ma XReinhardt’s practice, Walter Gropius and Farkas Molnar’s projects in the Bau haus and in the theatre designed for Meyerhold’s Vsevolod. The circus composition is also seen in the Bauhaus productions, especially in Laszlo Moholy Nagy’s or Futurists’ projects and Erwin Piscator’s revues. On the other hand, the reference to the circus performing techniques can be found in the Bauhaus ‒ especially in Oskar Schlemmer’s production, as well as in Meyerhold’s biomechanics or the reserved acting in the performances by Bertolt Brecht.

„Cyrk jak ta lala”. O lalkach w cyrku i o cyrku z lalkami

Author(s): Maria Janus / Language(s): Polish Publication Year: 0

Puppetry art it is not only a puppet theatre, but also a puppet cabaret, a variété and a puppet circus. The text presents puppet circus performances and circus-inspired puppet theatre shows. It searches for the puppet-inspired elements in nouveau cirque. Moreover, the article also discusses performances made by sculptor Alexander Calder which combine circus inspirations and animated objects. The author tries to explain reasons for preparing puppet circus performances and the use of circus inspirations and aesthetics in theatre performances.

Zdradliwe oblicze klauna – na przykładzie "Mario i czarodziej" Thomasa Manna i "Zwierzeń klowna" Heinricha Bölla

Author(s): Estera Głuszko-Boczoń / Language(s): Polish Publication Year: 0

The aim of this paper is to present a different, unknown side of the clown’s personality. At first sight the character of the clown seems to be unambiguous. He is supposed to entertain the audience, make people laugh and be funny. The clown is not expected to reflect or have wisdom… Therefore, the clown characters presented in T. Mann’s short story „Mario and the Magician” and in H. Boll’s novel „The Clown” seem to be even more interesting. They go far beyond their expected roles, break stereotypes, bring reflection and show the true side of their personality which often turns out to be surprising or even dangerous.

Bliscy czy odlegli? – współczesna recepcja, konstrukcja i dekonstrukcja idei freak show

Author(s): Katarzyna Skręt / Language(s): Polish Publication Year: 0

The author draws attention to the reception of a peculiar body exposed to the show: a living body (which is involved in the shows) and a dead body (which is made available to viewers after death). Such optics determines to take up the subject of transgression and related dualizum of the sacred/profane (within the meaning of Georges Bataille). The author finds an interesting, in her opinion, reception of the idea of freak show in the manifestations of contemporary culture: the dramatic text („Miss Julia Pastrana” by Joanna Gerigk), the cinema („Freaks” by Tom Browning, 1932 and the series „American Horror Story: Freak Show”, 2014) and plastic surgery (body modifications which make people look like ‘freaks’). The analysis of these issues will draw attention to the differences and similarities between ‘ordinary’ people and human curiosities.

Cyrkowy hołd dla X muzy. Cirque du Soleil i spektakl "Iris"

Author(s): Grzegorz Zyzik / Language(s): Polish Publication Year: 0

The aim of the author is to describe the process of transcription of the history of the cinema into the language of the circus. The artists from Cirque du Soleil showed a performance „Iris” inspired by the legendary films such as „Gone with the Wind" and "Titanic”. Combining dance, acrobatics, video, filmed live sequences and animations, the performance takes the audience on a journey through the history of the cinema and a diverse range of film genres, introducing them to the world of filmmaking. Moving from illustration to animation, from the blackand- white picture to color, viewers can follow the construction and deconstruction of the film art as a discipline and a peculiar way of crossing the boundaries of what is possible. The author puts forward a hypothesis that the show Iris aims to evoke feelings that accompanied first cinema viewers. It refers to the nostalgia for the time when the cinema was like a circus. It is worth remembering that the first screenings were of the fair nature, similar to the classic circus. Today both the cinema and circus have the status of art.

Cyrk a współczesne pokazy mody. Inspiracje, transpozycje i specyfika widowiska

Author(s): Maria Ostrowska / Language(s): Polish Publication Year: 0

Fashion shows are presentations of designer clothing collections, originally intended for a selected audience, including journalists, buyers, sponsors and celebrities. Thanks to the potential possibilities created by new technologies, such as online broadcasting or the immediate posting of pictures on the Internet, the contemporary fashion shows are no longer events for a hermetic group related to the fashion industry – they are now becoming extraordinary shows, shocking by the panache of artistic means of expression, their monumental stage designs and their excellent music, which are available to one and all. One of the most significant examples are Victoria’s Secret fashion shows, which have become famous due to their high-budget presentations and have been shaping the pop culture perception of fashion. The brand’s shows, which often draw on elements typical of the circus, clearly stand out against other fashion events. From the very beginning of its existence the circus has fulfilled basic cultural needs, appealed to common tastes and served as simple entertainment – it has always been a typically ludic part of culture. What meanings, from the perspective of anthropology of performances, does the use of the circus features in modern fashion shows convey?

Sztuki widowiskowe, czyli Teatrologia po wrocławsku (z dodatkami)

Author(s): Milan Lesiak,Piotr Rudzki / Language(s): Polish Publication Year: 0

The article, divided into three main parts (and Intro plus Finale), delineates the way in which university theatre science has become the full-time “employee” at the local academy. The authors present theatre science as the platform which has been consequently growing at Wrocław University after the Second World War. The main point focuses on the historical researching of the department, their current workplace. With their co-partners, Milan Lesiak and Piotr Rudzki are building the present form of this university institution, where students can explore and fathom their practical and theoretical abilities. Discussions about the contemporary condition of the theatre are always inspiring and necessary. In a sense, they arrange the mental venue of the exchange of ideas between artists, scientists and mainly students. These discussions also make it possible to bring the theatre back to theatrology, performing arts and dramatics.

Czytanie dramatu

Author(s): Beata Popczyk-Szczęsna / Language(s): Polish Publication Year: 0

The article is a reflection on the currently popular practices of reading drama: public presentations of plays, which are artistic events on the verge of a linguistic performance and a theatrical play. The remarks presented in this text arise from observations of various forms of reading drama. The author points at its significant, processual dimension—it is simultaneously a performance of readers and an event-encounter of a group of people which aims at negotiating meanings of the text and exchanging experiences. The reading of a play initiates the double activity of the speech acts preserved in the text (in the communication schemes of reader—reader and reader—listener); therefore, they may be identified as performance. The simultaneity of the experience of reading and the experience of encounter leads to the creation of a mental and emotional interpretative community of the recipients. Reading drama is one of many examples of various performative practices related to the functioning of the contemporary theatre. These are events symptomatic for our culture, since contemporarily it is the creative process that plays a significant role and not merely the finished artefact. The public reading of a play is an occasion to participate in the spontaneous creation of meanings during the unplanned interpersonal interactions.

Teatr terroru. Rekonesans

Author(s): Jacek Mikołajczyk / Language(s): Polish Publication Year: 0

Terrorism is read as performance mainly from two perspectives. On the one hand, it is understood as a communication process in which the act of violence is not so much an ultimate aim of the terrorist’s activity as a statement, whose “spectacular frame” is to guarantee the effective appearance of the message in the media space. On the other hand, in terrorism one can emphasise the terror itself: the fear-that-cannot-be-overcome, described by some researchers as a proto-theatrical category in a wide cultural context. Both approaches meet in the moment of reflection on the spectacles of terror taking place in the media space. It can be clearly seen on the examples of the September 11 attacks on the World Trade Center and the Pentagon. The author distinguishes five moments—performative aspects which constitute an increasing sequence— in these attacks: from mini-performances staged in the hijacked planes, through the live transmission of the media play connoting a disaster film, private gruesome “performances” of the dying victims of the attacks, and the towers (the symbols of New York) collapsing before the eyes of millions of spectators, to the political campaign: the global performance of power, which is to retain faith of the community members in the effectiveness of its representatives.

Huculski obrzęd weselny jako widowisko kultury ludowej. Między teatrologią a antropologią (kilka uwag poczynionych na marginesie szerszych rozważań)

Author(s): Adriana Świątek / Language(s): Polish Publication Year: 0

This article presents a reflection of the anthropologist studying folk culture representations, trying to explore a question which—despite being age-old—demands reconsideration. The question is: what does it mean today to explore, experience and work through the performances staged in “the reality itself, in life itself.” This text is based on a field study of Hutsul wedding ceremony, conducted by the author in the territory of Western Ukraine for several years. The article is a meta-reflection of a researcher-pilgrim, working in the field of anthropology of experience, looking for the adequate language to describe the form of a spectacle of folk culture, and recognising its structure in verbal-iconic narration and expression. Emphasised in the article, the standpoint of the researcher working in the space of “inter-”—between cultural anthropology, ethnography, folkloristics, and theatre and performing arts studies—moves towards the postulate of multileveled, interdisciplinary dialogue grounded upon teamwork on specific questions from the wide field of cultural representations.

„Ale skąd takie emocje?” Taniec – teatr – przegląd stylów

Author(s): Anna Duda / Language(s): Polish Publication Year: 0

The paper refers to one of the statements of Leszek Bzdyl, director, actor, choreographer, and founder of Dada von Bzdülöw Theatre, in which he called for the creation of “a new body language”—a type of narration which confirms the important role of working with body and movement in Polish theatres. It concerns the work done by choreographers and people who specialise in intense physical training, which is based on not only the techniques of acting, but also various forms of contemporary dance and improvisation. The deepening of the theoretical reflection on the theory of dance and movement in the theatre may not only provide answers to questions about the aesthetics of the contemporary theatre in Poland and provide a reason for increasing interdisciplinary research, but also eliminate or resist unfair stereotypes concerning the environmental image of dancers and choreographers.

Gra z zanikaniem, czyli kłopoty ze scenografią

Author(s): Ewa Dąbek-Derda / Language(s): Polish Publication Year: 0

The part of a scene designer in the process of creating the theatre gradually disappears in both critical-theatrical and historical discourses. The chance to save the memory of it can be found in photography. Meanwhile, photographs— giving people power over the non-real past—are probably the most mysterious objects forming our perception of the world. Inconsistent, pictures are simultaneously objective recordings and personal, subjective testimonies. They are the proofs of not so much that which exists as that which the photographer sees; they record and evaluate the world. While compiling and working on the photographs to the volume entitled Zabawa w teatr (Playing the Theatre) presenting his work, Jerzy Juk Kowarski—a profound Polish scene designer – subjected them to imitation: a process whose aim was to show the recipient such a vision of his co-created mise-en-scènes that was as close as possible to the scene designer’s truth concerning the theatre created by him. Revealing the ideas of the created spaces involved numerous processes conducted on the photographic texts. While these processes sometimes discretely correct the photographic record, in many cases they have a distinct and ostentatious character. Kowarski’s photographic imitations have become a significant argument in the dialogue concerning scenography and photography that documents it.