We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.

Download

Divadlo na Slovensku 1918 (1920) – 1938

Author(s): Dagmar Podmaková / Language(s): Slovak Publication Year: 0

The author describes the origin of the Slovak National Theatre (Slovenské národné divadlo) in Bratislava (1920), the grounds of which were composed of the theatre ensemble from Pardubice led by director Bedřich Jeřábek. The author writes about the quest for the identity of the Slovak professional theatre on the crossroad of different cultures – German, Hungarian, Czech and Slovak. The beginnings of the Slovak National Theatre were marked by the collisions between artistic ambitions (dramaturgy, dramatic art, direction, scenography, the creation of separate Slovak Drama Company of the Slovak National Theatre, 1932) and economic conditions / indicators (private or co-operative capital). Financial problems were seen in the taste and background of theatre-goers. During the first years of its existence, the activity of the Slovak National Theatre in Bratislava was strongly influenced by political and social circumstances which also continued later. Among those was a low interest of the theatre-goers for Slovak theatre performances which started to increase only after some time, especially after Slovak actors joined the ensemble (e.g. Hana Meličková, Ján Borodáč and Oľga Országhová-Borodáčová, Andrej Bagar), and repertoire of higher quality was seen. The last turning point of this era was the forced liquidation of the Czech Drama Company of the Slovak National Theatre in November 1938 which was directly linked to the formation of the Slovak Republic.

More...

0.00 €

Komunističtí intelektuálové a proměna jejich vztahu ke KSČ (1945-1989)

Author(s): Jan Rychlík,Vlasta Jaksicsová,Norbert Kmeť,Jiří Křesťan,David Kovařík,Ján Gavura,Zdeněk Doskočil,Adam Hudek,Jaroslav Pinkas,Petr Kopal,Kamil Činátl / Language(s): Czech

Opravdu se sem těch několik zvláštních bolestných slov na rozloučenou nehodí? Takto přece odcházela ztracená generace mladých, kteří umřeli na válku nemající do té doby v dějinách obdobu. Takto odcházeli i příslušníci dalšího pokolení, jež pohltily flanderské, verdunské, karpatské, tannenburské, piavské mlýnky na maso. Mnozí z těch, kteří přece jen přežili, se v odpovědích na neodbytnou otázku otázek, jak se to mohlo stát, obrátili proti řádu, který ještě nedávno vypadal na civilizační triumf a důstojný život, a teď se jevil téměř jako inspirátor útoku pochybné či zneužité civilizace na lidské žití. Vzplanuly barbussovské ohně hněvu a zároveň touhy, aby bylo jinak.

More...

4.50 €

Wyparte chłopskie korzenie i poszukiwanie szlacheckiego "imaginarium". "W imię Jakuba S." Moniki Strzępki i Pawła Demirskiego

Author(s): Krystyna Berkan / Language(s): Polish Publication Year: 0

The aim of this article is to analyze the drama “In the name of Jakub S.” (“W imię Jakuba S.”) by Paweł Demirski and the performance under the same title, staged in Teatr Dramatyczny in Warsaw in 2011. The artists – the author Paweł Demirski and the director, Monika Strzępka – argued that there exists a parallel between economic serfdom and contemporary capitalist exploitation. At the same time, they criticized the leading historical discourse that focuses on the upper classes (such as nobility). As a counterproposal, they attempted to create a narrative about the subaltern groups, foremostly peasants. They emphasized the significance of events such as the Galician Slaughter (Rabacja Galicyjska) of 1846, during which this social class revealed its agency. I examine if such theses can be considered seriously regarding historical knowledge. An important context to me are the current Polish historical and sociological publications and polemics about the so-called people’s history. At the same time, I ask if the ideas of Strzępka and Demirski were clear for the auditorium and how they corresponded with the viewers’ particular experiences.

More...

4.50 €

Przypominanie-zapominanie. Pięćdziesiąt lat po Marcu 1968

Author(s): Weronika Żyła / Language(s): Polish Publication Year: 0

In this thesis, the author analyses theatre performances about March 1968’s episodes, created in connection with their 50th anniversary. The author chooses two of them: “Sprawiedliwość” directed by Michał Zadara and “Kilka obcych słów po polsku” by Anna Smolar. The main reason, why the author chooses these particular performances, is that both directors are part of the second generation after March ’68. They do not have individual memory of that episodes. Because of that, it was interesting for the author, to explore how both directors explore this subject, how they create the narrative, which strategies they choose to talk about it, and what was their purpose. The author set her research in the field of memory studies and theories conducted by f.e. Aleida Assmann, Marianne Hirsch, and Pierre Nora.

More...

4.50 €

„Teatr z kalendarza”. Dramaturgia spektakli upamiętniających wydarzenia Marca 1968

Author(s): Karolina Kosieradzka / Language(s): Polish Publication Year: 0

Creating performances for the celebration of important events is not a modern invention, but it is an extremely interesting phenomenon due to the ability to respond to the needs of given times, the range of impact (territorial and reception), and usually a short operating time. The fiftieth anniversary of March 1968 was full of performances dealing with the emigration of Polish citizens of Jewish origin who were forced to leave by launching an anti-Semitic campaign. In my paper, I will analyze the dramaturgy of three performances: “A Few Foreign Words in Polish” directed by Anna Smolar with a text by Michał Buszewicz created for a specific production, Michał Zadara's “Justice” as a theatrical investigation into a crime involving “King Oedipus” by Sophocles and “Notes from exile” directed by Magda Umer and adapted from a book by Sabina Baral. Despite the common starting point, which is the theme of the events of March 1968, the aforementioned performances are characterized by a different approach to both the undertaken problem and dramatic solutions. The main concept of the paper is "postmemory", that is the structure of the transfer of trauma between generations, and its subsequent redefinitions. An important issue will also be examining the relationship between memory and history, the function of photography and the principles of building a postmemory archive.

More...

4.50 €

Kobieca fizjologia w dramacie Krzywicka/ Krew Julii Holewińskiej

Author(s): Joanna Tarasińska / Language(s): Polish Publication Year: 0

The female body in Polish culture is still perceived ambiguously. On the one hand, we are dealing with the eroticization or sexualization of female images. A woman is to be an attractive object of desire and at the same time meet a number of requirements regarding her appearance, character and lifestyle. On the other hand, you can hear that you only talk about what is in some way comfortable and aesthetic. It is related to centuries of narrating from a male point of view and perceiving reality through the prism of features or spheres of life commonly associated with the world of men. A breakthrough of a kind in Polish contemporary drama is Julia Holewińska's "Krzywicka/ Krew". Based on the biography of Irena Krzywicka, a writer and promoter of conscious motherhood, contraception and sexual education, the author created a female polyphony that reveals to everyone the female intimacy associated with various types of blood or body transformations. The playwright does not tell the story of Krzywicka directly - the main character can be recognized in the dilemmas of the female characters and the events of their lives. Thus, the work is a strong part of the herstoric trend. It is the perspective of women that is at the fore here - their role in society, perception of their own body, their own sexuality, and a sense of worth. They themselves talk about gender-related issues. Holewińska's drama and its productions (Modrzejewska Theater in Legnica and Horzyca Theater in Toruń) are a commentary on an important social problem - tabooing, among others, physiological processes taking place in the body of a woman, and at the same time give voice to women so that they can talk about themselves without men as intermediaries. That is why it is important to list "Krzywicka/ Krew" among contemporary dramas.

More...

4.50 €

Był sobie Polak, Polak, Polak i wstyd

Author(s): Joanna Adamiec / Language(s): Polish Publication Year: 0

The aim of this article is to pay attention to shame as a key affect in the reception of the performance "There was a Pole, Pole, Pole and a Devil…" by Monika Strzępka and Paweł Demirski. The article investigates what shame is, what is its genesis, types and how the mechanism of making viewers feel ashamed or embarrassed affects the perception of the performance. In article there are examples of emotions akin to shame. It wonders if there are topics that all (or almost all) Poles are ashamed of. In that context author examines the role of the city in which the performance was created against the background of the presented events on the issue of provinces. The article triggers the concept of 'shame pedagogy’. Finally, it proves that shame can be an inclusive, community-creative tool and experiencing a moment of deep embarrassment can have a purifying effect on viewers. Thus, it indicates the positive power of shame that encourages reflection and action.

More...

4.50 €

Poczet Królów Polskich już nie według Jana Matejki. Historia ostatniego „wawelskiego króla” według Krzysztofa Garbaczewskiego

Author(s): Judyta Pogonowicz / Language(s): Polish Publication Year: 0

The aim of the article is to analyze and interpret the performance of Poczet Królów Polskich directed by Krzysztof Garbaczewski. The premiere of the production took place on March 31, 2013 at the Stary Teatr im. Helena Modrzejewska in Krakow. Four authors were responsible for the drama of the performance: Agnieszka Jakimiak, Marcin Cecko, Sigismund Mrex (Sebastian Majewski) and Szczepan Orłowski. Despite this, the script was ready only before the premiere, which clearly shows the characteristics of Garbaczewski's work. The play is based on actors' improvisations, and the artist does not come to the institution with a ready-made project. This type of creative work is still under criticism. It is not surprising then that in 2013 many actors were outraged by the form of work imposed by Garbaczewski. Apart from the media dominating the spectacle - displaying a lively (Auslander 1999) action on a screen that obscured the stage, the content was also controversial for viewers. The cultural text produced by the director plays out Polish myths. The main axis of the action is the microhistory (Domańska 2006) of the last "king" who resided at Wawel. Hans Frank and his wife Maria Brigitte are considered other characters to be included in the King's Mail according to Jan Matejko. The spectacular Hans Frank will try to steal the tapestries and validate his position in the castle by commanding the Nordic roots of the Piasts. It will be hindered by Polish kings who, like in Wyspiański's (Miodońska-Brooks 1985), will come to life to protect Wawel. The artist provokes questions about Polishness and thought patterns about Poland, demands that history be demythised, a change in thinking about national mythology, and encourages reflection on collective memory. By adding the counter-history (Foucault 1998) of the king of the Nordic race, the director unmasks the tracing paper and historical memory that only functions as a dead archive (Taylor 2003).

More...

4.50 €

„Ocalający powrót” – dramaturgia podróży w czasie, przestrzeni i języku w spektaklu Krym Małgorzaty Trajkowskiej i Very Popovej

Author(s): Alicja Barbara Zalewska / Language(s): Polish Publication Year: 0

The article presents the dramaturgic strategies in the play “Crimea” by the Sztuka Nowa Association. The creators – Vera Popova and Małgorzata Trajkowska – take viewers on a journey across and beyond borders, into distant times and the recent past, as well as through language barriers resulting not only from cultural differences, but also from the fundamental difficulty of translating emotional experience into words. Refraining from a political theater, the artists create a play, which deals with the subject of the recent annexation of Crimea by Russia. At the same time, as in the autotheatre Joanna Krakowska’s theory, they talk about their own, intimate experiences related to the trip to the Black Sea coastline. They present a journey that takes place not only in time and space, but also in emotions and experiences of their bodies. Fueled by the beauty in melancholy of Julia Kristeva's theory, the play is at the same time ironically distanced and grotesquely humorous. Numerous postdramatic solutions situate the performance in a historical, sociopolitical, personal, aesthetic and existential narrative at the same time. Physical theater, Popova's and Trajkowska's motherland, is related to body art and dance techniques. Therefore, their art might be analyzed with the Daniel Sibony's idea of dancing between two bodies: one remembering and one present, but also with Dorota Sajewska’s theory of the body as an archive.

More...

Download

NÉZŐPONT-PLURALIZMUS

Author(s): Béla Bíró / Language(s): Hungarian Publication Year: 0

This study superimposes two possible interpretations: the antique and the postmodernist interpretation of the Medeea myth. Besides Aristotle's texts from his Rhetorics the starting points is Euripides' Medeea as it was presented in Sfântu Gheorghe by the Áron Tamási Theatre. In the interpretation of the Romanian director, Mihai Măniuțiu, Euripides' play deepens into an example of the theory of cultural relativism. Confronting Medeea, speaking old Greek (that can be regarded a kind of barbaric language from the point of view of the Hungarian spectator)and the ancient Greeks, Yason, Kreon speaking Hungarian (the mother tongue of the audience but again a kind of barbaric language in the ears of the Romanian people) is a perfect way to illustrate the essential equivalence of the cultures and the absurdity of all nationalistic and ethnocentric ideologies.

More...

4.50 €

Staging Violence in Theatre

Author(s): Gamze Şentürk Tatar / Language(s): English Publication Year: 0

Violence is one of the disturbing phenomena in today’s society. The American political philosopher Hannah Arendt identifies the twentieth century as “a century of violence“ (1970, p. 3). Undoubtedly, violence has increased as a serious and multi-faceted public issue from the past to the present. The World Health Organization [WHO] defines it as “the intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community, that either results in or has a high likelihood of resulting in injury, death, psychological harm, maldevelopment or deprivation” (2002). Violence derives from the Latin word ‘violentia’, meaning ‘use of power’, and it refers to all the actions that endanger the safety of life and existence of all the creatures ranging from living beings to non-living things, which emphasize the irrationality of violence. The Korean-born German philosopher Byung-Chul Han, who explores the historical change of violence from past to present in his book Topology of Violence (2011), points out that “violence is simply protean” (2018, p. vii). In other words, violence, which is encountered in every aspect of life, from public to private, varies depending on social, historical, cultural, and political conditions. Many forms of violence, such as physical violence, economic violence, verbal violence, psychological violence, and symbolic violence, may appear unexpectedly at any time. This disturbing experience in relation to violence threatens the happy and healthy development of peoples’ lives, and unless it is prevented, it continues in unbreakable vicious circles by causing physical, mental, or psychological suffering.

More...

Download

Eugène Ionesco et la philosophie de la lenteur

Author(s): Maria-Luisa Ţuculeanu / Language(s): French Publication Year: 0

The purpose of this study is to explore in general terms the idea of movement and sloweness in Eugène Ionesco’s plays. By researching the connection regarding language, speech and rhythm it becomes evident that the term encompasses various meanings. In this light, we notice that the material objects gaining a life of their own, increasingly overwhelming the characters, are reaching a point where the language is becoming rarefied or marked by repetitions. The concept of movement must thus be seen as a direct consequence of the spoken text or aimless speech, associated with the proliferation theme in Ionesco’s plays.

More...

Download

A HUMOR ÉS JÁTÉKOSSÁG MINT SILVIU PURCĂRETE SZÍNHÁZÁNAK INTERKULTURÁLIS ELEMEI – PÉLDÁKKAL A TEMESVÁRI AZ EMBER TRAGÉDIÁJA RENDEZÉSÉBŐL

Author(s): Pál Böjthe / Language(s): Hungarian Publication Year: 0

Silviu Purcărete’s career as a director began in the 1970s. The first part of his career could not develop to its full potential because of an oppressive political system. After 1989, he had the opportunity to show his work to foreign audiences. The international career has continued since then and has been mostly successful. Thanks to the director’s openness, one of the watchwords of his stage productions in different countries could be interculturality. The main characteristic of Silviu Purcărete’s theatre is variety. To write my paper, I have chosen two of the many options: humour and playfulness.

More...

4.50 €

Актьорът сам на сцената – от текста към образа

Author(s): Joanna Spassova-Dikova / Language(s): Bulgarian Publication Year: 0

The proposed text is dedicated to a phenomenon recently observed on our stages, namely the boom in one-actor performances during and after the COVID-19 pandemic. Various forms of solo performances are explored both historically and as a more contemporary phenomenon. The main factors and reasons for the imposition of this type of performances today are analysed. Attention is focused on the main forms of one-actor theatre, based on specific examples from the perspective of the text-image-spectator relationship in the solo performance

More...

4.50 €

Танцът и музиката в българската драма по библейски сюжети между двете световни войни

Author(s): Marieta Ivanova-Girginova,Elizaria Ruskova / Language(s): Bulgarian Publication Year: 0

The article examines plays based on biblical stories, which have remained outside the canon of Bulgarian drama. The selected texts are from the period between the two world wars. Dance and music are visual and acoustic signs in conveying the characters’ emotional experiences. They become a system for signifying the relationship between man and God, body and soul, a way of communication between visible and invisible, the presence of religious mysticism. Dance and music are part of the modern understanding of t he technique of synthesis in modern Bulgarian drama.

More...

4.50 €

За отношението текст – изображение – текст в представлението

Author(s): Kamelia Nikolova / Language(s): Bulgarian Publication Year: 0

The article explores the image of potential and future performances embedded in the dramatic text and the metamorphoses and transformations that it undergoes on its transition from page to stage. The focus is on a single but very important aspect – the reading of the dramatic text revealed in the director’s explication, i.e. the process of transferring the dramatic text to another written text, which defines the forthcoming performance. Subject of analysis is Krasimir Spasov’s directorial explication for his production of The Dance of Death by August Strindberg at the National Theatre in 1991 and, in particular, the relationship between the two texts

More...

4.50 €

Изображенията на думи в театъра

Author(s): Asen Terziev / Language(s): Bulgarian Publication Year: 0

One of the interesting new phenomena on the theatre stage, which has appeared thanks to technological innovations, is the projection of written text. It is being examined from an artistic point of view with examples from the works of distinguished contemporary theatre figures. The most popular and pragmatic application of the projection of the written text is in the form of theatre surtitles for translation, but often artists make use of its artistic potentiality as an active metacommentary on the scenic action

More...

4.50 €

Пространството – място и територия на образа

Author(s): Petar Denchev / Language(s): Bulgarian Publication Year: 0

The paper examines some general points regarding the place of space and the theatrical image in historical terms, but also as a general principle of functioning through the prism of theatrе directing and contemporary theatrе practice. The paper also analyses some general aspects of the emancipation of theatrical direction and its interrelation with the modeling of images on the territory of theatrе space

More...

4.50 €

Взаимодействия между слово и движение : Прояви на танцовия театър

Author(s): Anelia Yaneva / Language(s): Bulgarian Publication Year: 0

The text explores how speech provokes movement and vice versa, revealing different interactions between them: in the ancient mysteries, when speech and movement mutually reinforce each other; in the first secular ballet works which accumulate their own meanings thanks to the accompaniment of the speech; in Pina Bausch’s Tanztheater and in contemporary manifestations of dance theatrе through combinations of speech and movement, where each seeks its own distinctive meaning, while relying on comparisons with the other. In this context, choreographies of Pina Bausch, Maurice Béjart, and the Bulgarian artists Mariana Kruncheva and Rosen Mihaylov will be analysed

More...

4.50 €

„Пепел и сняг“ на Грегъри Колбърт – преплитане на визия и слово в цвят сепия

Author(s): Margarita Bozhilova-Andonova / Language(s): Bulgarian Publication Year: 0

“Ashes and Snow” is a project of the Canadian photographer and film director Gregory Colbert, in which the art of photography, cinema and literature are intertwined. Where is the intersection between them: in the silence of the sign of the body and the gesture; in the documentary authenticity of the image; or in the poetics of words? Gregory Colbert tells stories through the static in the communication between man and nature; through the documentary nature of the film footage, which is complemented by the exquisite symbolic movements of the dancers and child actors; through his photographs, which lead the audience’s imagination into the field of their own daydreams and associations; through his novella, consisting of 365 letters

More...