Academic literature on the topic 'Polish Art Theatre'
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Journal articles on the topic "Polish Art Theatre"
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Howard, Tony, and Tomasz Łubienski. "The Theatres of Józef Szajna." New Theatre Quarterly 5, no. 19 (1989): 240–63. http://dx.doi.org/10.1017/s0266464x00003328.
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In the summer of 1988 two events focused British attention on the great Polish scenographer Józef Szajna: he participated in an ambitious seminar at the Young Vic on the legacy of the absurd, and in a BBC documentary on the art produced by holocaust victims and survivors. After the war, Szajna emerged as a central figure for Polish theatre and then for the international avant-garde. He became a stage designer, sculptor, director, environmental artist, manager, scenarist and teacher. In the 1970s, Szajna created his famous series of dramatic ‘open theatre’ spectacles inspired by the lives and art of Witkiewicz, Dante, Cervantes, Mayakovsky - and Szajna. For Józef Szajna's biography has been extraordinary, harrowing, and iconic. His work has questioned the functions of theatre after Auschwitz and Hiroshima. In his Warsaw flat-cum-studio and at the Studio Theatre, he surveyed forty years of work for New Theatre Quarterly, in conversation with the playwright Tomasz Lubienski - from a more literary theatrical tradition - and with Tony Howard, who here compiles a collage portrait of his career. The translations are by Barbara Plebanek.
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Waszkiel,, Marek. "The Director in Puppet Theatre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 180–88. http://dx.doi.org/10.34064/khnum1-51.10.
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In the Polish theatre of the second half of the 20th century, and it seems that also in that of the first quarter of the 21st century, the most important person is the director. Was it always so that puppet theatre equals the director? So, the objectives of this study to determine this problem. It was only in the 20th century, beginning with the period of the great reform of theatre, that the director was given unlimited competencies. In puppet theatre this process took much longer, because the classical style of theatre organization, derived from unaccompanied and private enterprises of particular creators, also endured for longer. This profession was slow in developing. Today, it is the director that rules supreme in a puppet theatre. But we are still taking about directorial space delineated a few decades ago. In practice, Polish directors are still convinced today that theatre is intended to tell stories. This process eliminates puppetry as an independently existing art based primarily on the abilities of the craftsmen; on the miracle of animating a lifeless object, a puppet, whose magical life has so much to offer the spectators. On the contrary, axis of this process stand the artists who see the meaning of their theatrical expression in bring lifeless matter to life. This – when puppet theatre is, after all, a show; it is visual art in motion, not storytelling.
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Kantor, Tadeusz. "Art Is a Kind of Exhibitionism." New Theatre Quarterly 6, no. 21 (1990): 64–69. http://dx.doi.org/10.1017/s0266464x00003985.
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Although now in his seventy-fifth year, the Polish director and artist Tadeusz Kantor is still regarded in the west as a startlingly experimental director, in the bleak, highly personal mould that has marked his work since the creation of the Cricot 2 Theatre in 1955. Such productions as The Water Hen, The Dead Class, Wielopole, Wielopole, and Let the Artists Die have earned him a strong cult following, but he has rarely chosen to explain his views and approach to theatre in the discursive form of an interview. We are therefore particularly pleased to be able to print here a translation of an interview which first appeared in the journal Polityka, No. 39 (November 1988), which took place during the visit of Kantor's most recent work, I Shall Never Return, to New York earlier in the same year. The translation is by Piotr Kutriwczak.
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Prykowska-Michalak, Karolina. "Teatr niemiecki i teatr polski w początkowym okresie transformacji ustrojowej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 25–35. http://dx.doi.org/10.19195/2353-8546.4.3.
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German and Polish theatre in the initial period of the political transformation.During the first theatre seasons of the nineties, German drama focused on the analysis of the social traumas following the fall of the Berlin Wall, German reunification and perestroika. However, it soon became apparent that the theatre was not able to keep pace with the political changes of the times, and it failed to do justice to their internal complications and discrepancies.The fascination with the new dramatic scenic forms originating in Germany, which could be observed in Poland in the second half of the nineties, had nothing to do with the so-called reunification drama. It more likely resulted from its fiasco and the adoption of new aesthetics and communication methods. The strengthening relation of the German and Polish theatre, i.e. joint festivals, inspired those Polish artists who sought for a new scenic language and transposed the German theatre experience into their own plays in a creative way. The scale of this movement was so extensive that it could be described as a kind of phenomenon in modern art and in relations between Poland and Germany.Das deutsche und das polnische Theater in der Anfangszeit der Systemtransformation.Die politischen Transformationen `89 hatten großen Einfluss auf die Veränderungen in Kunst und Kultur, und zwar nicht nur mit Bezug auf Deutschland und Polen, sondern vielmehr in weiten Teilen Ost- und Mittel-Osteuropas. Die deutsche Dramaturgie konzentrierte sich in den ersten Theatersaisons der 90er Jahre vorwiegend auf die Verarbeitung der aus dem Mauerfall, der Wiedervereinigung Deutschlands sowie der Perestroika resultierenden gesellschaftlichen Veränderungen in Kultur- und Künstlerkreisen wird auch ein traumatischer Zustand betont. Es zeigte sich jedoch schnell, dass das Theater weder mit dem Tempo der politischen Ereignisse mithalten noch ihren inneren Verwicklungen und Widersprüchen gerecht werden konnte. Die in Polen seit Ende der 90er Jahre beobachtete Faszination von neuen dramatisch-schauspielerischen Formen aus Deutschland hatte nichts mit der sogenannten Dramaturgie der Wiedervereinigung zu tun. Sie entstand vielmehr aus deren Misslingen und der Aufnahme einer neuen Ästhetik bzw. neuen Kommunikationsmethoden. Die immer enger werdenden Kontakte zwischen dem deutschen und dem polnischen Theater z. B. über gemeinsame Festivals wurden zur Inspiration für polnische Kunstschaffende, die eine neue szenische Sprache suchten und ihre Erfahrungen mit dem deutschen Theater kreativ in eigene Inszenierungen transponierten. Die Verbreitung dieser Erscheinung war so weitreichend, dass von einem Phänomen in der zeitgenössischen Kunst sowie den künstlerischen Beziehungen zwischen Polen und Deutschland gesprochen werden kann.
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Grzelak, Olga. "Theatre Photography as a Counterfactual Representation of Aesthetic Reality." Art History & Criticism 14, no. 1 (2018): 62–73. http://dx.doi.org/10.2478/mik-2018-0006.
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Summary The article is an attempt at applying the concept of counterfactuality, typically employed with reference to narrative forms, to the analysis of visual culture, particularly to theatre photography. The material for case studies is provided by the works of Polish photographers who redefine the function of this form of photography. Typically, photography is seen by theatre historians as the prime form of theatre documentation, and therefore treated as subservient to the needs of theatre studies as an academic discipline. Contrary to that, the photographic projects analysed in the present paper (particularly those of Ryszard Kornecki and Magda Hueckel), although made in theatre during performances, have been produced and distributed as autonomous art forms which neither represent nor document theatre productions. In the analysis of these projects, I employ Margaret Olin’s concept of “performative index”, which describes the relationship between the image and the viewer as a dynamic creation of meaning. With reference to this theoretical framework, I argue that counterfactuality of theatre photography is a strategy of turning this medium into an autonomous form of art.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Komorowski, Jaroslaw. "Shakespeare and the Birth of Polish Romanticism: Vilna 1786–1846." Theatre Research International 21, no. 2 (1996): 141–46. http://dx.doi.org/10.1017/s0307883300014723.
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The first phase of a long and complex process of the Polish reception of William Shakespeare's oeuvre ended in the middle of the nineteenth century with the popularization of new translations and the gradual elimination of French and German classicist adaptations. Vilna, vital centre of Polish culture, science and art, was the birthplace of Polish Romanticism and a hotbed of theatrical innovation. Vilna was also, at the turn of the eighteenth century, the capital of the Grand Duchy of Lithuania, and one of the major cities of the Polish-Lithuanian Commonwealth. The school stage of Vilna Academy, established by Stefan Batory in 1578, had been active since 1582. In 1639, English actors belonging to Robert Archer's company may have visited the town; though the performances planned by King Wladyslaw IV did not take place. A permanent professional theatre was opened in 1785, when Wojciech Boguslawski, the greatest personality of the theatre of the Polish Enlightenment, came up from Warsaw with his troupe.
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Pollastrelli, Carla. "‘Art as Vehicle’: Grotowski in Pontedera." New Theatre Quarterly 25, no. 4 (2009): 333–35. http://dx.doi.org/10.1017/s0266464x09000621.
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In this testimony, Carla Pollastrelli charts the main stages leading to Grotowski's settlement in Pontedera in Italy and to the creation of the Workcenter of Jerzy Grotowski. As the Year of Grotowski, supported by UNESCO, draws to a close, her words provide a fitting tribute to a man whose influence has surpassed all geographical boundaries, whether those of his native Poland, adoptive Italy, or place of temporary refuge, the United States. Carla Pollastrelli is the co-director of the Fondazione Pontedera Teatro. Pontedera Teatro. From 1986 to 2000 she was an executive of the Workcenter of Jerzy Grotowski, which in 1996 was renamed the Workcenter of Jerzy Grotowski and Thomas Richards. She has edited translations of Grotowski's texts in Polish into Italian since 1978, and is the co-editor with Ludwig Flaszen of Il Teatr Laboratorium di Jerzy Grotowski, 1959–1969: testi e materiali di Jerzy Grotowski e Ludwik Flaszen con uno scritto di Eugenio Barba (Jerzy Grotowski's Laboratory Theatre, 1959–1969: Jerzy Grotowski and Ludwig Flaszen's Texts and Materials and a Text by Eugenio Barba (Fondazione Pontedera Teatro, 2001; second edition, La Casa Usher, 2007) and the collection of Grotowski's texts, Holiday e teatro delle fonti (Holiday and the Theatre of Sources, La Casa Usher, 2006).
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Łubieniewska, Ewa. "Portret „teatrała”. Tadeusz Kudliński – krytyk..." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 104–12. http://dx.doi.org/10.24917/20811853.18.8.
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Tadeusz Kudliński remained in the memory of Cracovians, above all, as a theatre critic and the author of books dedicated to this topic, which have been republished many times. Serving the function of an educational mission, they combined a harmonious perspective of a historian, researcher, critic, polemicist and apologist, who was also a great story-teller. The role of a ‘theatre man’, which he assumed, also included contacts with amateur theatre, discussions with audience and cooperation with the Theatre Lovers Club. Views on art which had clashed in the preceding century, were clearly reflected in the monographs and collections of reviews written by the author, for whom the history of the theatre was, in fact, the history of drama. For years, Kudliński consistently carried out his ‘theatre lesson’. It revolved around numerous issues – from the description of various theatrical aesthetics, through the search for ‘a Polish style’ of performance, to the characterisation of experimental groups (e.g. Grotowski’s or student theatre). The critic placed experiment on the side of cultural life, on no account in the popular theatre, therefore, he criticised all Polish directors from the second half of the 20th century who staged ‘experimentally’, especially classics. Being a traditionalist and a supporter of theatrical illusion, he attacked Brecht’s model of epic performance, glorifying ”the process of actor transformation”, although he emphasised that it doesn’t have to ”concern only reality.” He provoked, irritated – and taught, which can be confirmed by the fact that his books about theatre are still widely read nowadays.
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Tomaszewska, Ewa, and Marzenna Wiśniewska. "Kronika życia i twórczości Jana Dormana (1912–1986)." Pamiętnik Teatralny 68, no. 3-4 (2019): 13–140. http://dx.doi.org/10.36744/pt.9.
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Jan Dorman (b. Dębowa Góra, now Sosnowiec, 1912–d. Będzin, 1986) was a teacher, director, stage designer, author of texts for theatre, founder of the Experimental Child’s Theatre (ETD) in Sosnowiec (1945–1951) and The Children of Zagłębie’s Theatre (TDZ) in Będzin, which has been named after him (1951–1977), lecturer at the Faculty of Puppetry in Wrocław, Branch of the State Academic School of Theatre (PWST) in Krakow, now Stanisław Wyspiański Academy of Theatre Arts (1978–1986), promoter of culture in Będzin. His theatre practice situated itself between children’s theatre, young spectator’s theatre, puppet theatre, avant-garde art theatre and experiments close to the happening. Dorman’s performances were presented at many festivals internationally; the work of TDZ that he directed represented Poland at the International Exhibition of Stage Design in Amiens, France (1969). Dorman wrote and adapted texts for theatre, composed and selected music, designed the sets (along with his son, Jacek), initiated the “Herody” review of folk productions, maintained extensive contacts with Polish and foreign theatre communities, contributed regularly to theatre magazines (including Scena, Teatr Lalek, Teatr), and he published his book Children Playing at Theatre. Throughout his life, Dorman recorded his practice through meticulously produced archival documentation.
Dissertations / Theses on the topic "Polish Art Theatre"
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Bednarska, Grazyna. "Reduta - Le théâtre d'art en Pologne." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA001.
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Cette étude est consacrée au parcours créatif du Théâtre d'Art Polonais. Il m'a paru utile de faire des recherches sur l'origine de ce théâtre, sur les sources de son inspiration et son activité. J'appuierai mes constatations sur des citations de théoriciens, ainsi que sur des écrits des créateurs et autres interprètes de Reduta. J'aimerai présenter les créateurs du Théâtre d'Art en Pologne, leur parcours créatif dans le contexte socioculturel de l'époque, leurs réalisations en collaboration avec les auteurs des pièces présentées et leurs relations avec tous les participants à la création scénique. Un point important de mon travail consiste à retrouver et à classifier les éléments caractéristiques des représentations scéniques. On peut constater que les conditions et les circonstances assez spécifiques du travail créatif de Reduta ont donné une existence autonome et unique aux oeuvres présentées. Un examen approfondi de documents et d'articles, conjointement à l'étude de l'iconographie permettra de dégager les caractéristiques principales des ouvrages analysés et présentés et de définir leur structure. Mon objectif est d‟arriver à faire une synthèse permettant de définir l'esthétique et la spécificité des créations théâtrales du Théâtre d'Art Polonais. Je ferai donc la description des quatre périodes caractéristiques de l'activité de Reduta : la Première Reduta Varsovienne (1919-1925), Reduta à Vilnius (1925-1930) et la Deuxième Reduta Varsovienne (1930-1939), la Quatrième Reduta (1939-1946). Enfin, je situerai ce théâtre dans un courant européen de renouveau artistique en précisant les voies de son évolution à travers une multitude d'évènements artistiques, en montrant ses aspects innovateurs et ses transformations au cours de la longue période de son existence<br>I devote my studies to the creative activities of the Polish Art Theatre, called Reduta, against the background of general European culture. I would like to focus on searching for the sources of this theatre, on all aspects which provided its inspiration and paved the way for creative action. I will base many of my reflections on the theories and quotations of the theorists of this theatre, as well as on the thoughts of its creators expressed in many works, as for example in memoirs or letters addressed to their closest associates. I would like to present the creators of the Polish Art Theatre such as Juliusz Osterwa and Mieczysław Limanowski, in order to indicate certain aspects of their private lives, their artistic ambitions, their memoirs, their theoretical work, their road and their aspirations for excellence in the theatrical domain, most fully expressed in the innovative directing and acting aspects of the artistic creations presented, based on naturalness and direct contact with the spectator. Therefore, one very important element of my study will be to determine the character of the work for this theatre and the participation of the entire theatrical team, both acting and technical, in the creation of a given show. The methodology of acting work introduced by Mieczysław Limanowski and Juliusz Osterwa was very significant in the artistic development of an actor, his means of presentation, the shaping of his creative personality. I would like to analyze and indicate three major periods in the existence of the Polish Art Theatre
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Chen, Si. "Entrepreneurial Programming Through Partnership: A Case Study of a Multimedia Performance and Interdisciplinary Arts Making by Shadowbox Live and the Columbus Museum of Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460719553.
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Erlander, Lillemor. "Om Jean Louis Desprez’ teaterdekorationer och Gustaf III:s kulturpolitik." Thesis, Linköping University, Department of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-20645.
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<p>Inbjuden av Gustaf III, den franska teaterdekoratören, konstnären och arkitekten Louis Jean Desprez, i Sverige 1784-1804, förnyade teaterdekorationen på Operan. Genom att analysera Desprez’ teaterdekorationer med inspiration från de abstrakta konstnärerna Mondrian, Malevich och Rothko, utvecklar uppsatsen ett nytt tolkningssystem som tillsammans med traditionell tolkning innebär en djupare tolkningsmetod. Detta visar att Desprez’ teaterdekorationer var viktiga för Gustaf III:s kulturpolitik</p><br><p>Invited by king Gustaf III, the French artist stage painter Louis Jean Desprez, in Sweden 1784-1804, renewed Opera stage painting.Lillemor Erlander1Inspired by abstract artists Mondrian, Malevich and Rothko, in analyzing the stage painting of Desprez, this paper develops a new system of interpretation which together with traditional interpretation signifies a new deeper method of interpretation. This shows that the stage painting of Desprez was of importance to the cultural policy of Gustaf III.</p>
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White, Jason C. "Addressing the Poor Professional Outcomes of Undergraduate Arts Students." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1365886713.
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Collins, Sarah K. "Creative Measures: Access to Arts Education in Oregon Public Schools." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11493.
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x, 83 p. : col. ill.<br>A growing body of research documents the benefits of learning in and through the arts, from academic achievement to personal efficacy. Federal law recognizes the arts as a core subject area for K-12 public schools, and Oregon content standards articulate sequential expectations of what all students should know and be able to do in the disciplines of music, theater, dance, and visual arts. Despite these statutory commitments, little is known about the actual condition of arts education in Oregon public schools. This study mines existing data from the Oregon Department of Education to: 1) establish baseline measures of access to arts education during the 2009-2010 academic year; and 2) identify relationships between access and other school characteristics such as geographic location, school type, and Title I designation. This study's findings hold significant implications for state policy, and its unique methodology can inform the wider field of arts education policy research.<br>Committee in charge: Dr. Jean Stockard, Chair;
Dr. Terri Ward, Member;
Dr. Lori Hager, Member
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Melo, Luiz Carlos de. "Vozes femininas no Arte Contra a Barbárie (1999-2002) - um estudo de gênero nos movimentos sociais e suas narrativas." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-06082018-115248/.
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Ao final do ano de 98, do século passado, um coletivo de pessoas ligadas à produção teatral passou a se reunir semanalmente na cidade de São Paulo para pensar a função e o papel do teatro diante do quadro político que se desenhava, um ambiente de aprofundamento de políticas de orientação neoliberal iniciadas no governo Collor e que começavam a ganhar força com a eleição de Fernando Henrique Cardoso (PSDB) em seu primeiro mandato como presidente do Brasil. Passados seis meses do encontro inicial, o grupo chegou à formulação de um texto síntese das ideias debatidas naquele período. Esse documento recebeu o nome de Manifesto Arte Contra a Barbárie, nome pelo qual o grupo ficou conhecido. Durante a trajetória da pesquisa pudemos tomar contato com documentos que davam conta de que logo após o lançamento do Primeiro Manifesto iniciou-se uma considerável participação feminina nos encontros, impulsionando as atividades de discussão e a formação de grupos de trabalho. Ocorre que a maior parte dos relatos sobre o Arte Contra a Barbárie, aos quais tive acesso, dão conta de que era um grupo formado por homens. Esses relatos acabam por passar a impressão de que as mulheres não tinham uma participação ativa em todo o processo, ou mesmo que sua participação era restringida. A dissertação tem como objetivo primeiro registrar a participação feminina nesse processo de luta que acabou por mobilizar inúmeras pessoas em busca da conquista de políticas públicas para a produção cultural. Já o segundo objetivo é identificar indícios de ações, mecanismos ou estruturas que possam ter resultado em uma invisibilização das contribuições dessas figuras femininas nas lutas políticas e sociais importantes, como o processo que levou à conquista da lei que criou o Programa de Fomento ao Teatro para a Cidade de São Paulo<br>At the end of the year 98, in the last century, a collective of people related to the theater production gathered weekly in the city of São Paulo to think about the function and the role of theater in the face of the political framework that was being developed, of neoliberal orientation policies initiated in the Collor government and that were beginning to gain strength by electing Fernando Henrique Cardoso (PSDB) in his first term as president of Brazil. After six months of the initial meeting of the group, the group put together a summarized text of the ideas debated in that period. This document was named Manifesto Arte contra a Barbárie, name by which the group became known. During the course of the research, I was able to examine documents that showed that soon after the launch of the first manifesto a considerable amount of female participation in the meetings began, encouraging discussion activities and the formation of working groups. It turns out that most of the reports on the Arte Contra Barbarie, to which I had access, treated the group as one formed only by men, and these reports end up giving the impression that women did not have an active participation in the whole process, or even that their participation was restricted. The dissertation aims first at registering the female participation in this process of struggle that ended up mobilizing countless people in search of gaining public policies for cultural production. The second objective is to identify indications of actions, mechanisms or structures that may have resulted in the invisibility of the contributions of these female figures in important political and social struggles, such as the process that led to the achievement of the law that created the Programa de Fomento ao teatro para a cidade de São Paulo
Books on the topic "Polish Art Theatre"
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Becker, Frank. Kultur im Schatten der Trikolore: Theater, Kunstausstellungen, Kino und Film im französisch besetzten Württemberg-Hohenzollern 1945-1949. Lang, 2007.
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Kulturpolitisches Controlling: Ziele, Instrumente und Prozesse der Theaterförderung in Berlin. P. Lang, 1998.
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Taking liberties: Gender, transgressive patriotism, and Polish drama, 1786-1989. Ohio University Press, 2014.
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Hellman, Jörgen. Longser Antar Pulau: Indonesian cultural politics and the revitalisation of traditional theatre. Dept. of Social Anthropology, University of Göteborg, 1999.
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Nordic Institute of Asian Studies., ed. Performing the nation: Cultural politics in New Order Indonesia. NIAS Press, 2003.
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Künste, Fonds Darstellende, and Kulturpolitische Gesellschaft (Germany), eds. Report darstellende Künste: Wirtschaftliche, soziale und arbeitsrechtliche Lage der Theater- und Tanzschaffenden in Deutschland : Studien--Diskurse--internationales Symposium. Kulturpolitische Gesellschaft e.V., 2010.
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Przestrzeń w dramacie i dramat w przestrzeni teatru. Wydawn. Nauk. Uniwersytetu im. Adama Mickiewicza w Poznaniu, 1985.
Find full textBook chapters on the topic "Polish Art Theatre"
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Giacomucci, Scott. "Sociodrama, Activism, and Role Training to Empower Communities." In Social Work, Sociometry, and Psychodrama. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_19.
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AbstractThis chapter will highlight the use of role-playing, especially sociodramaand role trainingin community empowerment and social activist movements. Historical context will be provided for the traditions of using drama, theater, and role-play in social work and social activismincluding Jacob Moreno’s vision of the theater as a modality for societal change. The sociodramatic approach will be outlined with focus on its utility in community settings as an experiential and communal experience of social action. Multiple examples of sociodrama or role training in communities are depicted with an emphasis on its adaptability for different settings and its effectiveness at empowering people. Examples include its application with youth, law enforcement, intergenerational dialogues, domestic violence response teams, undocumented immigrant communities, social work students, and to empower advocacy with employers, insurance providers, funders, or policy makers.
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Peretz, Maya. "Jewish Theatre in Poland before the Second World War: Its Audiences and its Critics." In Polin: Studies in Polish Jewry Volume 13. Liverpool University Press, 2000. http://dx.doi.org/10.3828/liverpool/9781874774600.003.0029.
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This chapter explores reviews of the Jewish theatre before the Second World War. Reviews allow a glimpse into Polish–Jewish relations as indirectly reflected in the views of Polish drama critics. They can be more revealing than the sources in which emotions are more rigidly controlled. In particular, the chapter looks at the reviews reprinted in the 1992 single-issue volume of Pamiętnik Teatralny devoted to the Polish Yiddish theatre. The paucity of material in itself is an indication of the most striking characteristic of Polish–Jewish relations during the sixty or so years these reviews cover: a gulf that separated the two ethnic groups, and the scant interest in the Polish community in bridging the gap. Among Catholic Poles, the lack of information about Jewish culture was almost total. The Jewish critic Jakub Appenszlak grieved that Polish reviewers kept avoiding Jewish theatre even when truly great art could be seen there.
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Litvin, A. "Excerpts From Yidishe Neshomes." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0021.
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This chapter presents some excerpts from A. Litvin's Yidishe neshomes (Jewish Souls). The first deals with the Jew and the ‘look-box’. There is a very large portion of the Jewish masses for whom the entire world of aesthetics, beauty, and art is unknown. The Jewish folk artist comes to their help. Still today, as in the past, the aesthetic needs of the very poorest are met by the Jew with the ‘look-box’. The look-box is simultaneously a theatre and a museum; it also teaches history, geography, and other important things. Meanwhile, the second excerpt concerns the blind Jewish musicians, who are nearly all former artisans.
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"Between Therapy and Art: Borderline Space in Polish Theatre of People with Intellectual (Dis)Ability." In Disability and Dissensus: Strategies of Disability Representation and Inclusion in Contemporary Culture. BRILL, 2020. http://dx.doi.org/10.1163/9789004424678_012.
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Kościelniak, Marcin. "We Are All Queer." In Polish Theatre Perspectives 1, edited by Duncan Jamieson and Adela Karsznia, translated by Duncan Jamieson, Adela Karsznia, and Małgorzata Rogalińska. Polish Theatre Perspectives, 2015. http://dx.doi.org/10.15229/ptp.2015.09.
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Winkelhorn, Kathrine. "The Enchanted City, Holstebro Festive Week, an experiential and social cultural space." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2651.
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In 1989 Odin Teatret established the Holstebro Festive Week (Denmark), and did so by involving the entire city and its inhabitants. The Festive Week promptly became an on-going event, which takes place every three years in June. What characterises the Holstebro Festive Week in particular? And how has this event influenced the city and its citizens in the longer run? In other words, how can an event like the Festive Week contribute to enriching a city for more than just a week? When I interviewed the Mayor about the Festival and the theatre’s role in the event, he said: “What the theatre brings us is popular and I think it is crucial that we get common experiences in which we can mirror ourselves – in the selfish society we are currently living in. In Holstebro we have become dependent on Odin Teatret, which makes us take part and which has become a common denominator for the entire city. It is a gift that we have Odin Theatret” (interview with the author, June 2011). 1 It is a rather unusual statement for a mayor to make that a theatre is a gift for a city and that it has become a ‘common denominator’ 2 for the city – and, what is more that the city has become dependent on the theatre. In this chapter I will reveal and explore how Odin Teatret involves the entire city. I will try to give a clear answer as to why the Mayor described the theatre as a ‘common denominator’. In my investigation of the theatre’s approach to the Festive Week I use my personal experience and knowledge from my time as assistant manager at the theatre (1987-88). Most of my research has been carried out in the form of field studies conducted during the Festival Weeks in 2008 and 2011. During both festivals I spent one week in Holstebro and the surrounding villages watching and observing how the local audience responded to the activities. In addition I carried out a series of semi-structured interviews with representatives from Holstebro: the head of police, the Deputy Mayor, the director of a travel agency, a librarian, a policeman, the Chairman of the Cultural Affairs Committee of the City Council, the head of city planning, the project leader from the Odin Theatre and a senior lecturer living in Holstebro and working at Aarhus University and finally the Mayor.
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"Performing Witnesses: Memories of Polish and German Resettlers in Polish Theatre." In The Arc of Memory in the Aftermath of Trauma. BRILL, 2015. http://dx.doi.org/10.1163/9781848884069_007.
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Lubet, Alex. "Transmigrations: Wolf Krakowski’s Yiddish Worldbeat in its Socio-Musical Context." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0016.
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This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from the sacred repertoire of Judaism may be applied. On utilitarian grounds, all settings of sacred Hebrew texts for use in Jewish worship are Jewish music. This principle extends to all Yiddish song, since Jewish languages are tools of Jewish community. This includes all twelve songs on Transmigrations. Ultimately, Transmigrations—an album of Yiddish folk songs and works by Yiddish theatre and literary artists, its melodies forthrightly Jewish—defies expectations of Yiddish song in broader aspects of style.
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Rubin, Joel E. "Szpilman, Bajgelman, Barsht." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0012.
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This chapter focuses on the post-war fate of the Szpilmans, Bajgelmans, and Barshts, which are an extended family of professional Jewish instrumentalists that originated from Ostrowiec Swietokrzyski in Poland. It explores how the Szpilmans, Bajgelmans, and Barshts played important roles as performers and composers in genres as diverse as instrumental klezmer, jazz, chamber, symphonic music, Yiddish theatre, vaudeville, and Brazilian dance music. It also mentions Władysław Szpilman as the most famous family member, whose memoirs formed the basis of Roman Polanski's Oscar-winning film, The Pianist. The chapter provides an ethnography of elderly living musicians that became part of salvage ethno-musicology, cultural history, and genealogy. It looks into activities of professional Jewish musicians from klezmer families, whose work and experience expanded in a number of directions, especially during the second half of the nineteenth century.
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Robboy, Ronald. "Abraham Ellstein’s Film Scores." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0014.
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This chapter examines how Abraham Ellstein came to write the music for such Yiddish films as Yidl mitn fidl, Mamele, and A brivele der mamen. It explains that Ellstein is a New Yorker and the only major Yiddish theatre composer not to have been born in Europe. It also details how he received both a solid traditional Jewish musical preparation as a meshorer and sophisticated training in Western classical music from an early age. The chapter explores the song from Yidl mitn fidl and “Abi gezunt” and “Mazl” from Mamele, which are among Ellstein's most famous works and remain among the best known of the entire Yiddish theatrical repertoire. It analyzes how Ellstein's extensive underscoring serves as an indispensable frame for how action is to be seen and understood, providing subtext and interpretative cues for mood and atmosphere, for setting, for characterizations, and for characters' emotions and states of mind.
Conference papers on the topic "Polish Art Theatre"
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Hillegass, Matthew J., and Eric L. Rabeno. "Seeded Fault Testing of Military Ground Vehicles as a Pathway to Condition Based Maintenance." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28039.
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The performance of military ground vehicle systems is being degraded due to high operation tempo and exposure to extreme environments while performing in-theater service. To address this issue, the US Army is implementing a policy of Condition Based Maintenance which is supported by the Army Material System Analysis Activity (AMSAA). The vision of this policy is to base the maintenance of systems upon the actual condition of the system and not upon time- or distance-based schedules. This capability will be enabled by the application of usage, diagnostic and prognostic processes executed on a Health and Usage Monitoring System (HUMS) installed on these vehicle systems. A thorough understanding of the ways in which the system condition is degenerated and the ability of the HUMS to detect, identify, and communicate all conditions that require maintenance in a timely manner are key requirements of these processes. Seeded Fault Testing is the critical means of fulfilling these requirements. A joint Seeded Fault Testing project between AMSAA and the US Army Aberdeen Test Center (ATC) has been initiated to gain a thorough understanding of ground vehicle system condition degeneration and HUMS implementation of products and processes that can accurately identify and communicate it. A military vehicle underwent exhaustive testing in support of this project. The vehicle was subjected to specific use scenarios while carefully controlled faults are induced in engine, transmission, and other key mechanical subsystems that would degrade vehicle performance and degenerate system condition. The vehicle’s induced faults included lowered coolant levels to simulate leakage, restriction of air flow across radiators and filters to simulate dust and debris accumulation, and lowered transmission and engine oil levels to simulate leakage and usage. The objective of this project was to use the results from the seeded fault tests to establish critical thresholds, trends, and patterns that will be the basis of the creation and implementation of real-time HUMS-based algorithms that predict faults, warn operators and maintainers of imminent failures, and provide a sound foundation for Condition Based Maintenance.
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Sallam, Naglaa, Reham Hassan, Alaedine Shurrab, Yasser Al Deeb, and Mujahed Shraim. "Reducing the Incidence of Exposure to Blood and Body Fluids." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0184.
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Methods: We used a Pareto chart to identify priority areas for our project based on magnitude of incidence of BBF exposures. A driver diagram was developed with four main primary drivers including risk awareness, attitudes and practice, staff experience, and leadership engagement. Intervention ramps and changes were implemented using multiple PDSA cycles addressing staff knowledge and awareness about BBF exposure prevention and management using surveys and learning brochures and assessment of staff compliance with safe practice. The project included the following measures (i) outcome measure: number of days between BBF exposure incidents; (ii) Process measures: BBF exposure risk awareness score, attitude and practice score, and proportion of staff compliant with BBF exposure safe practice; (iii) BBF reporting exposure score and proportion of staff satisfied with BBF exposure prevention and management policy. Ethical approval of the project was not required. Results: About 80% of BBF exposure incidents were due to needlestick injuries. Emergency unit, operating theatre, hemodialysis unit, laboratory unit, and utility services accounted for 80% of all BBF exposure incidents. Around 47% of the incidents occurred among nurses. Our project was associated with increase in attitude and safe practice score form 75% to 100%. The compliance with safe practice increased from 77% to 86%, and reporting of exposure increased from 75% to 100%. Staff satisfaction increased from 65% at baseline to 96%. Knowledge about prevention and management of BBF exposure (safe practice) increased from 60% to 92% in the hemodialysis unit. However, the median number of days between BBF exposures increased from 13 days at baseline to 18 days in May 2019. Conclusion: Our quality improvement project has identified the priorities clinical areas accounting for the majority of BBF exposure incident. The initial phase of the project in hemodialysis unit was associated with significant increase in knowledge scores about prevention and management of BBF exposure, compliance with safe practice, and staff satisfaction. In addition, the project was associated with significant increase in reporting of BBF exposure, which explains why we were not able to increase the median number of days between BBF exposures to 50 days. We have started spreading our interventions and change ideas to other units in Al-Khor general Hospital. Quality improvement projects can reduce the incidence of BBF exposure having the priority areas identified and the relevant drivers are addressed appropriately
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Boszczowski, Eduardo Bomfim, Carlos Renato Aragonez de Vasconcellos, Kleber Vini´cius da Cruz, Ozias Pereira Filho, and Sarah Marcela C. Cartagena. "Best Practices for Third Party Pipeline Damage Risk Management With Social and Environment Responsibility: Transpetro—Petrobras Transporte S.A." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64595.
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The present paper describes the tasks developed along 550 kilometers of PETROBRAS TRANSPORTE South Region right-of-way where there are more than 1000 kilometers of onshore pipelines. This work was based on the company Integrity Management Program, with focus on risk reduction due to third party damage, promoting social accountability and environment preservation. On the Introduction there are presented pipeline failures stats in USA and Europe. It’s visible in the stats that third party damage is one of the most common pipeline failures responsibleness. In the next topics we list the mitigation methods based on the Integrity Management Program that involves risk analysis; inspection plans based on risk; plan check and program audits. On the Detailed Plan we present standards and normal requirement for pipeline integrity; the Company GIS — Geographic Information System — where you find the pipeline data with its position and depth from ground level; the action plan to correct anomalies found during inspections; and the awareness programs performed through the Communication System to answer the solicitations registered at TRANSPETRO Call Center. We also present the social and environment Responsibility Program that includes the Identification of the communities around our right-of-way, the social and environment classification and the projects development to guaranty the installation integrity that contribute to the communities quality life raise. The Communication Plan for the stakeholders is based on API 1162 – Public Awareness Programs for Pipeline Operators. This plan is accomplished by a team of different professionals such as communication and social service professionals and others. They visit Public Officials (City Hall, Civil Defense, Fire Department, Road Police and Public Services Providers), Excavators, land owners and communities with the objective to guide and publicize safe and co-responsible manners to pipeline installations. It’s remarkable the creation of especial projects in the communities along the right-of-way, such as Communitarian vegetable fields, mobile movie theaters and educational effort in high schools. We also present the results from the Integrity Program to prevent third party damage, the improvement promoted and the recommendations to make it better. At the end we present the costs involved in all actions to prevent third party damage by Brazil South Region Pipeline Operator.