Books: 'Polish Art Theatre'

1

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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2

Kulturpolitisches Controlling: Ziele, Instrumente und Prozesse der Theaterförderung in Berlin. P. Lang, 1998.

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3

Taking liberties: Gender, transgressive patriotism, and Polish drama, 1786-1989. Ohio University Press, 2014.

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4

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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5

Nordic Institute of Asian Studies., ed. Performing the nation: Cultural politics in New Order Indonesia. NIAS Press, 2003.

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6

Teatr i okolice. Wydawn. słowo/obraz terytoria, 2010.

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7

Madeyski, Jerzy. Józef Szajna. Arkady, 1992.

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8

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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9

Przestrzeń w dramacie i dramat w przestrzeni teatru. Wydawn. Nauk. Uniwersytetu im. Adama Mickiewicza w Poznaniu, 1985.

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10

Kopf, Stanisław. Muzy tamtych dni. Askon, 1998.

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11

Prud'homme, Laurence. Simon Brault: Prendre fait et cause pour la culture. Presses de l'Université du Québec, 2011.

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12

Oralność i mnemonika: Późny barok w kulturze polskiej. Wydawnictwa Uniwersytetu Warszawskiego, 2009.

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13

Féral, Josette. La culture contre l'art. Presses de l'Université du Québec, 1990.

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14

Jak obaliłem komunę. Wydawn. LTW, 2010.

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15

Gilberto, Gil, ed. Teatro mágico da cultura e favela como oportunidade. Fórum Nacional, 2013.

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16

El arte contemporáneo en el Museo de Arte Moderno de México durante la gestión de Helen Escobedo (1982-1984). Universidad Autónoma Metropolitana, 2010.

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17

New Jersey. Legislature. General Assembly. Regulatory Oversight Committee. Committee meeting of Assembly Regulatory Oversight Committee: The committee will discuss the implementation of the Sudan Divesture Act, P.L. 2005, c. 162; discuss the justice gap in New Jersey, which refers to the need for increasing legal representation resources for low-income state residents; revisit the status and implementation of Danielle's Law, P.L. 2003, c. 191; and revisit the status of removing adjudicated juveniles with mental illness from juvenile correction facilities to provide them with mental health treatment : [December 8, 2005, Trenton, New Jersey]. The Unit, 2005.

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18

Elizabeth, Higginbotham, and Andersen Margaret L, eds. Race and ethnicity in society: The changing landscape. Thomson/Wadsworth, 2006.

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19

Rózewicz, Tadeus, and Adam Czerniawski. Trap (Polish Theatre Archive). Routledge, 1997.

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20

Fair, Alistair. ‘An Instrument of Policy and Something Socially Desirable’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807476.003.0002.

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This chapter sets the post-war theatre-building boom in a national context by outlining the emergence of a system of public support for the arts. Though only ever one source of income for theatres (and one which was limited in its extent), the advent of subsidy had important consequences. The creation of the Arts Council of Great Britain in 1946 and the Local Government Act of 1948 transformed certain kinds of theatre from an essentially commercial activity into something that could be considered a public amenity, a cultural arm of the welfare state. The ways in which this development was justified are considered, looking particularly at the extent to which the arts were seen to be transformative. Particular attention is given to the effect of subsidy on regional repertory companies. It formed an important stabilizing factor for them, allowed higher standards, and prompted many to think about building.

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21

Keoghane, Stephen, and Mark Sullivan. The principles of endourology. Edited by John Reynard. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780199659579.003.0032.

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The chapter discusses the principles of endourology outlining the principles behind the sub-specialty. Topics disused include endoscopes, cystoscopes, rigid and semi-rigid ureteroscopes, flexible ureterorenoscopes, rigid and flexible nephroscopes, disposable equipment, integrated operating theatres, narrow band imaging (NBI), theatre ergonomics, and antibiotics. Urologic endoscopes are generally of two optical designs: the rigid, rod lens system described by Hopkins, while fibre-optic imaging bundles are used in both rigid and flexible endoscopes. The rod lens system consists of a series of glass rods with polished ends with the key feature of air gaps that act as a lens. Light is carried efficiently along the rod, resulting in a clear and bright image.

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22

Windle, Kevin. Ireneusz Iredynski: Selected One-Act Plays for Radio (Polish and East European Theatre Archive, 9). Routledge, 2001.

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23

Merriman, Victor. ‘As We Must’. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.25.

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By the 1970s, arts funding for theatre in Ireland had become concentrated in three organizations: the Abbey and the Gate in the Republic, the Lyric Theatre in Northern Ireland. Changes in arts policy, North and South, beginning in the late 1970s, radically transformed the Irish theatre landscape over the following decades. Many of the most exciting and challenging developments in Irish theatre in the 1980s and 1990s thus came from the margins, whether on the social margins of society (such as work done at the the Axis Theatre in Ballymun) or from the geographical periphery of what had been a theatre culture centred in Dublin, in the work of companies such as Red Kettle in Waterford and in the construction of performance spaces around the island. This chapter provides an overview of this transformation of the Irish theatre world, focusing on the policy decisions that lay behind it.

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24

Joanna, Krakowska-Narożniak, ed. Aktor teoretyczny. Instytut Sztuki Polskiej Akademii Nauk, 2002.

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25

Aktor teoretyczny. Oficyna Wydawnicza "Errata", 2002.

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26

1949-, Wagner Anton, and Canadian Theatre Critics Association, eds. Contemporary Canadian theatre, new world visions: A collection of essays. Simon & Pierre, 1985.

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27

1949-, Wagner Anton, ed. Contemporary Canadian theatre: New world visions : a collection of essays prepared by the Canadian Theatre Critics Association/Association des Critiques de Théâtre du Canada. Simon & Pierre Pub. Co., 1985.

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28

Economia dell'arte: Istituzioni e mercati dell'arte e della cultura. UTET libreria, 1998.

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29

Sabine, Opitz, Wille-Molitor Christiane, and Historisches Archiv der Stadt Köln., eds. Kunst und Kultur in Köln nach 1945: Musik, Theater, Tanz, Literatur, Museen. Wienand, 1996.

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30

Steinlauf, Michael C., and Antony Polonsky, eds. Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.001.0001.

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Scholarship on the civilization of Polish Jews has tended to focus on elite culture and canonical literature. This volume focuses on the less explored theme of Jewish popular culture and shows how it blossomed into a complex expression of Jewish life. In addition to a range of articles on the period before the Second World War, there are studies of the traces of this culture in the contemporary world. The volume aims to develop a fresh understanding of Polish Jewish civilization in all its richness and variety. Subjects discussed in depth include klezmorim and Jewish recorded music; the development of Jewish theatre in Poland, theatrical parody, and the popular poet and performer Mordechai Gebirtig; Jewish postcards in Poland and Germany; the early Yiddish popular press in Galicia and cartoons in the Yiddish press; working-class libraries in inter-war Poland; the impact of the photographs of Roman Vishniac; contemporary Polish wooden figures of Jews; and the Kraków Jewish culture festival. In addition, a Polish Jewish popular song is traced to Sachsenhausen, the badkhn (wedding jester) is rediscovered in present-day Jerusalem, and Yiddish cabaret turns up in blues, rock ‘n’ roll, and reggae. There are also translations from the work of two writers previously unavailable in English. Space is given to new research into a variety of topics in Polish Jewish studies. The review section includes an important discussion of what should be done about the paintings in Sandomierz cathedral which represent an alleged ritual murder in the seventeenth century, and an examination of the ‘anti-Zionist’ campaign of 1968.

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31

Ferguson Career Coach: Managing Your Career in the Theater and Performing Arts (Career Coach). Ferguson Publishing Company, 2008.

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32

Ferguson Career Coach: Managing Your Career in the Theater and Performing Arts (Career Coach). Checkmark Books, 2008.

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33

Meyler, Bernadette. Theaters of Pardoning. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739330.001.0001.

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To address the roots of pardoning’s treatment in contemporary politics and uncover what new formulations of pardoning might contribute, this book examines the role of what it calls “theaters of pardoning”—a form of tragicomedy—in the drama and politics of seventeenth-century England. Historically, shifts in the representation of pardoning tracked the transition from a more monarchical and judgment-focused to an increasingly parliamentary and legislative vision of sovereignty. On stage, a transformation surreptitiously took place from individual pardons of revenge to more sweeping pardons of revolution. The change can be traced from Shakespeare’s Measure for Measure to later works like Philip Massinger’s The Bondman. In the political arena, the pardon correspondingly came to be envisioned in increasingly law-like terms, culminating in the idea of a general amnesty, or “Act of Oblivion,” implemented by the Restoration Parliament under King Charles II. The figuration of pardoning as lawgiving did not eliminate its connection with sovereignty but instead displaced sovereignty from the King onto Parliament. The link between pardoning and sovereignty has contributed to the suspicion that has more recently surrounded the exercise of pardoning. Only by breaking the connection between pardoning and sovereignty cemented in seventeenth-century England can we reinvigorate pardoning in the polity today.

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34

Patrimoine, temps, espace: Patrimoine en place, patrimoine deplace : Entretiens du patrimoine, Theatre national de Chaillot, Paris, 22, 23 et 24 janvier 1996 (Actes des Entretiens du patrimoine). Editions du patrimoine, 1997.

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35

Tsika, Noah. Screening the Police. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.001.0001.

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American police departments have presided over the business of motion pictures since the end of the nineteenth century. Their influence is evident not only on the screen but also in the ways movies are made, promoted, and viewed in the United States. Screening the Police explores the history of film’s entwinement with law enforcement, showing the role that state power has played in the creation and expansion of a popular medium. For the New Jersey State Police in the 1930s, film offered a method of visualizing criminality and of circulating urgent information about escaped convicts. For the New York Police Department, the medium was a means of making the agency world famous as early as 1896. Beat cops became movie stars. Police chiefs made their own documentaries. And from Maine to California, state and local law enforcement agencies regularly fingerprinted filmgoers for decades, amassing enormous records as they infiltrated theaters both big and small. Understanding the scope of police power in the United States requires attention to an aspect of film history that has long been ignored. Screening the Police reveals the extent to which American cinema has overlapped with the politics and practices of law enforcement. Today, commercial filmmaking is heavily reliant on public policing—and vice versa. How such a working relationship was forged and sustained across the long twentieth century is the subject of this book.

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36

Performance And The City. Palgrave MacMillan, 2009.

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37

Solga, Kim, D. J. Hopkins, and S. Orr. Performance and the City. Palgrave Macmillan, 2009.

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38

Nagar, Richa. Hungry Translations. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042577.001.0001.

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The dominant landscape of knowledge and policy rests on a fundamental inequality: bodies who are seen as hungry are deemed available for the interventions of experts, but those experts often obliterate the ways that hungry people actively create politics and knowledge by living dynamic visions of what is ethical and what makes the good life. Hungry Translations approaches this socio-political and epistemic injustice by embodying a radically vulnerable collective praxis of unlearning and relearning that interweaves critical epistemology with critical pedagogy as an ongoing movement of relationships, visions, and modes of being. It argues for an ever-evolving quest that refuses imposed frameworks and that seeks to open up spaces for embracing the serendipitous and the untranslatable in the relation between self and other. Through storytelling, poems, diaries, songs, and play, Nagar theorizes lessons from journeys undertaken with thousands of co-travellers in three interrelated realms of embodied learning: the first comprises Sangtin Kisan Mazdoor Sangathan, a movement of 8000 small farmers and mazdoors working in Sitapur District of Uttar Pradesh. The second sphere involves a partnership with Parakh Theatre to collectively interrogate Hindu Brahmanical patriarchy, casteism, hunger, and death with 20 amateur and professional actors in Mumbai. Third, these interlayered journeys birth "Stories, Bodies, Movements: A Syllabus in Fifteen Acts," a course that grapples with continuous relearning of our worlds by reimagining the classroom through theatre.

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39

Da Costa, Dia. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040603.003.0001.

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This chapter introduces transnational feminist and affect theory frameworks, two activist troupes, and key concepts of sentimental capitalism and hunger called theater to argue the significance of analyzing a global discursive regime of creative economy policy within the same analytical frame as activist performance. Highlighting recent articulations, affects, and contradictions of Indian creative economy policy, it presents shifting discursive and political histories. Rather than focusing on capital-rich cultural production, it makes a case for attending to unrecognized creativity within activist performance whilst analyzing the latter’s messy collaborations with hegemonic regimes of creativity. Outlines the book’s organization: Part 1 historically and spatially locates a global discursive regime in India, Ahmedabad, and Delhi; Parts 2 and 3 are ethnographies of the two troupes.

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40

Bogusław, Bakuła, ed. Transformacja w kulturze i literaturze polskiej: 1989--2004. Wydawn. Bonami, 2007.

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41

Mikail, Ibrahim Kawuley. Corruption and Nigerian political economy. UUM Press, 2016. http://dx.doi.org/10.32890/9789670876511.

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The book analyses the background of corrupt practices in the annals of Nigerian political history from pre-colonial, colonial and post-colonial era down to the fourth democratic dispensation. The book also establishes a nexus between corruption and political economy in the Nigerian political theatre. Indeed, corruption undermines the rules of law, equity, transparency democratization and national development which breed poverty, insecurity and general underdevelopment among the populace.Meanwhile, the political economy approach and the theories of corruption and their application on Nigerian political economy is highlighted.The role of policy-makers and stakeholders with their policies and programmes on combating corruption is also analysed. Furthermore, the giant efforts of international organizations, civil society organizations (CSOs) and non-governmental organizations (NGOs) on combating the menace of corruption are also pointed out. The book serves as a guide to researchers on the subject matter and the freedom fighters with their anti-corruption crusade or mandates so as to proffer solutions to corrupt practices and scandals in Nigeria and beyond.

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42

Ansari, Emily Abrams. The Frustrated Activist. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.003.0006.

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This chapter presents an account of the composer and conductor Leonard Bernstein, who, although constrained significantly by the ideological climate of the 1950s, refused to silence himself politically. Beginning in the last years of the decade, he became increasingly vocal in his support for New Left causes, including the antiwar, antinuclear, and civil rights movements. On State Department–funded conducting tours with the New York Philharmonic, he tried to use music, particularly the Americanist tradition, to challenge US foreign policy. In his compositions, he remained true to musical Americanism, striving earnestly in his art music to continue Copland’s prewar approach. He found a fruitful outlet for his political commitments in his works for musical theater, but his art music compositions present a much more complex and fraught picture. Bernstein was attempting to resist and undermine political nationalism, while simultaneously advancing cultural nationalism. But in the binarized climate of Cold War America, this would not prove easy.

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43

Wierzbicki, James. Broadway. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0006.

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This chapter illustrates how veteran Broadway factotum Lehman Engel—in one of the first books that dealt with the substance of American musical theater and its history—delineated the distinguishing traits of what he called “the contemporary musical.” Most of the representative works that Engel discusses fall within the limits of the Fifties, and almost all of the plot-related characteristics he mentions are things that indeed come into focus when regarded through such Fifties-specific lenses as American foreign policy, race relations, the burgeoning youth culture, and sexual politics. Engel's observations on the moral qualities of many of Broadway's principal males are not so sexy, but nonetheless relevant to the profound societal changes that America experienced during the Fifties. Meanwhile, Engel writes that the leading ladies of the contemporary Broadway musical exhibit a lifelike dimension.

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44

Hellman, Jorgen, and Jörgen Hellman. Performimg the Nation (NIAS Monographs). RoutledgeCurzon, 2003.

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45

Klapper, Melissa R. Ballet Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190908683.001.0001.

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Surveying American ballet in 1913, Willa Cather reported that few girls expressed any interest in taking ballet class and that those who did were hard-pressed to find anything other than dingy studios and imperious teachers. A century later, ballet is everywhere. There are ballet companies across the United States; ballet is commonly featured in film, television, literature, and social media; professional ballet dancers are spokespeople for all kinds of products; nail polish companies market colors like “Ballet Slippers”; and, most importantly, millions of American children have taken ballet class. Beginning with the arrival of Russian dancers like Anna Pavlova in the early 1900s, Ballet Class: An American History explores the growth of ballet from an ancillary part of nineteenth-century musical theater, opera, and vaudeville to the quintessential extracurricular activity it is today, pursued by countless children nationwide and an integral part of twentieth-century American childhood across borders of gender, class, race, and sexuality. A social history, Ballet Class takes a new approach to ballet and helps ground an art form often perceived to be elite in the experiences of everyday people who spent time in barre-lined studios. Drawing on materials including children’s books, memoirs by professional dancers and choreographers, pedagogy manuals, dance periodicals, archival collections, and oral histories, this pathbreaking study provides a national perspective on the history and significance of recreational ballet class in the United States and its influence on many facets of children’s lives, including gender norms, consumerism, body image, children’s literature, extracurricular activities, and popular culture.

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46

Teters, Kristopher A. Practical Liberators. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638867.001.0001.

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During the first fifteen months of the Civil War, the policies and attitudes of Union officers toward emancipation in the western theater were, at best, inconsistent and fraught with internal strains. But after Congress passed the Second Confiscation Act in 1862, army policy became mostly consistent in its support of liberating the slaves in general, in spite of Union army officers' differences of opinion. By 1863 and the final Emancipation Proclamation, the army had transformed into the key force for instituting emancipation in the West. However, Kristopher Teters argues that the guiding principles behind this development in attitudes and policy were a result of military necessity and pragmatic strategies, rather than an effort to enact racial equality. Through extensive research in the letters and diaries of western Union officers, Teters demonstrates how practical considerations drove both the attitudes and policies of Union officers regarding emancipation. Officers primarily embraced emancipation and the use of black soldiers because they believed both policies would help them win the war and save the Union, but their views on race actually changed very little. In the end, however, despite its practical bent, Teters argues, the Union army was instrumental in bringing freedom to the slaves.

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47

Galt, Frances. Women's Activism Behind the Screens. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529206296.001.0001.

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This book contributes to important discussions on gender inequality in the present-day film and television industries and labour movement through an historical analysis of women workers and their trade union in the British film and television industries from 1933 to 2017. This book concentrates on the three iterations of the technicians’ union: the Association of Cine-Technicians (ACT) (1933-56), the Association of Cinematograph, Television and Allied Technicians (ACTT) (1957-91), and the Broadcasting, Entertainment, Cinematograph and Theatre Union (BECTU) (1991-2017). Drawing on previously unseen archival material and oral history interviews with activists, it casts new light on women’s experiences of union participation and feminism over nine decades. This book advances three key arguments in relation to its central themes: the operation of a gendered union structure, women’s activism, and the relationship between class and gender in the labour movement. Firstly, it argues that a gendered union structure was institutionalised from the union’s establishment and maintained through a belief system that women’s issues were not trade union issues. Secondly, it argues that separate self-organisation was essential to women’s activity within the gendered union structure as it provided an essential space and voice for women to discuss their gender-specific concerns, develop consciousness and skills and formulate policy. It further emphasises the importance of external feminist allies to women’s union activity. Thirdly, it argues that class differences between middle-class women in film and television production and working-class women in the laboratories informed the direction of women’s activity at its height during the 1970s and 1980s.

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48

Walusinski, Olivier. Georges Gilles de la Tourette. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190636036.001.0001.

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An exhaustive biography of French neuropsychiatrist Georges Gilles de la Tourette (1857–1904) has never been undertaken. Gilles de la Tourette worked closely with the nineteenth-century founder of neurology in Paris, Jean-Martin Charcot. His name is universally known because of the eponymous, disabling syndrome that affects 0.9% of children/adolescents. Unpublished family archives, as well as Gilles de la Tourette’s correspondence with the Parisian journalist Georges Montorgueil, conserved at the national Archives in Paris, were examined together with press and police archives to portray Georges Gilles de la Tourette’s family and professional life in an original light. These archives have never before been studied or made available to the public. How the eponymous syndrome was isolated, the errors initially made in its description, the hidden role of Jean-Martin Charcot, and the disputes with other authors are covered in detail based on multiple sources, original or already published. An in-depth analysis of the genesis of Gilles de la Tourette’s prolific neurological and psychiatric works within their historical context rounds out this biography. Major figures of neurology of the time are also featured—including Freud, Charcot and his son, Brissaud, and Babiński. Interwoven with Gilles de la Tourette’s life and times are discussions of politics, theater, literature, the 1900 Paris World’s Fair, and numerous letters exchanged with Jules Claretie of the Académie Française to highlight his significant involvement in each of these domains. The book concludes with a complete bibliography of all works written by Gilles de la Tourette, compiled for the first time.

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49

Branding Texas: Performing Culture in the Lone Star State. University of Texas Press, 2008.

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50

Clemons, Leigh. Branding Texas: Performing Culture in the Lone Star State. University of Texas Press, 2008.

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Books on the topic 'Polish Art Theatre'

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