Academic literature on the topic 'Theater, poland'
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Journal articles on the topic "Theater, poland"
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Sendetskyi, Andrii. "Cultural and artistic dialogue of ukrainian theaters in polish periodicals at the beginning of the 21st century." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 131–43. http://dx.doi.org/10.34079/2226-2849-2022-12-23-131-143.
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The paper gives an analysis of articles, reports, and reviews of specialized Polish periodicals from 2000 to 2010, which include interviews, reviews, impressions, and comments of theater experts about contemporary cultural and artistic events in Poland in which Ukrainian artists participated. To fulfill the tasks set in the research, the author considers the main theatrical magazines of Poland “Dialog. Miesięcznik poświęcony dramaturgii współczesnej”, “Didaskalia”, “Pamiętnik Teatralny”, “Scena”, “Teatr”, which have had a long history of activity since the last century. The analytical work of the study is part of the preparatory stage before digitizing the materials on the Ukrainian-Polish cultural dialogue and placing them in the Polish Academy of Sciences database. The current issue requires improving the content in the virtual information environment regarding the creative activity of Ukrainian theaters. Accumulation, storage, and research of available information in electronic format will enable immediate processing and speed up the solution of many current problems: visualize the quantitative indicators of the institution's activity; make it possible to forecast its development; contribute to the search for effective ways of functioning. The author considers that a significant unsolved aspect of the problem is the lack of research into the Ukrainian-Polish cultural-artistic dialogue, which concerns theatrical practices at the beginning of the 21st century. The fact justifies the originality of the research, as there has been no study of Polish periodicals on theater studies, whose publications reflect the activities of Ukrainian artists. The chronological framework in the study is essential, as it was marked by important political events in both countries: 2004, when Poland joined the European Union, and in Ukraine, the Orange Revolution. The preliminary result of the analysis of Polish theater publications illustrates a specific direction of each of them and is the basis for determining their thematic direction: retrospectives, festival events, and creative meetings; biographies of personalities and discovery of new names; literary reviews. The activity of Ukrainian actors and theater groups in the artistic life of Poland is one of the indicators of the work of governmental cultural diplomacy and personal contact between the two countries, which determines the strengths and weaknesses of international relations. Further investigation of the phenomenon will make it possible to trace the dynamics of international communication ties of the period recorded in theater journals. In the future, the author aims to explore similar information in mass media (press, television, websites) and conduct interviews in focus groups (theatre administration, theater critics, ambassadors). Such a comprehensive systemic approach will contribute to the demonstration of a complete and accurate picture of the Ukrainian-Polish cultural and artistic dialogue on the example of theatrical practices.
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Zimnica-Kuzioła, Emilia Anna. "Polityka teatralna w Polsce po transformacji ustrojowej." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 111. http://dx.doi.org/10.17951/l.2017.15.2.111.
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<p>Artykuł dotyczy organizacji życia teatralnego w Polsce po roku 1989. W okresie transformacji ustrojowej nastąpiły zmiany w zakresie funkcjonowania instytucji kultury, w tym i teatrów. Polityka państwa określana jest przez pojęcia decentralizacji czy dewolucji (odejście od monopolu państwowego, przekazywanie instytucji kultury władzom gminnym i samorządom wojewódzkim) i deregulacji (proces odchodzenia od kontroli państwa, ideologiczna niezależność instytucji kultury). Publiczne teatry w Polsce reprezentują model teatru repertuarowego, którego podstawą jest stały zespół aktorski. Wzrasta jednak liczba teatrów niepublicznych (teatry <em>non-profit</em>, zarejestrowane jako stowarzyszenia lub fundacje, nie nastawione na zysk i teatry komercyjne).</p><strong>Theater Policy in Poland after the Political-System Transformation</strong><p>SUMMARY</p><p>The article discusses the organization of theatrical life in Poland after 1989. During the political-system transformation there were changes in the operation of cultural institutions, including theaters The State policy is defined by the concepts of decentralization or devolution (departure from State monopoly, handing over of cultural institutions to gmina [commune] authorities or provincial self-governments) and deregulation (the process of departing from State control, ideological independence of cultural institutions ). Public theaters in Poland represent the model of repertory theater based on a permanent team of actors. However, the number of non-public theaters is growing (non-profit theaters registered as associations or foundations, and commercial theaters).</p>
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Starzyk, Agnieszka, Kinga Rybak-Niedziółka, Janusz Marchwiński, Ewa Rykała, and Elena Lucchi. "Spatial Relations between the Theatre and Its Surroundings: An Assessment Protocol on the Example of Warsaw (Poland)." Land 12, no. 6 (June 13, 2023): 1225. http://dx.doi.org/10.3390/land12061225.
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Theater as a place, but also as a field of human and team activity involving the creation of performances performed in the presence of the viewer, has a centuries-old history. This study aims at examining the links between theatre architecture/space and public spaces, trying to answer to what extent these objects have become attractors in its space and how they affect the activity of cultural and social life. The subjects of the study are Warsaw theatres, both historical and contemporary, in the context of their impact on the surrounding public spaces. A specific methodology was elaborated to evaluate potential impacts. According to the spatial relations between the theatre and its surroundings, they are clustered in the following typologies: emanation, isolation, and interference theatre. The research methods applied for defining and solving the scientific problem are: (i) critical analysis, (ii) comparative analysis, (iii) observation without intervention, and (iv) intuitive method based on the author’s personal experience. The conclusions are based on empirical research, with particular emphasis on the research material obtained by field research. The results of the research allow one to draw conclusions regarding the influence of theatrical places on public spaces in the city structure. The mission of the theater is changed, activating events and building social bonds. Theater space and its surroundings are shaped in accordance with these new standards and social expectations to be transformed into a public space of a cultural nature. Thus, presently, urban theatrical space is a site for spectacle, with a social and cultural mission. Theater space and its surroundings should be shaped in accordance with changing standards and social expectations, and it should be a public space of a cultural nature.
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Harbuziuk, Maiia. "Kurbas and Poland: Discovering / Returning." Pamiętnik Teatralny 70, no. 2 (June 23, 2021): 155–63. http://dx.doi.org/10.36744/pt.821.
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This article reviews Polish edition of Les’ Kurbas theatrical texts (Łeś Kurbas, Pisma tetatralne, Warszawa 2021) focusing on the editor’s, Anna Korzeniewska-Bihun, thematic-cum-problematic principle of organizing Kurbas’s legacy, as well as the merits of her well-researched introduction to the volume. The editor’s approach highlighted the conceptually important principles of Kurbas’s theatrical theory and , allowed her to cover his practical achievements and key performances, showing his worldview and the philosophical, creative, aesthetic, pedagogical, and organizational features of his legacy. The reviewer underlines the editor’s precision and consistency in outlining the key problems faced by Ukrainian theater in the first third of the twentieth century and the place of Les Kurbas in their solution. The edition opens up new horizons for research and discussion not only on Kurbas as a creator of Ukrainian avant-garde theater, but also on Polish-Ukrainians cultural ties.
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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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Szuster, Magdalena. "“Alchemy and smoke in a bottle” – contemporary improvisational theater in Poland and the United States." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (August 27, 2018): 107–38. http://dx.doi.org/10.18778/1505-9057.40.05.
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The article is an attempt to capture improvisational theater as a modern dynamic phenomenon through analyzing its features, definitions and traits in order to characterize the genre and to systematize the current state of knowledge on the subject matter. By comparing and contrasting various aspects and notions of impro(v) in Poland and the United States, the study not only looks at the theater of improvisation through the prism of the “relocation” of the form from its original grounds and implementing it in within a different tradition, but also shows the experimental flexibility of the genre within different cultural traditions and structures. Based largely on interviews with Polish and American improvisers alike, this article is an in-medias-res case study of the contemporary improvised theater in Poland and the USA.
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Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.
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The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.
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BORIÇI, Dritan. "Close up theater – an innovation in stage art studies." Polis 21, no. 1 (2022): 128–37. http://dx.doi.org/10.58944/rshg1308.
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In this article we will try to offer a new perspective on the theater, and we will try to include the theater in other spaces to create artistic values, including digital technology. Since its beginning, the theater space has been a place to see, to watch, to present, to perceive, to understand. So, in a basic sense, theater has been and is a first pathway. At the core of the theatrical experience – as Peter Brook suggests – is the act of watching and being watched. Throughout the history of Western culture, the theater has been a primitive dance circle, a Greek amphitheater, a church, an Elizabethan stage, a market square, a garage, a street, a front stage theater, a Broadway theater, a theater house university, a restored warehouse or recently, even a digital platform on our laptop, computer, or mobile phone. Close-up theater is a continuation of the conceptual changes that took place with theater spaces – and therefore – with the way of watching theater. In the past decades, Jerzy Grotowski in Poland, Ariane Mnoushkin in Paris, Peter Shuman in Vermont and Peter Brook from Africa in Avignon, France, have organized the theater space in different ways to bring the audience and the actors as close as possible to each.
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Szymański, Grzegorz. "Google Ads Campaigns in Promotional Activities of Theaters." Marketing of Scientific and Research Organizations 37, no. 3 (September 1, 2020): 73–86. http://dx.doi.org/10.2478/minib-2020-0023.
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AbstractAlthough the pace of life is very high today, young people spend free time among applications and electronic devices, but theatrical performances are relatively popular nonetheless. Theaters to appeal to young people should use online tools as a basic form of advertising. One of the most popular forms of e-marketing is the search engine SEM. The research question was formulated in the form: do the theaters advertise in paid search results PPC? To answer this question, we analyzed the search results on Google, including AdWords ads, among Polish theaters for popular keywords. By analyzing the results obtained, it can be said that definitely theaters do not use PPC as an advertising tool. Among the popular keywords only 5 theaters were identified using this form, which represents less than 3% of all the theaters in Poland. The reasons for low popularity are the high costs and the lack of advertising due to the relatively large number of contemporary theater customers.
Dissertations / Theses on the topic "Theater, poland"
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Stawiski, Eileen Beth. "Ucieczka w Fantazi Opery (Escape-Fantasy Opera): Preserving the Heart of Poland." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276532042.
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Georges, Pierre Marie. "Dramatic space : Jerzy Grotowski and the recovery of the ritual function of theatre." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32820.
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This thesis explores temporal forms of architectural meaning through the investigation of the dramatic space of "ritual theatre." In particular, it analyzes the thought and several theatrical productions of the twentieth century Polish theatre director, Jerzy Grotowski: Grotowski is of particular interest because he designed a "total dramatic space" that incorporated both the actors and the spectators (although without necessarily integrating them) for each of his dramatic works. In each case, the spatial relationships created by the theatrical architecture were indissolubly connected to the meaning of the drama itself. In this way, space was used as a kind of third protagonist that, along with the actors and spectators, participates in the theatrical ritual.
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Poniatowska, Irena. "Das Große Theater in Warschau in der zweiten Hälfte des 19. Jahrhunderts und das nationale Opernrepertoire." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221336.
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Im 19. Jahrhundert hatte die Kultur in Polen die Aufgabe, die geistigen Traditionen zu festigen und dem Volk Kraft einzuflößen. Eine wichtige Rolle dabei spielte das Theater als Institution. Nach dem Novemberaufstand von 1831 blieb das Theater das einzige Zentrum der polnischen Kultur. Das Große Theater in Warschau übernahm gewisse Traditionen des früheren Nationaltheaters, das noch in der Regierungszeit des letzten polnischen Königs geschaffen wurde. Aber jetzt wurde es nicht mehr \"national\", sondern \"groß\" genannt.
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Odzimkowska, Mariola. "La réception du théâtre polonais en France de 1989 à nos jours." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040137.
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Le sujet posé a pour but d’identifier le théâtre importé de Pologne et de déchiffrer le rôle qu’il joue dans la vie théâtrale française ainsi que dans le contexte culturel de la France. La présence du théâtre polonais de 1989 à nos jours en France est conditionnée par plusieurs facteurs : les relations historiques et culturelles entre les deux pays, l'activité des institutions et des personnes médiatrices, la vie théâtrale française et ses composantes. Jerzy Grotowski et Tadeusz Kantor continuent à garder leur importance pour le milieu théâtral français. Il se crée dans la conscience du spectateur/critique français une opinion que le théâtre polonais, comme celui de Kantor et de Grotowski, est un endroit laboratoire, où le temps du spectacle est sacré. Ce sont les théâtres d'art de Krystian Lupa et de Krzysztof Warlikowski qui s'avèrent de nouvelles révélations artistiques. Leurs œuvres démontrent la complexité de l'homme. Leur réception s'élargit sur les stages, les créations avec les artistes français et les mises en scène d'opéra pour Warlikowski. Cependant, ces metteurs en scène viennent en France très rarement avec les adaptations d’œuvres dramatiques polonaises. Les auteurs dramatiques polonais ont donc une certaine réception en France, surtout Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek qui passe par le chemin des traductions et des mises en scène proposées par des artistes français. La lecture de l'autre à travers le théâtre est supposée rester une lecture partielle, le récepteur n'ayant pas le même vécu historique que l'objet perçu. Néanmoins, malgré sa partialité, elle jette une nouvelle lumière sur le théâtre polonaisThis study represents an attempt to identify the Polish theater brought to France since 1989 and to analyse the role it currently plays in contemporary theatre in France as well as in the broader cultural context. Its very presence depends on several factors: historical and cultural relations between the two countries, related institutional and individual activity, as well as the French theatrical life itself and its components.Jerzy Grotowski and Tadeusz Kantor continue to maintain their iconic status in the French theater community. There is a well-rooted understanding of the Polish theater as an experimental space (by French theatergoers and critics alike and accomplished precisely through Kantor's and Grotowski's impact), where bearing witness to on-stage action is a sacred. Krystian Lupa's and Krzysztof Warlikowski's art theater appears to be the latest to date of artistic discoveries. Their works are seen as primarily dealing with complexities of human nature. What follows are internships, joint projects with collaborating French artists and opera productions (Warlikowski). Simultaneously these very same stage directors rarely bring their own adaptations of Polish drama repertoire to France.However, Polish playwrights in general do generate interest. This is particularly true for Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek, but tends to happen another way through French translated and staged versions.Understanding the other through theater is often assumed to be an incomplete reading, as the reader does not have the same baggage of lived history as the object of his or her perception. Yet despite this obvious bias, this reading sheds a new light on the Polish theater
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Shapiro, Ann Katherine. "In defiance of censorship : an exploration of dissident theatre in Cold War Poland, Czechoslovakia, and the German Democratic Republic." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7005/.
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This thesis explores dissident theatre in East Central Europe during the second half of the Cold War (1964-1989). Contextualised within the discussion of individual theatrical and performance cultures and practices in Poland, Czechoslovakia, and The German Democratic Republic, it examines how theatre was used to subvert the dominant ideologies and dissent from the status quos in these countries. It establishes a framework that addresses the divergences between Anglo-American political theatre and Eastern Bloc dissident theatre, and discusses the necessity of considering the work of subcultural and subversive artists when analysing work of this kind. The core chapters discuss the theatrical and dramatic techniques, and the intention of the artists with regards to the work itself and to audience interpretation and response in the plays and performances of Václav Havel (Czechoslovakia), Theatre of the Eighth Day (Poland) and Autoperforationsartisten (East Germany). Further, these chapters demonstrate the significant differences in the ways dissident theatre and performance was conceptualised and staged. This thesis also analyses similarities in the theoretical and philosophical motivations for the work of the artists, and the development of ‘second’ or ‘parallel’ societies as a result of the performances.
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Poniatowska, Irena. "Das Große Theater in Warschau in der zweiten Hälfte des 19. Jahrhunderts und das nationale Opernrepertoire." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 94-107, 1998. https://ul.qucosa.de/id/qucosa%3A15455.
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Im 19. Jahrhundert hatte die Kultur in Polen die Aufgabe, die geistigen Traditionen zu festigen und dem Volk Kraft einzuflößen. Eine wichtige Rolle dabei spielte das Theater als Institution. Nach dem Novemberaufstand von 1831 blieb das Theater das einzige Zentrum der polnischen Kultur. Das Große Theater in Warschau übernahm gewisse Traditionen des früheren Nationaltheaters, das noch in der Regierungszeit des letzten polnischen Königs geschaffen wurde. Aber jetzt wurde es nicht mehr \"national\", sondern \"groß\" genannt.
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Żórawska-Witkowska, Alina. "Die Oper in Warschau in der zweiten Hälfte des 18. Jahrhunderts: vom Hoftheater Augusts III. zum öffentlichen Theater von Stanisław August Poniatowski." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 78-93, 1998. https://ul.qucosa.de/id/qucosa%3A15454.
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Auch in Polen ist die zweite Hälfte des 18. Jahrhunderts eine Zeit, in der man – wie am Beispiel der Warschauer Bühne gezeigt werden soll - auf eine fast experimentelle Weise den Prozeß grundlegender Wandlungen verfolgen kann, die in der Organisation, in der Funktionsweise und im künstlerischen Profil des Operntheaters vor sich gehen.
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Lewicki, Tadeusz. "Theatre/drama in education in the United Kingdom, Italy and Poland." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/1430/.
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Dabrosz-, Drewnowska Paulina. "Le Grand-Duché de Varsovie vu par les Français - le visage du Grand-Duché de Varsovie dans les documents français de ce temps." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040024.
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La thèse montre des opinions et avis de Français de l’époque sur le Duché de Varsovie présentés dans les différentes sources françaises des années 1807-1813, tout comme, la correspondance politique et militaire officielle, des mémoires et souvenirs des militaires français, et enfin des journaux parisiens, de la littérature, de la poésie et des pièces théâtrales. La première partie montre comment l’état polonais était vu par les diplomates français séjournant dans le Duché. Elle présente l’image politique assez critique de l’état, de ses institutions, des hommes de pouvoir, du gouvernement, des sentiments du peuple et des opinions des habitants du pays concernant les Français, les nouvelles résolutions politiques et juridiques. Dans la deuxième partie, les descriptions et de nombreux mémoires et souvenirs des militaires fournissent une image critique du pauvre pays polonais, de la vie quotidienne très différente de ses habitants, leurs coutumes. La troisième partie montre Duché de Varsovie par l’intermédiaire de la presse quotidienne, des ouvrages historiques publiés à l’époque en France, des romans et de la poésie, les pièces de théâtre. Cette image du Duché influencée par la propagande napoléonienne montre l’état allié bien gouverné, et l’image positive des PolonaisThe thesis furnishes the opinions of Frenchmen at that time about Duchy of Warsaw presented in different French sources of the period 1807- 1813 such as political and military official letters, memories of military Frenchmen, Parisian press, literature, poetry and theater playwrights. First part of the work shows how the polish country was seen by French diplomats who had been staying in Duchy of Warsaw in that period. The author focuses first on the political image of the country which is rather critical, secondly on the institutions, thirdly on the men in power, then on the government, on the people’s attitudes and the opinions of the inhabitants of the country about Frenchmen, and finally on the new political and legal solutions. In the second part of the work, there many descriptions, as well as memories of military men which form together an critical view of the poor polish country, different lifestyles and customs of its inhabitants. In that part, we can find as well geographical information about the climate and various and vivid descriptions of polish towns and polish countryside. In the third part, we come across the image as it was seen in everyday press, historical books edited at that period in France, fictions, poetry and plays. We find out that the image of Duchy of Warsaw, strongly influenced by the Napoleonic propaganda is positive. It comes out that the polish allied country was well governed
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Dabrosz-, Drewnowska Paulina. "Le Grand-Duché de Varsovie vu par les Français - le visage du Grand-Duché de Varsovie dans les documents français de ce temps." Electronic Thesis or Diss., Paris 4, 2013. http://www.theses.fr/2013PA040024.
Full textAbstract:
La thèse montre des opinions et avis de Français de l’époque sur le Duché de Varsovie présentés dans les différentes sources françaises des années 1807-1813, tout comme, la correspondance politique et militaire officielle, des mémoires et souvenirs des militaires français, et enfin des journaux parisiens, de la littérature, de la poésie et des pièces théâtrales. La première partie montre comment l’état polonais était vu par les diplomates français séjournant dans le Duché. Elle présente l’image politique assez critique de l’état, de ses institutions, des hommes de pouvoir, du gouvernement, des sentiments du peuple et des opinions des habitants du pays concernant les Français, les nouvelles résolutions politiques et juridiques. Dans la deuxième partie, les descriptions et de nombreux mémoires et souvenirs des militaires fournissent une image critique du pauvre pays polonais, de la vie quotidienne très différente de ses habitants, leurs coutumes. La troisième partie montre Duché de Varsovie par l’intermédiaire de la presse quotidienne, des ouvrages historiques publiés à l’époque en France, des romans et de la poésie, les pièces de théâtre. Cette image du Duché influencée par la propagande napoléonienne montre l’état allié bien gouverné, et l’image positive des PolonaisThe thesis furnishes the opinions of Frenchmen at that time about Duchy of Warsaw presented in different French sources of the period 1807- 1813 such as political and military official letters, memories of military Frenchmen, Parisian press, literature, poetry and theater playwrights. First part of the work shows how the polish country was seen by French diplomats who had been staying in Duchy of Warsaw in that period. The author focuses first on the political image of the country which is rather critical, secondly on the institutions, thirdly on the men in power, then on the government, on the people’s attitudes and the opinions of the inhabitants of the country about Frenchmen, and finally on the new political and legal solutions. In the second part of the work, there many descriptions, as well as memories of military men which form together an critical view of the poor polish country, different lifestyles and customs of its inhabitants. In that part, we can find as well geographical information about the climate and various and vivid descriptions of polish towns and polish countryside. In the third part, we come across the image as it was seen in everyday press, historical books edited at that period in France, fictions, poetry and plays. We find out that the image of Duchy of Warsaw, strongly influenced by the Napoleonic propaganda is positive. It comes out that the polish allied country was well governed
Books on the topic "Theater, poland"
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Instytut Teatralny im. Zbigniewa Raszewskiego. Teatr w Polsce: Theatre in Poland. Warszawa: Instytut Teatralny im. Zbigniewa Raszewskiego, 2008.
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Braun, Kazimierz. A history of Polish theater, 1939-1989: Spheres of captivity and freedom. Westport, CT: Greenwood Press, 1996.
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Edna, Nahshon, ed. Jewish theatre: A global view. Leiden: Koninklijke Brill NV, 2009.
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Quick change: Theatre essays and translations. New York: Martin E. Segal Theatre Center Publications, 2010.
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A journey through other spaces: Essays and manifestos, 1944-1990. Berkeley: University of California Press, 1993.
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Rudzki, Piotr. Witkacy na scenach PRL-u: Witkacy on the People's Republic of Poland stages. Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego, 2013.
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Allain, Paul. Gardzienice: Polish theatre in transition. Amsterdam, The Netherlands: Harwood Academic Pbrs., 1997.
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Marina, Fabbri, ed. Jerzy Grotowski e il suo laboratorio: Dagli spettacoli a L'arte come veicolo. Roma: Bulzoni, 2011.
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Król-Kaczorowska, Barbara. Teatr na Zamku Królewskim w Warszawie. Warszawa: Zamek Królewski, 1985.
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Weigel, Alexander, and Anselm Heinrich. "Theatre in Occupied Poland." In Dramaturgies of War, 95–109. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-39318-1_6.
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Kościelniak, Marcin. "Poland." In The Routledge Companion to Contemporary European Theatre and Performance, 196–202. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-32.
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Sowińska, Agnieszka. "Reality From the Bottom Up: Documentary Theatre in Poland." In Dramaturgy of the Real on the World Stage, 72–79. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230251311_6.
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Allain, Paul. "Piotr Borowski and Poland’s Studium Teatralne." In Contemporary European Theatre Directors, 185–205. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285-8.
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Baraniecka, Elżbieta. "Subversive Laughter: Sławomir Mrożek’s Theatre of the Absurd as a Mode of Resistance to Censorship in Socialist Poland." In Censorship and Exile, 193–206. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737004268.193.
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Orzechowski, Emil. "Dla kogo te oklaski?" In Helena Modrzejewska : materiały do badań nad życiem i twórczością aktora II połowy XIX i początków XX wieku, 7–21. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381387293.01.
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The article points to major acting partners of Modjeska. On stage, Modjeska wanted to be faithful to the author, however, the characters she performed were often much more interesting than the text implied, which sometimes caused a confusion in the case of translated dramas. Notwithstanding her in dividual ‘stardom,’ she believed in the idea of the collective effort in theater. She noticed vast differences in the role of the play director in Poland, America, and England. She tried to have a say in the overall staging and invested considerable amounts in sustaining their own production team, making costumes and props, selecting music.
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Jędrzejczyk, Anna. "Donia Sol, Lord Pilgrim i Aleksander hrabia Przezdziecki. Prawda, zmyślenia, zagadki." In Helena Modrzejewska : materiały do badań nad życiem i twórczością aktora II połowy XIX i początków XX wieku, 189–220. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381387293.07.
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The February 1868 issue of the Paris magazine L’Artiste featured a portrait of H. Modjeska. It was a lithography made in J. Lemercier’s study which presented the actress in the costume of Donia Sol. The image was supplemented with a sonnet and a letter of ‘a curious one’ to his friend, signed ‘Lord Pilgrim.’ Apart from a description of Krakow, the letter praised the acting talents of the Polish artist. All this was meant as a publicity stunt and as it turned out, the project was originated by Aleksander Przezdziecki, scholar and theater expert, who borrowed the penname of ‘Lord Pilgrim’ from Arsène Houssaye, an editor in L’Artiste and a writer. Therefore, it was wrongly assumed that Lord Pilgrim was Aleksander Przezdziecki, as repeated by many Modjeska’s biographers for a long time. Houssaye continued to publish his texts in L’Artiste under this penname for years after Przezdziecki’s death. Modjeska did not perform in Paris. However, Count Przezdziecki was making efforts to bring her to the stage of the Warsaw Government Theaters (WGT). He had many influential friends in Warsaw, was widely respected and won the trust of Sergey Mukhanov, the president of the WGT, who let the Krakow actress perform in Warsaw on her own conditions and subsequently be hired. The account of the events is retained in extant letters. In the context of these developments, the article presents the person of Aleksander Przezdziecki, a great Polish patriot and an eminent historian of Poland who sought out items connected with Poland all over Europe. He catalogued and described them in detail and authored important publications based on sources that got irretrievably lost afterwards. Until today, these texts continue to be used by researchers in their publications.
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Zając-Kiedysz, Aleksandra. "Polish Musical Theatre since the 1960s." In The Oxford Handbook of the Global Stage Musical, 808—C29P77. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190909734.013.30.
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Abstract This chapter discusses Polish musical theatre after World War II. In the six years following 1952 nine musical theatres were founded. The Gdynia Musical Theatre became the most remarkable native institution of its type, and its achievements are the focus of this chapter. From the start its directors tried to create a more varied and ambitious repertoire than had been known in Poland. Danuta Baduszkowa, the Theatre’s founder and executive director, had a vision of a popular musical theatre that used contemporary scores and opened the first Polish school for performers of musicals. Eastern bloc countries didn’t have access to Western musicals, so she decided to open a theatre for native composers. Her successors in Gdynia also had daring conceptions of musical theatre, and their work contributed to the great popularity musical theatre enjoys in Poland today. The country’s many excellent theatre companies and premières of new shows constitute what might be called a ‘musical epidemic’.
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"The Theatre of Truth (Juliusz Osterwa)." In Being Poland, 529–34. University of Toronto Press, 2018. http://dx.doi.org/10.3138/9781442622517-039.
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"POLAND." In World of Theatre 2003 Edition, 270–75. Routledge, 2003. http://dx.doi.org/10.4324/9780203682647-54.
Full textConference papers on the topic "Theater, poland"
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Miziak, V. D. "THE IMPORTANCE OF THE UKRAINIAN THEATER TRADITION BASED ON ACTIVITY THEATER OF LUMINARIES AND THE CREATIVE WORK OF THE DIRECTOR AND ACTOR LES KURBAS IN MODERN EDUCATION OF FUTURE ACTORS." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-12.
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Ceastina, Ala. "The outstanding architect Alexander Iosifovich Bernardazzi (1831–1907)." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.20.
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This year marks the 190th birthday of the famous Swiss architect of Italian origin A.I. Bernardazzi, who is also known for creating various historic buildings in Ukraine, Bessarabia and Poland. Archival documents were an evidence of the beginning of architectural career of Bernardazzi, when the Bessarabian Road and Construction Commission appointed him as the technician for urban planning of Akkerman and Bendery in 1853 and also for building some bridges and causeways in those districts. He took part in the organization of the third market in the Forest Square in Kishinev in September of 1855. This was the first mission of his creativity in Kishinev. Alexander Bernardazzi executed his duty as municipal architect from 1856 to 1878 having taken the place of another architect Luca Zaushkevich. All his subsequent monumental buildings became the best examples of European architecture by their style, shape, and quality. . In Bessarabia, he participated in the design and construction of many buildings such as the temporal theatre, the Lutheran school, the railway station, the Greek Church, the Manuk-Bei’s palace, etc. As for Kishinev, the architect Bernardazzi performed the beautification of paving many streets, the construction of urban water supply and the cast-iron railing in the city park. Also, he participated in many architects’ meetings where he submitted interesting reports referring to the theater, some windows, fire safety of buildings and so on. After his arrival to Odessa in 1878, Alexander Bernardazzi continued to participate in designing social and civil buildings in Bessarabia. For his enormous creative contribution to urban development, he was appreciated with the title of honorable citizen of Kishinev and appointed member of the Bessarabian department of the Imperial Russian Technical Society.
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Coffin, Pierre, Hugo Sands, and Erika Forzy. "Polar bears "Gary's Fall"." In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006050.
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Swiecicki, Klaudiusz. "THEATRE AGAINST NON-HUMAN REALITY A FEW SENTENCES ABOUT THE THEATRE OF THE EIGHTH DAY." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.11.
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The Theatre of the Eighth Day from Poznan has been the phenomenon of the Polish independent theatre. It was founded in 1964 by students of the University of Adam Mickiewicz in Poznan. As the students theatre of poetry, for the first few years it operated under the direction of Tomasz Szymanski. The change of the stage form began two years after the group was founded, when Zbigniew Osinski became involved with him. He brought fascination of the Grotowski's method. The Theatre of the Eighth Day marked their disagreement with the communism reality. Stanislaw Baranczak, one of the most talented poets of the Generation'68, joined the group. In the 1970s he was an activist of the anti-communist opposition. For last years, liberal, pro-European Poland has been experiencing an identity crisis. It seems that the demons have put in the forefront: religious obscurantism, anti-Semitism, xenophobia and sexism. Cultural and intellectual openness is replaced by populism and nationalism. The Theatre of the Eighth Day does not remain indifferent to these processes. As in the days of communism takes the side of the open society. The research methods adopted in the article are: analysis of performances, archival materials, photographs and documentary films. Interviews with actors were also conducted.
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Hawryszkow, P., K. Galik, and M. Bocian. "Synergy of Culture and Civil Engineering – Project "Bridge Builders" Organised by Wroclaw European Capital of Culture." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0364.
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<p>Wrocław in Poland and San Sebastian in Spain were awarded the title “European Capital of Culture 2016”. The project “Bridge Builders” was one of many events organised within the cultural programme organised under this patronage taking place in Wrocław in 2015. For one day 27 bridges were converted into theatre scenes, concert spaces and art studios. Visitors had an opportunity to experience cinematography, dance, theatre, literature, and spatial installations. The project “Bridge Builders” is presented in this paper in many of its offerings. A particular attention is given to the project “Zwierzyniecki Bridge Copy – Paste”. Within this project, a 1:4 scaled model of a steel arch bridge – Zwierzyniecki Bridge, was designed, constructed and taken on a journey around the city. The whole process of realization of this undertaking is presented, starting from the design specifications, through concept design, detail design and construction, to transport of the bridge model to its final destination. Selected technical challenges and their solutions are discussed, pertaining to material selection, load effects and construction.</p>
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Snyman, Bailey. "L.I.F.E.: Articulating an Embedded Choreographic Process." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35882.
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This paper explores the evolving landscape of choreographic research in South Africa, focusing on the interdisciplinary nature of contemporary choreography and its reliance on embodied knowledge. The paper examines the theory of tacit knowledge proposed by Michael Polanyi and its intersections with embodiment theories. It further investigates the four interpretations of tacit knowledge presented by Harald Grimen. The study documents the intuitive and implicit choreographic processes behind the creation of “L.I.F.E.: A History of Distance,” a dance-based physical theatre performance. The presentation highlights the importance of understanding choreography as an embodied arts practice and emphasizes the interplay between explicit and tacit knowledge in the choreographer’s creative process.