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1
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.
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Haska, Agnieszka. "Discourse of Treason in Occupied Poland." East European Politics and Societies: and Cultures 25, no. 3 (July 11, 2011): 530–52. http://dx.doi.org/10.1177/0888325411401382.
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During the Second World War, Polish underground organizations created a catalogue of behaviors that qualified as treason against the Polish nation. The rules covered everyday behaviors as well as boycotts of the press, cinema, theater, and the German language. These guidelines—appearing in both codified form and as articles and judgments printed in the underground press—constituted the discourse on treason in occupied Poland. The article presents this discourse, describing its main problems and modifications during the occupation period in an attempt to encompass all spheres of social, cultural, and economic life.
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Kępka, Bartosz, Katarzyna Marzęda, and Magdalena Chrościńska-Krawczyk. "Kabuki syndrome: from Japanese theater to Poland – a case report." Child Neurology 28, no. 56 (2019): 57–61. http://dx.doi.org/10.20966/chn.2019.56.443.
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Dąbrowska, Agata. "Żydowskie aktorki z Polski w rolach szekspirowskich w teatrze jidysz." Studia Judaica, no. 2 (48) (2021): 343–75. http://dx.doi.org/10.4467/24500100stj.21.015.15070.
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Jewish Actresses From Poland in Shakespearean Roles In the Yiddish Theater The article aims at analyzing the role played by Jewish actresses in the development of the Shakespearean Yiddish theater. The paper includes the profiles of artists coming from Poland and/or working in the Polish lands: Bertha Kalisch, Miriam Orleska, and Ester Goldenberg, who contributed to popularization of Shakespeare’s works among the Jewish community. Moreover, the article illustrates their contribution to the changes in the perception of Jewish theater from the “jargon drama” enterprise to an ambitious cultural institution with a Shakespearean repertoire. Among those discussed are the characters of Hamlet performed by Kalisch, Portia (The Merchant of Venice) played by Orleska, Jessica (The Merchant of Venice), and Ariel (The Tempest) interpreted by Goldenberg, and their assessment. The reception of these stage creations of Shakespearean heroes is analyzed on the basis of press materials published in daily newspapers and weeklies in Yiddish, Polish, and English. Some academic studies on the premieres of Hamlet, The Merchant of Venice, and The Tempest with participation of Jewish female artists have already been conducted, but their authors did not analyze the roles performed by those actresses and did not refer to the sources in Yiddish at all. The article discusses not only the artistic activities of Kalisch, Orleska, and Goldenberg, but also attempts to analyze the reception of the characters created by the latter two artists from the perspective of the social and political relations in the Second Polish Republic. Moreover, efforts were made to show that Jewish actresses, by impersonating heroines and heroes of Shakespeare’s plays, proved with their style of acting, professional preparation, and understanding of the nuances of the performed characters that Yiddish theater definitely deserved to be called a temple of art. Their creations became an inherent part of the history of Jewish, and thus the world’s Shakespearean theater.
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Demchenko, Olena, and Inna Stakhova. "EUROPEAN EXPERIENCE IN ORGANIZING THEATRICAL ACTIVITIES IN PRIMARY SCHOOL TEACHERS TRAINING (BASED ON THE RESULTS OF THE JEAN MONNET MODULE PROJECT 620252-EPP-1-2020-1-UA-EPPJMO-MODULE)." Scientific Journal of Polonia University 51, no. 2 (June 14, 2022): 31–39. http://dx.doi.org/10.23856/5104.
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The European integration processes that permeate the Ukrainian education system need to be strengthened through the implementation of the European experience. The use of European experience in the organization of theatrical activities in preparing students for raising children is meaningful and multifaceted in this context. Theatrical activity promotes the development of cognitive interests of future teachers, allows you to delve into the historical and social processes of writing a play, which expands the worldview, promotes self-realization, forms aesthetic tastes and preferences, stimulates thought processes, promotes self-affirmation in public life. Theatrical activity contributes to the rapid transformation of the student into appropriate images, which develops his creativity, imagination, fantasy, creates an environment of professional creative development. The use of European experience contributes to the formation of a set of European values, appropriate lifestyle, progressive thinking. In the article we drew attention to the use of theatrical activities in working with future teachers in Europe (France, Germany, Poland), the influence of the International Association of Theater and Education on student training and outlined the impact of European culture on the Ukrainian education system. The publication reveals the way to implement the Erasmus + Jean Monnet project "EU experience of soft skills development of preschool and primary school age children by theater activities in teacher training". The aim of the project is to provide theoretical and practical training of future educators and primary school teachers to use theatrical activities to develop soft skills of different categories of children and the meaningful organization of their leisure activities based on the experience of Western European pedagogical concepts. We revealed the content of preparing students to use the European experience of organizing theatrical activities in the upbringing of children, presented their creative work, theatrical reincarnations. We have singled out a set of recommendations for teachers of higher education institutions regarding the use of dramatization games and dramatizations in the educational process, which allow to practice behavioral skills in different social situations and gain relevant experience. We paid attention to the promotion of European classical literature, acquaintance with foreign sites and work with them, the creation of various types of theaters (finger theater, soft toy theater, table theater, shadow theater, nature theater, open-air theater) based on European playwrights , the use of Scrum technology in the training of future teachers.
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Editorial. "Student Creativity Festival." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 6. http://dx.doi.org/10.17816/vgik846-6.
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The 36th international student festival, held in the Year of Russian cinema, was successfully completed, confirming its uniqueness and cinematic and theatrical art of young people, their readiness to enter into a professional activity. Traditionally, the festival includes 3 competitive programs-Competition of film works of students of VGIK, College of cinema and television of VGIK, Higher -" courses of VGIK. International competition kit, the jury of which was headed this year by the famous Director, screenwriter, producer Krzysztof Zanussi (Poland); XII international theater competition, where participation this time, in addition to Russia, took theater groups from China, Serbia, Bulgaria.
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Dronov, Mikhail Yu. "Padyak V. Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï. Vysokoshkols′kyi uchebnyk. Priashiv: Vydavatel′stvo Priashivs′koho univerziteta, 2018. 344 s." Slavic World in the Third Millennium 16, no. 1-2 (2021): 274–82. http://dx.doi.org/10.31168/2412-6446.2021.16.1-2.13.
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This article presents the textbook of the famous Transcarpathian and Slovak Rusinist Valery Padyak Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï [History of the Carpatho-Rusyn National theatre and drama]. The Rusyns (more precisely, the Carpatho-Rusyns) are the autochthonous East Slavic population of the Carpathian region: Ukrainian Transcarpathia and the adjacent regions of Poland, Slovakia, Hungary, and Romania. There is also a Rusyn diaspora present in Serbia, Croatia, the USA, Canada, and other states. The number of Rusyns in the world is a controversial issue, one reason for this being their polyvariant identification. At present, a significant proportion of ethnic Rusyns consider themselves representatives of an independent people, who are not Ukrainian or Russian. Padyak, a staunch supporter of the Rusyn ethno-national identity and at the same time a serious academic scientist, made an attempt to trace the development of drama and theatre in the Rusyn environment in parallel with the processes of Rusyn national self-determination. The author traces the evolution of folk theatre performances to the modern Rusyn national theatre, which is actively being developed in different states with Rusyn inhabitants. V. Padyak pays increased attention to theater and drama in the second half of the nineteenth and early twentieth centuries, as well as during the period when Subcarpathian Rus (Transcarpathia) entered the structure of interwar Czechoslovakia and Horthy Hungary. In contrast, the author hardly examines post-war theater life in the Transcarpathian region, believing that its study is more appropriate in the context of Ukrainian, rather than Rusyn, studies. This textbook by V. Padyak, addressed primarily to Rusynist students at the University of Prešov (Slovakia), is of undoubted interest to anyone interested in the history and culture of the Rusyns.
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LAVRENTII, Roman. "ETHNOGRAPHIC DRAMAS AND PLAYS OF MANNERS AT THE UKRAINIAN THEATERS IN HALYCHYNA IN THE 1920s–1930s AS IN INSTRUMENT OF NATIONAL SELF-PRESERVATION." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 158–72. http://dx.doi.org/10.30970/vas.20.2019.10620.
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The issue of preserving the national identity in the conditions of statelesshood is still relevant. Artistic forms of national representation and the preservation of the national ethos, as well as various attempts to foreground it deserve close attention on the part of researchers. This article studies the stage practices of the touring theater companies in Western Ukraine that considered ethnographic dramas and plays of manners as an essential part of their repertoire. It traces the ways those plays were staged by the companies that seemed to pursue the repertoire policy which excluded plays of manners. The article focuses on the attempt of V. Blavatskyi, experimental artist and theater director, to modernize a play of manners as was in the case of the play “Oi, ne khody, Hrytsiu” (Don’t Go to Parties, Hryts) by M. Starytskyi (1934, staged at the Ukrainian young theater “Zahrava”). The article aims to determine the major forms of ethnographic dramas and plays of manners staged by the Ukrainian theaters in Halychyna in the 1920s–1930s, and to highlight the mechanisms of their social impact ranging from mere entertainment and a form of self-abandonment and up to functioning as an instrument of national self-preservation. The following tasks have been accomplished: 1) the historical circumstances in which Ukrainians found themselves in Western Ukrainian lands during the times of the Second Polish-Lithuanian Commonwealth were analyzed; 2) the principles underlying the everyday practices of touring Ukrainian theaters, in particular, in the territory of Halychyna, were outlined; 3) theatrical bills were reviewed to select ethnographic dramas and plays of manners, and the range of themes and issues addressed was determined; 4) the forms of foregrounding and modernization of theatrical national mythic imagery were identified; 5) a conclusion was made whether the Ukrainian society is ready to perceive the existing traditional or modernized vision of the national identity. This study relies on theoretical scientific research methods, such as: content analysis (critical discourse in the press regarding the future of ethnographic drama and plays of manners; thematic and ideological spectrum of the repertoire); synthetic method (presenting the activities of different theater companies as a unity), generalization (outlining common trends in the repertoire policy). Given their marginalized status in the interwar Poland, the Ukrainian citizens had to get their act together to counter the governmental policy of Polonization and to wage the “war of cultures”. Theater turned into a major force in the process of formation of the modern national consciousness. It transformed public consciousness “from defeatist to heroic” and created an attractive image of the native land (historical territory), populating this symbolic space with national heroes and providing consistent narratives (common myths and historical memory). It also gave a boost to a powerful layer of common public culture that supported the phenomenon of “nation as a project”.
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Jędrysiak, Jacek. "Materiały dotyczące konsultacji na temat prowadzenia studiów operacyjnych Zachodniego Teatru Działań Wojennych z wybranymi armiami państw Układu Warszawskiego w latach 1970–1976." Przegląd Historyczno-Wojskowy 23, no. 4 (2022): 245–98. http://dx.doi.org/10.32089/wbh.phw.2022.4(282).0009.
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Despite the progress made in recent years regarding our understanding of various aspects of operational planning in the Polish People’s Army, many detailed issues still require a more thorough analysis. One such issue regards operational studies of the Western Theater of Military Operations. This study uses four reports that document consultations between Poland and other members of the Warsaw Pact between 1970–1976 on improving the methods of carrying out this task.
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Dytman-Stasieńko, Agnieszka, and Justyna Harbanowicz. "Socnarcyzm, czyli celebryci w PRL-u (na przykładzie miesięcznika „Ty i Ja”)." Zarządzanie Mediami 9, no. 1 (January 11, 2021): 81–98. http://dx.doi.org/10.4467/23540214zm.21.004.13052.
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Soc-narcissism (or socialist narcissism) – celebrities in communist Poland on the example of the monthly "Ty i Ja" The article assumes that during communism time in Poland, especially during the period of increased television development in the Gomułka era (the 60s), there were no political, socio-communicative and cultural conditions for the development of the culture of celebrity and the related phenomenon of narcissistic attitudes of individuals popular in the media. This thesis is confirmed by the content analysis of the monthly “Ty i Ja”published in 1960–1973, considered to be the first Polish lifestyle magazine, presenting the stars of theater, film etc., but these presentations were far from revealing any narcissist features characteristic of contemporary culture or Western culture at the time.
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Ratajczakowa, Dobrochna, Elżbieta Kalemba-Kasprzak, Ewa Guderian-Czaplińska Ewa Guderian-Czaplińska, and Ryszard K. Przybylski. "Osiński poznański." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 457–85. http://dx.doi.org/10.14746/pspsl.2019.35.22.
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The article is a record of a seminar meeting devoted to the memory of professor Zbigniew Osiński, an outstanding theatrologist, first director of the Grotowski Institute in Wrocław, a scholar interested in the works of Juliusz Osterwa, Jerzy Grotowski, Gardzienice Theater and Tadeusz and Irena Byrski’s theatre; researcher of the Oriental theatre reception in Poland. The seminar was organized to commemorate the first death anniversary of the Professor whose scientific path began to take shape in Poznań where he worked until 1970. The record of the meeting reflects its course: in the first part, three short speeches were given: – Professor Dobrochna Ratajczakowa talks about the beginnings of Zbigniew Osiński’s career as a researcher, Professor Elżbieta Kalemba-Kasprzak – about the ‘practice of humanities’ in a specific Poznań way, and professor Ryszard K. Przybylski – about the famous article that used information theory tools written by Balcerzan and Osiński. The second part is devoted to the memories of and reflections on the artistic and scientific activity of Professor Osiński in Poznań. Among the guests of the seminar were Professor Edward Balcerzan, Lech Raczak, Piotr Frydryszek, Janina Karasińska – friends and co-workers of Professor Osiński.
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Westcott, James. "Gut Feeling: Thomas Hirschhorn's Superficial Engagement." TDR/The Drama Review 51, no. 2 (June 2007): 171–75. http://dx.doi.org/10.1162/dram.2007.51.2.171.
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What is the relationship of an artwork to the sociopolitical context in which that work was created? James Westcott discusses how Thomas Hirschhorn in Superficial Engagement reproduces the violence of war propaganda. Magda Romanska analyzes the trial in Poland of Dorota Nieznalska, accused of “offending religious feelings” with her work Passion. Ilka Saal reports on the 15th International Istanbul Theater Festival where emerging artists break with both the state and aging Western notions of the avantgarde.
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Romanska, Magda. "The Anatomy of Blasphemy: Passion and the Trial of Dorota Nieznalska." TDR/The Drama Review 51, no. 2 (June 2007): 176–81. http://dx.doi.org/10.1162/dram.2007.51.2.176.
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What is the relationship of an artwork to the sociopolitical context in which that work was created? James Westcott discusses how Thomas Hirschhorn in Superficial Engagement reproduces the violence of war propaganda. Magda Romanska analyzes the trial in Poland of Dorota Nieznalska, accused of “offending religious feelings” with her work Passion. Ilka Saal reports on the 15th International Istanbul Theater Festival where emerging artists break with both the state and aging Western notions of the avantgarde.
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Saal, Ilka. "On the Stages of Istanbul: Atatürk and the New Young Turks." TDR/The Drama Review 51, no. 2 (June 2007): 181–86. http://dx.doi.org/10.1162/dram.2007.51.2.181.
Full textAbstract:
What is the relationship of an artwork to the sociopolitical context in which that work was created? James Westcott discusses how Thomas Hirschhorn in Superficial Engagement reproduces the violence of war propaganda. Magda Romanska analyzes the trial in Poland of Dorota Nieznalska, accused of “offending religious feelings” with her work Passion. Ilka Saal reports on the 15th International Istanbul Theater Festival where emerging artists break with both the state and aging Western notions of the avantgarde.
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PROSKURYAKOV, Viktor, Yuliia BOHDANOVA, and Іhor KOPYLYAK. "THEATER S. SKARBEK / M. ZANKOVETSKA ARCHITECTURAL - CULTURAL CRADLE OF LVIV, REALITIES, LEGENDS AND FACTS." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 5, no. 1 (June 7, 2023): 156–67. http://dx.doi.org/10.23939/sa2023.01.156.
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The article highlights various aspects of the development of the architectural network of theater buildings and spaces in Lviv before the construction of the Count S. Skarbko Theater in 1842, as well as all the legendary and real events related to its design, construction, and operation against the background of theatrical and architectural artistic, cultural, and political events in the city and Europe from the early nineteenth to the early twenty-first century. For 180 years since the beginning of its creative activity, the S. Skarbko/M. Zankovetska Theater and its building have been the subject and object of research not only by scholars from Ukraine, Poland, and Austria-historians, art historians, architects, and playwrights-but also have become the source of many legends that are still of interest to its fans around the world in the twenty-first century. The purpose of the article is to highlight the phenomenon of the S. Skarbko / M. Zankovetska Theater in such a way as to confirm or refute some of the legends that have accumulated since its construction and until the beginning of the twenty-first century and to highlight the theater as an architectural and cultural phenomenon of the city of Lviv and Europe. According to the authors, theater is probably the most powerful manifestation of the level of culture in society. Today we are witnessing and participating in the revival and defense of the Ukrainian nation, its memory, faith, spirit and culture in the bloody war unleashed by Russia. And this is also impossible without theatrical activities, and in particular, such institutions as the S. Skarbko/M. Zankovetska Theater, which has been a true temple of true art for 180 years and is an important cultural center for all nationalities and religions in Lviv. It is a prominent cultural coordinate in Europe, just like its architectural forerunners, the La Scala and Dresden Opera houses. Such an architectural treasure requires proper care, which, of course, will never be possible to accomplish solely through the efforts of the theater's management and company.
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Oltuszyk, A. B. "Fedor Dostoevsky in Polish Literature, Theater and Cinema." Язык и текст 7, no. 1 (2020): 83–89. http://dx.doi.org/10.17759/langt.2020070108.
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Fyodor Mikhailovich Dostoevsky is a Russian great writer, thinker, philosopher and publicist. His skill influenced the literature and culture of the whole world, including Polish. This article discusses the role of the author of Crime and Punishment in Polish literature and culture, including the presence of his works in Polish theater and cinema. Many Polish writers, who studied the artistic skills of Dostoevsky, were attracted by the composition and structure of his novel, introspection and reflection of characters showing interpersonal relationships, a “borderline” state of mind. Even more important than the recognition by Polish writers of the artistry of Dostoevsky is the influence on them of his philosophical concepts, especially the concept of personality. The specificity of Dostoevsky’s technique is also related to the fact that the Russian writer created negative stereotypes of Poles. It must be remembered that the reception of Dostoevsky in Poland in the first decade after the Second World War was significantly limited. Today, the works of the Russian writer are transferred to theatrical scenes, on the basis of which series, full-length or animated films are shot. There are many editions of his short stories and novels in bookstores, often translated again.
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Gallagher, Megan. "Moving Hearts: Cultivating Patriotic Affect in Rousseau’s Considerations on the Government of Poland." Law, Culture and the Humanities 15, no. 2 (June 25, 2016): 497–515. http://dx.doi.org/10.1177/1743872116656112.
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Rousseau’s embrace of ceremony and festivals in his Considerations on the Government of Poland demonstrates one way for republican political thought to develop a substantive treatment of civic virtue. Differentiating the narcissism of spectacle and theater that Rousseau critiques in the Letter to d’Alembert from the Considerations’ call for a generous affect, I demonstrate that the latter is compatible with a republican ethos premised on civic virtue and patriotic attachment to the nation-state. Rousseau argues for the instantiation of political practices that constantly cultivate political virtue and their associated affective orientations. His treatment of civic ceremonies in the Considerations should be read as an attempt to inculcate patriotic affect in republican citizens via constitutional measures.
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Jarzynkowski, Piotr, Renata Piotrkowska, Wioletta Mędrzycka-Dąbrowska, and Janina Książek. "Areas of Work Life as Predictors of Occupational Burnout of Nurses and Doctors in Operating Theaters in Poland—Multicenter Studies." Healthcare 10, no. 1 (December 24, 2021): 26. http://dx.doi.org/10.3390/healthcare10010026.
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Introduction: Researchers’ interest in occupational burnout results primarily from the dangerous and extensive consequences of this phenomenon. The aim of the study was to analyze the level of occupational burnout among nurses and doctors in operating theaters. Materials and Methods: A cross-sectional survey study conducted on 325 nurses and doctors of seven hospitals in Poland. The Maslach Burnout Inventory (MBI) and the Areas of Worklife Survey (AWS) by Michael Leiter and Christina Maslach. Results: The mean values for the level of occupational burnout for the entire sample according to the scale from the Maslach Burnout Inventory by C. Maslach amounted to 14.35 for emotional exhaustion, 8.56 for depersonalization, and 11.90 for personal accomplishment; when compared to reference levels, they classified emotional exhaustion at a low level, depersonalization at an average level, and personal accomplishment at a high level of burnout. Areas of work life are predictors of occupational burnout. The analysis showed a relationship between three of the six variables. As the workload increased, so did the level of burnout among participants, and the categories of honesty and values. Conclusions: The conducted research has shown that occupational burnout among nurses and doctors in operating theaters occurs in all dimensions of this phenomenon (emotional exhaustion, depersonalization, job satisfaction). It was also shown that the areas of work life (workload, control, community, rewards, fairness, values) are predictors of occupational burnout among the respondents. This article shows how important the problem of burnout among operating theater medical staff is. Perhaps it will allow nurses and doctors to recognize this syndrome and encourage them make changes to their work to prevent burnout.
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Krawczyk, N., L. Dębska, and H. Alzaben. "Assessment of thermal comfort in the modern lecture theater: Kielce University of Technology, Poland - case study." Journal of Physics: Conference Series 2701, no. 1 (February 1, 2024): 012137. http://dx.doi.org/10.1088/1742-6596/2701/1/012137.
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Abstract This paper investigates student’s thermal comfort in the intelligent building called “Energis” of Kielce University of Technology located in Poland, which is equipped with advanced heating, ventilation and air conditioning (HVAC) mechanical systems. One lecture theater is selected for thermal analysis. Analysis was focused on student’s assessment of thermal sensations in the autumn season to determine whether modern intelligent buildings can provide adequate comfort conditions during the European transitional period, which is between summer and winter seasons, when heating system is usually off. This study is based on survey data and experimental measurements of indoor parameters using a microclimate Testo 400 meter. The experimental data indicate that a relatively large proportion of students are not satisfied with indoor environmental air quality prevailing in the intelligent building. The results of this study indicate that only 10% of students reported weak productivity related to indoor environmental conditions in the building. In addition, 52% of students describe their thermal sensations as comfortable and 17% of students are not satisfied with environmental conditions in the lecture room. Therefore, improvements on existing mechanical systems for indoor air quality is recommended. Furthermore, it is recommended to conduct more experimental trials and surveys to confirm the results presented in this paper in different University buildings.
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Pogonowicz, Judyta. "La vida es sueno. Trzy adaptacje i trzy tłumaczenia tekstu Calderona." Annales Universitatis Paedagogicae Cracoviensis | Studia ad Bibliothecarum Scientiam Pertinentia 20 (March 29, 2023): 399–412. http://dx.doi.org/10.24917/20811861.20.24.
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This article presents an analysis of three performances based on the drama La vida es sueno by Pedro Calderón de la Barca. These three performances were directed by Wojciech Klemm, Gintaras Varnas, and Paweł Świątek, and they premiered in Poland between 2013 and 2021. Each of the directors treated the original text in a different way, which reflects on their dual role as both director and translator in modern theater. During the rehearsals, three different models of work and three states of the cultural text were distinguished. This article also outlines the brief history of Calderón’s script in the context of its translations into Polish. In conclusion, the article relates to a discussion about the directors’ creative translations.
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Tanikowski, Artur. "Self-Patronage versus State Patronage: Polish and Polish-Jewish Artists React to the Trauma of March ’68." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 95–124. http://dx.doi.org/10.3828/aj.2020.16.7.
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Social tensions in communist Poland were exacerbated with the launching of anti-Zionist propaganda in June 1967. Warsaw students organized numerous protests after the authorities tightened censorship, and later banned the staging of Adam Mickiewicz’s Dziady at the National Theater, considering it to be anti-Soviet. Government forces stifled student protests with numerous arrests, at times causing serious injuries, dismissals from the university, and ultimately the expulsion of Polish citizens of Jewish origin from Poland. The restrictions affected Holocaust survivors who were employed in art schools and cultural institutions. This group included Artur Nacht-Samborski, Jonasz Stern, Eugeniusz Eibisch, and Gizela Szancerowa, among others. Notable artistic testimonies of the experience of March ’68 events and their effects were left by painters and sculptors from the Warsaw Academy of Fine Arts, its students, graduates, and lecturers: Witlod Masznicz, Artur Nacht-Samborski, Krystiana Robb-Narbutt, Ewa Kuryluk, Jerzy Jarnuszkiewicz, and others in his studio - Barbara Falender, Henryk Morel, Grzegorz Kowalski, and Krzysztof M. Bednarski. In Cracow, artists belonging to the Wprost (Explicit) group, including Maciej Bieniasz, Zbylut Grzywacz, Leszek Sobocki, and Jacek Waltoś, commented on the events of March ’68 boldly and on an ongoing basis.
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Yolkin, Anatolii. "Russian Women in Emigration in Poland during the 1920s – 1940s." Journal of V. N. Karazin Kharkiv National University. Series: History, no. 61 (June 27, 2022): 202–18. http://dx.doi.org/10.26565/2220-7929-2022-61-09.
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The article examines the situation of Russian women-emigrants who found themselves on the territory of Poland in the 1920s – 1930s. Almost all categories of the population of the former Russian Empire were represented among the refugees in Poland. Among the ranks of the exiles there were also women who had to adapt to the difficult social conditions of their stay in the country. During the 1920s – 1930s, of the total number of emigrants (50-60 thousand people who stayed in the country) about 30 % were women and children. In 1919–1920, Poland was one of the centers of the anti-Bolshevik struggle. Therefore, the Russian emigrants gave their support to the Poles. For instance, Z. Gippius took part in the publication of the newspaper and the formation of Russian military units. After the end of the Soviet-Polish War, the soldiers and officers of these units were interned in camps. Among them were nurses, as well as women and children. The families of the internees were housed in common barracks, often women and children had to sleep on the floor. The Russian Red Cross Society, headed by L. I. Lyubimova, tried to provide the internees with food, clothing, medical care, and find work. By the mid-1920s, it became clear that the stay of exiles abroad could lasted for many years. Therefore, the main attention of the emigrant organizations were paid to cultural and educational activities. It was carried out through the Russian houses that appeared in Warsaw, Vilna and other cities. There women took an active part in the work of various circles, libraries, theater studios. In families, wives and mothers tried to maintain not only the home comfort, but also to educate children in the spirit of national traditions. So far as women in exile often had to support unemployed husbands or disabled people, they tried to find a job. But most of them could only hope for odd jobs in sewing workshops or trade.
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Ivonina, Ludmila. "The Theater of Death of the XVII–XVIII Centuries: The Kings of Western Europe and the Polish-Lithuanian Commonwealthon the Threshold of Eternity." Izvestia of Smolensk State University, no. 1(57) (July 3, 2022): 187–200. http://dx.doi.org/10.35785/2072-9464-2022-57-1-187-200.
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The perception of death in the Early Modern Time was largely based on ancient traditions. The process of death was a form of public communication and required the presence of spectators.The agony of kings was a kind of caesure between the past and the future, when the subjects were demonstrated the status of the state and its ruler, and at the same time, personal and state interests were clashed and resolved.
In contrast to the solemn departure to the other world of West Europe sovereigns, a vivid example of which was the death of the French king Louis XIV,
the last minutes of the the Polish kings’lives, in particular, Jan Sobieski and Augustus the Strong, were more likely a personal and deeply religious act, rather than a national event. To a large extent it was facilitated by the state system of
thePolish-Lithuanian Commonwealthas a gentry republic with an elected king. The «theater of death» of the French king was in the service of Majesty until the last minute, while the «first among equals» in Poland could die like an ordinary person and get only a «theater after death» – a magnificent funeral ceremony.
The public process of the demise of the monarchs in the Early Modern Time was largely determined not only by the sovereign’s personality, but also by the geopolitical position and state structure of the territory he controlled.
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Sayres, Sohnya. "For Susan Sontag, 1933–2004." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 834–38. http://dx.doi.org/10.1632/003081205x68098.
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“Your corrections are biting, maternal, just. Your example is luminous.” These words float on the page in susan sontag's last novel, In America, near the end of the book (349). The reader isn't surprised by the indirection of the address, the fused “you” of the narrator's voice looped through the character's. Sontag has been present from the first pages, in which she finds herself traveling through time to nineteenth-century Poland, into a drawing room at a party. She moves about pleasantly dislocated, examining her statuesque characters caught in a tableau vivant as she is about to set them free. They will be freer than Sontag's four grandparents likely were when coming from Poland to America, yet this small group of fictional friends will be swept up in the centripetal power of a charismatic personality with exceptional talent, the historical actress Maryna Z. Now, as the novel is about to close, Maryna is poised to be the inspiring, compelling director of her own small repertory company in America. We have come to trust her completely. The praise for her efforts, those words about correction and example, comes from somewhere over the stage lights out of the depths of some metaphysical, darkened theater but also from inner admonishment and fair-minded assessment. This is how she must be, our Sontag-Maryna; this is what art requires, this is what is needed.
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Krawczyk, Natalia. "Thermal comfort in the low energy building - validation and modification of the Fanger model." E3S Web of Conferences 246 (2021): 15003. http://dx.doi.org/10.1051/e3sconf/202124615003.
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Nowadays, we spend most of our time inside buildings. Thus, ensuring adequate thermal comfort is an important issue. The paper discusses the issue of thermal comfort assessment in the intelligent low energy building “Energis” of Kielce University of Technology (Poland). The tests conducted in a selected lecture theater focused on collecting anonymous questionnaires containing thermal sensation and air quality votes of the respondents as well as performing measurements of indoor air parameters (air and globe temperatures, relative humidity, air velocity and CO2 concentration). Based on the obtained data a comparison has been done between the actual sensation votes of the volunteers and the calculation results performed with the Fanger thermal comfort model. Two indices have been considered in the paper: PMV (Predicted Mean Vote) and PPD (Predicted Percentage Dissatisfied). A modification of the model has also been proposed, which considers the impact of the carbon dioxide concentration on thermal comfort.
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Zawadzka, Danuta. "Bieżenki – pamięć wnuczek chłopskich uchodźców z 1915 roku." Białostockie Studia Literaturoznawcze, no. 19 (2021): 51–80. http://dx.doi.org/10.15290/bsl.2021.19.03.
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The article is devoted to the mnemohistory of the exodus, bieżeństwo. It refers to the history of the escape of Orthodox peasants from the eastern territories of former Poland from the German front during World War I in 1915. The text takes into account the feminine and peasant aspects of experience and memory. In addition to the interpretation of Aneta Prymaka-Oniszk’s historical reportage Bieżeństwo 1915. Zapomniani uchodźcy [Biezhenstvo 1915. Forgotten refugees] and memory studies, the author draws on her own participant observation during the preparations for the 2018 participatory performance “Bieżenki”, which involved the granddaughters of the bieżeństwo refugees from Białystok and Podlasie. She traces the transgenerational transmission of the bieżeństwo in the three-generation family with an emphasis on the generation of granddaughters. She also draws attention to the parallels between the events of 1915 and 2015 (migration crisis), as well as 2021, present in literature and theater, among others, asking – as did Astrid Erll – about their role as the media of remembrance.
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Krotofil, Maciej, Hennadij Nadtoka, and Ihor Sribnyak. "Cultural and Artistic Component of the Camp Leisure of Interned Ukrainian Soldiers in Aleksandrów and Łańcut, Poland (end of 1920 – 1921)." Eminak, no. 1(41) (April 13, 2023): 134–47. http://dx.doi.org/10.33782/eminak2023.1(41).626.
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The purpose of the article is to conduct an analysis into the cultural and artistic component of the camp everyday life of interned UPR Army soldiers in the camps Aleksandrów and Łańcut (Poland) at the end of 1920 and in 1921.
The scientific novelty lies in the multi-faceted study of the essence of cultural and artistic activity conducted by creative groups from among camp residents, whose events helped enrich everyday life in the camps for interned soldiers.
Conclusions. The cultural and artistic life of interned soldiers was manifested most fully in three categories – songwriting of amateur choirs, performances of camp orchestras, work of camp theaters. At the same time, all amateur theatrical and concert events were national in content and spirit and contributed to the spiritual consolidation of the interned Ukrainian soldiers in the difficult conditions of internment. Thanks to the efforts of members of artistic groups, camp residents had the opportunity to regularly attend theater performances, choir performances, and instrumental music concerts. In addition, with the joint efforts of camp artists, various artistic events (‘concert-parties’) were regularly prepared for the internees, which constituted a harmonic combination of various theatrical, choral and musical numbers. Usually, they were concluded by dance sections, which enjoyed constant popularity among all camp residents. Similarly, camp artists cooperated in their efforts during the preparation of theatrical performances, thanks to which the performances acquired greater artistic value. It was also important that women (mostly officers’ wives), some of whom had undeniable artistic talent, were actively involved in the performances.
Important cultural and artistic events included the celebration of national and state holidays, days of memory of Taras Shevchenko and Ivan Franko, divisional holidays, a commemoration of the fallen in battles, etc. The joint efforts of camp artists, choristers and musicians significantly contributed to overcoming the threatening tendency towards degradation and dispersal of the interned Ukrainian soldiers. Ukrainian song, music, and dramatic art, to the greatest extent, contributed to the camp residents’ spiritual unification around national values and also allowed them to successfully overcome all the difficulties of the camp’s everyday life.
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Krivopalov, A. "Southern Flank of the U.S. Military Deployment in Eastern Europe." World Economy and International Relations 68, no. 7 (2024): 25–34. http://dx.doi.org/10.20542/0131-2227-2024-68-7-25-34.
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This paper deals with the issue of the growing military-strategic partnership between Romania and the United States, and addresses its effects on the post-Soviet countries. After 2022, the U.S. has become increasingly interested in the Danubian theater of operations, deploying a sizeable contingent of American ground troops in Romania. Making use of its partnership with the Americans, and inspired by the successful example of Poland, the Romanian government started to modernize its national armed forces after years of technological stagnation. One can reasonably assume that the consequences of this policy could affect Moldova and Transnistria, shifting the regional balance of power in a direction unfavorable to Russia. At the present stage, however, the U.S. – authorized infusion of relatively modern Western weapons into the Romanian army is primarily aimed at offsetting the technological gap, which had formed during the Cold War years and intensified in the 1990s?2000s. The events of the 2022 Ukrainian crisis presented Bucharest with a chance to strengthen its position within the United States’ strategic framework and, as a result, dramatically expanded the scope of its military and technical partnership with Washington. The Romanian leadership seems eager to capitalize on the growing American interest in the rapid and lasting takeover of the Danube theater of operations. It cannot be ruled out that this trend will affect Moldova, which maintains close political ties with Romania. The American base of operations has not shifted to Eastern Europe so far. The rear logistics command of the U. S. European Command remains in the same location it was originally established during the Cold War. The forces deployed as part of the Operation Atlantic Resolve have only slightly advanced closer to the conflict zone. That said, the experience of the Cold War and, more specifically, the deployment of American forces to provide cover for West Germany and South Korea suggests that, in order to effectively deter a would-be adversary, the rear base of operations must be located inside the confines of the potential combat theater, not outside of it. The current deployment of U.S. troops, therefore, appears to be an act of politics rather than strategy. In the eyes of Eastern European leaders, even a marginal, purely symbolic United States’ military presence acts as a psychologically significant form of assurance against a hypothetical escalation vis-a-vis Moscow. At the same time, the American deployment in Eastern Europe resembles a “sanitary cordon” rather than an “iron curtain” in the sense that it is motivated more by political considerations than by strategic concerns. The fact that the recent U.S. military preparations are purely demonstrative in nature, as opposed to establishing a full-scale logistics command in a potential combat theater, means that Russia can continue to respond with similar symbolic gestures and warning signals.
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Moder, Gregor. "Lubitsch, Shakespeare, and the Theatricality of Power." October, no. 178 (2021): 55–80. http://dx.doi.org/10.1162/octo_a_00439.
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Abstract Ernst Lubitsch's To Be or Not to Be (1942) was filmed during World War II and takes place in the early period of the Nazi occupation of Poland, yet it focuses on the story of a theater group, on actors, and on the metaphysical question of what makes up a convincing performance. Some early critics suggested that this was not the way to tackle a dire political situation, and that the portrayal of Nazis as humans, with their own sense of humor and theater, was disrespectful to the plight of the Poles and Polish Jewry. For the film, however, the political action and the tracing of the philosophical implications of a theatrical performance are not alternative procedures, but are closely linked to one another, and in this respect Lubitsch follows Shakespeare's own staging of power. The article pursues this argument, firstly, in the analysis of the series of Shylock monologues in the film (“Hath not a Jew eyes?”), focusing on the hyper-theatricality of each repetition. Secondly, it analyzes the series of encounters between two main characters, the Nazi Colonel Ehrhardt and the Polish actor Joseph Tura, especially their last encounter. The author compares the encounter between Ehrhardt and Tura to the Mousetrap scene in Hamlet and argues that it functions as the primal scene—in the Freudian meaning of the term—of the film as such. Their encounter is comical, yet at the same time both politically and metaphysically completely serious: The film shows us two visions of Hamlet, and with that, two visions of modernity, embodied in a Nazi colonel and a Polish actor. The film seems to suggest that there is no defeating Nazism without a thorough understanding of the theatricality of power as such—a Shakespearean lesson that is vital also for our contemporary moment.
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Skinner, Barbara. "The Kiev Academy Spoofs the Uniate Church." Russian History 41, no. 1 (2014): 23–38. http://dx.doi.org/10.1163/18763316-04101002.
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The partitions of Poland brought some three million Ukrainian and Belarusian Uniates, or Greek-rite Catholics, into the Russian empire by 1795. In 1794 Catherine II launched a massive campaign to convert her new Uniate subjects to Russian Orthodoxy, which succeeded in cutting the number of Uniates in her empire in half within two years. Ukrainian Orthodox clergymen trained at the Kiev Academy were instrumental in this conversion effort, and their arguments against the Uniate Church represented standard pro-Orthodox propaganda used by the Russian church and state to degrade the Uniates and to justify the efforts to abolish this church within the Russian empire. This paper introduces a previously unstudied source that illuminates the work of the Kiev Academy in continuing to promote a pro-Orthodox and anti-Uniate stance within the lighter medium of school theater. At the close of the eighteenth century, a professor at the Kiev Academy composed a humorous play that poked fun at the Uniates and promoted the Orthodox faith. This virtually unknown manuscript provides keen insights into the stereotyping of and prejudices against the new Uniate subjects of the Russian empire, which reinforced troubled religious relations in Russia’s western borderlands throughout the following century.
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Labinska, Halyna. "Considering the changes in the linguistic structure of the population of Ukraine when teaching the courses «Toponymics of Ukraine» and «Ethnogeography of Ukraine with the basics of Ethnopedagogy» in higher education." Visnyk of Lviv University. Series Pedagogics, no. 38 (2023): 144–58. http://dx.doi.org/10.30970/vpe.2023.38.11860.
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The linguistic marker of ethnic identity has been taken into account in European countries since the nineteenth century. In Ukraine changes in the linguistic composition of its population fully reflect imperial influences: the highest rates of russification were recorded between the censuses of 1959 and 1989 and precisely in those areas where in 2022–2023 the theater of war is concentrated. The russian language still retains its communicative power in Ukrainian society due to the factor of vertical bilingualism, which can be traced through spatial differences in the country both in terms of native language and spoken language. The war exposed the need to maintain the national language and culture, to ensure their dominance in public life, education, management and the media, as is typical of many European countries, for example, Poland and Italy. It is necessary to reflect changes in the linguistic structure of the population of Ukraine and at the level of lecture material, within the framework of university training courses, stating the importance of the linguistic identity of Ukrainians in their country. It is also necessary to take into account current changes in the Ukrainian language. Keywords: linguistic structure of the population of Ukraine, native language, spoken language, markers of national identity.
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Sribnyak, Igor. "The Wadowice Camp (Poland) of the UPR’s Interned Troops: the Conditions of Stay and Morale of Interned Army in May-July 1921." Mìžnarodnì zv’âzki Ukraïni: naukovì pošuki ì znahìdki, no. 26 (November 27, 2017): 124–40. http://dx.doi.org/10.15407/mzu2017.26.124.
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The article analyzes the conditions of stay and morale of the interned Ukrainian army in the Wadowice camp (Poland). It was proved that the life of Ukrainian soldiers was marked by considerable difficulties due to overcrowding of the camp, a rather tight regime of keeping interned, limiting the ability to temporarily leave the camp, the unpreparedness of the camp commandant’s office to go to a meeting with the interned in solving their most pressing problems. Ukrainian soldiers’ ration was reduced, and sometimes they received spoiled products; they were devoid of soap; the camp still had a group of captive Red Army soldiers with Bolshevik agitators in their environment; there was a prohibition of singing songs (outside the camp, while studying, etc.). All this was aggravated by malevolence and even hostility to interned Ukrainian soldiers on the part of the individual officers of the camp (sometimes even offensive attitude to them), the intrusion of the camp’s commandant into the internal life of Ukrainian soldiers. All this led to the demoralization of the part of the interned Ukrainian army, which did not have stable national-state feelings. One of its manifestations was the desertion of several dozen interned from the camp, including officers. In these conditions, it was imperative to consolidate the moral spirit of the interned, what the cultural-educational departments were cared for. In order to create positive values, actors-amateurs of the camp’s theater regularly offered warriors performances by Ukrainian playwrights. The YMCA camp branch, which, despite the anti-Ukrainian position of its head, objectively changed the lives of the interned for the better.
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Łach, Wiesław. "Działania wojenne gen. Żeligowskiego wobec Litwy. Próby rozstrzygnięcia konfliktu przez ligę narodów." Przegląd Wschodnioeuropejski 12, no. 2 (December 31, 2021): 75–90. http://dx.doi.org/10.31648/pw.6863.
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The situation after World War I was far from stabilizing, and the area of the Vilnius region became the subject of a conflict that for many years cast a shadow on Polish-Lithuanian relations. One should look at this conflict from the perspective of one hundred years, remembering that it turned into an antagonism so sharp and fierce that it even aroused the amazement of bystanders. The taken up topic has been presented in many aspects: events in August and September 1920 preceding the occupation of Vilnius, the position of General Lucjan Żeligowski to this situation, warfare (called "rebellion"), the establishment of Central Lithuania and an attempt to sanction the situation in the League of Nations forum. This paper is about a military and political activities of occupation of Vilnius and its neighboring areas by the Poland in October 1920. The originator of this undertaking was Józef Piłsudski. He admitted to it after years, exactly on the 24th and 25th of August 1923 during the lectures in the hall of the Grand Theater in Vilnius. Polish-Lithuanian relations in the analyzed years should be considered far from accepted international standards. Both Poles and Lithuanians can be held responsible in point of above facts. Awareness of these events is extremely important for both nations for mutual understanding and agreement.
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Będźmirowski, Jerzy, and Miłosz Gac. "Military Security in the Baltic Sea during Cold War: Analysis Based on the Materials of the Naval Reconnaissance Unit of the Polish People’s Republic." Historia i Polityka, no. 46 (53) (November 15, 2023): 85–104. http://dx.doi.org/10.12775/hip.2023.032.
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The purpose of the article was to present, in the proverbial nutshell, the issues related to the military situation in the 1950s and 1960s during the so-called Cold War in the Baltic Sea, based on the materials of the Naval Reconnaissance Unit of the Polish People’s Republic. These materials were very important for analytical teams preparing concepts for operations in the Northern European Theater of Operations, as well as ensuring the security of the maritime borders of the Warsaw Pact countries.
The 1950s and 1960s were characterized by a wide range of reconnaissance activities as a consequence of the changing reality in the Baltic Sea. The naval potential of both NATO countries, especially Denmark and the Federal Republic of Germany (FRG), was expanded, thus the other side began to create the People’s Navy of the German Democratic Republic (GDR), as well as to strengthen the combat potential of the naval forces of the People’s Republic of Poland. At the same time, the cooperation of allied fleets of the Warsaw Pact countries was improved, and for this purpose, staff exercises were conducted on maps and in the Baltic Sea.
In retrospect, both NATO and the Warsaw Pact appreciated the military importance of the Danish Straits and the Baltic Sea. In the following years, efforts were made to improve the concepts of naval forces in these waters.
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Astafiev, Oleksandr. "UKRAINIAN-POLISH DIALOGUE OF LITERATURES AS A WAY OF OVERCOMING THE CIVILIZATION CRISIS." Polish Studies of Kyiv, no. 36 (2020): 124–38. http://dx.doi.org/10.17721/psk.2020.36.124-138.
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In the article on the broad background of Ukrainian and Polish literatures of the twentieth century the problem of the crisis of modern culture and the need for dialogue have been clarified. The greatest philosophers Oswald Spengler, Arthur Schopenhaur, Friedrich Nietzsche, Mykola Berdyaev, Albert Camus, Karl Jaspers, Martin Heidegger, Herbert Marcuse, and others wrote about the crisis of culture and the destructive role of the human-machine connection in it. Modernism, in particular, the Young Poland Group, came out of distrust of the cult of reason. The article deals with the works of modernists at the reception of Lesya Ukrainka and Ivan Franko, analyzes the manifestations, programs and discussions of Young Poland, and shows its impact on the Young Muse group in Lviv. The apologetics of the “machine age” in the literature is related to the work of Italian (Filippo Tommaso Marinetti, Corado Govoni, Ardengo Soffici, Giovanni Panini, etc.), Russian (Igor Severianin, Vadim Shershenevich, Vladimir Mayakovskiy, Velemyr Khlebnikov, Vasiliy Kamenskih, David Burliuk) ), Ukrainian (Mikhail Semenko, Geo Shkurupiy, Oleksa Slysarenko, Dmytro Buzko, Leonid Skrypnyk), and Polish (Bruno Jasensky, Stanislav Mladozhenets, Titus Chizhevsky, August Zamoisky, Stanislav Ignacy Vitkevich, Leon Khvistek, Anatol Stern) futurists. Constructivism developed in parallel to the “industrial age”: in Ukraine - Valerian Polishchuk, Leonid Chernov-Maloshenko, Raisa Troyanker, Mike Jogansen; in Poland - Vladislav Stzeminski, Katarzyna Kobro-Stzeminska, Meczyslaw Schuka, Jan Golus, Meczyslaw Schulz and others. Symptoms of the crisis of culture and disintegration of social communication are noticeable in surrealism, neo-romanticism, expressionism, existentialism, theater of the absurd and more. The First, and later the Second World Wars, questioned the belief in the identity of European cultures. Extremely rapid development of communication tools and communication media has opened the prospects for a dialogue of literatures. It is not about their unification, which is reduced to the functioning of the product on the market. Culture is a large polyphonic space. It can distinguish the “voices” of different cultural figures, whose significance does not depend on either age or nationality. The article emphasizes that the dialogue of literatures offers the exchange of cultural values between peoples, as well as the spiritual rapprochement of large and small cultural regions, which have their unique features. As Edward Kaspersky rightly points out, dialogue is not only a matter of humanitarian contacts of the great cultures, but also of the way in which an individual takes part in their spiritual world. The dialogue of literatures helps to organically borrow the best from the treasury of neighbors (i.e., recent editions in Poland of works by Taras Shevchenko, Ivan Franko, Lesya Ukrainka, Mykhailo Kotsyubynsky, Yuri Andrukhovych, Oksana Zabuzhko; editions in Ukraine of books by Stanislav Trembetsky, Lev Venglinskiy, Tomash Padura, Yaroslav Ivashkevich, Leopold Staff, Boleslaw Lesmian, and others - in the series “Library of Polish Literature”), prompts the reader to rethink “foreign” literature. Today, the principle of dialogue of literatures is a real opportunity to overcome the deep contradictions of the civilization crisis and to overcome the environmental catastrophe and the nuclear threat. The dialogue of literatures is able to preserve cultural differences in all their richness and diversity and to establish mutual understanding and cultural contacts between peoples.
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Jędrzejewski, Stanisław. "Kultura udomowiona a nowe technologie." Roczniki Nauk Społecznych 13(49), no. 1 (2021): 51–72. http://dx.doi.org/10.18290/rns21491.4.
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Although the restrictions associated with the COVID-19 pandemic significantly reduced or completely eliminated the manifestations of artistic life, human ingenuity and simply necessity made it possible to transfer many offline cultural events and events to the online environment. Free online broadcasts from concerts such as the Berlin Philharmonic, opera performances from the New York Metropolitan, as well as theater and music concerts have gained in popularity worldwide. Film production companies have begun to make films available online. The offer of video or VOD (Netflix, YouTube, Twitch, Showmax, Paramount Play) has increased (Upper, 2020). Because, at least in the first phase of the pandemic, the revenue from the cinemas fell, VOD services could watch hits, e.g. in the United States — Emma, and in Poland — Hejter. Virtual tours were offered by well-known museums, such as the Louvre in Paris and international cultural heritage sites, including the Roman Colosseum. Since the outbreak of the epidemic there has also been a rapid increase in online gaming traffic. Finally, after the total suspension, sports competitions, e.g. football matches, came back, but without the participation of the fans, albeit like stand-ups with played recordings of the stadium’s fans’ reactions. In this way, what we call entertainment or popular culture has been domesticated and is done through the media. In this article I review the possibilities that new technologies now offer for domesticated culture in new circumstances forced by a pandemic COVID-19.
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Drężewska, Marlena, Zofia Śliwińska, Marzena Wiernicka, Zbigniew Śliwiński, and Grzegorz Śliwiński. "Evaluation of the Effectiveness of Kinesiology Taping and Standard Physiotherapy Procedures in Musculoskeletal System Disorders in Dancers." Physikalische Medizin, Rehabilitationsmedizin, Kurortmedizin 29, no. 01 (May 28, 2018): 45–52. http://dx.doi.org/10.1055/a-0587-5897.
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Abstract Objectives The objective of this study was to assess the effectiveness of application of Kinesiology Taping for musculoskeletal system disorders in dancers, in comparison with the standard physiotherapy procedures. Design Cross-sectional study. Methods Examined were 77 dancers of the Dance Theater from Poland, both male and female (58 women and 19 men), 18–25 years old (M=20.03, SD=2.67), who experienced pain in musculoskeletal system and who specialized in jazz dancing. All the examined patients had undergone a three weeks long therapy. In the test group (N=52), Kinesiology Taping was applied to the selected groups of muscles, peripheral joints and spine, with the tapes being replaced 3 times, after each 7 days of therapy. In the control group (N=25), the standard physiotherapy procedures were applied. For the assessment of effectiveness of the therapies, there were used: interviews, measurement of pelvic static, measurement of muscle strength with a dynamometer, measurement of hip joint range of motion with a digital inclinometer and measurement of pain with VAS. Results Kinesiology Taping application has brought significant improvements in recovering proper pelvic static, increasing muscle strength, extending active range of motion of hip joints and lowering level of subjective sensation of pain. Conclusions Effectiveness of the Kinesiology Taping application for musculoskeletal system disorders in dancers is comparable with the standard physiotherapy procedures, which makes it possible to obtain a similar therapeutic effect, using the painless, well accepted by patients method of treatment, which is addition costs less.
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Sribnyak, Іhor. "«Don’t Fester Behind Bars, Get On with Your Life Here, in this Small Wired City…» (Everyday Life of the Interned Ukrainian Soldiers in Aleksandriv, Evidenced with the Camp Periodicals, 1921)." European Historical Studies, no. 10 (2018): 217–52. http://dx.doi.org/10.17721/2524-048x.2018.10.217-252.
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The article analyzes the conditions of stay and the main manifestations of the cultural and educational activities of interned Ukrainian soldiers in the camp of Alexandriv (Poland) in 1921. Based on the use of a wide range of archival sources, the author concluded that the camp of everyday war has been marked by considerable difficulties, but gradually the situation of the interned has been normalized. The camp was founded by a number of educational, cultural and artistic organizations, as well as a cooperative, which positively influenced the moral spirit of war. In addition, studios in camp schools, attending various educational courses allowed everyone to refill their knowledge of knowledge, which was extremely important in terms of emigration, allowing to fill the constructive meaning of the camp of the daily routine of a large number of interned, first of all from the number of officers. The availability of the theater, the choir, the orchestra, various coteries for the sake of successfully and extremely important mission of fastening the national consciousness of the war and strengthening their moral spirit, largely allowed to prevent collapsing in the interned environment. An important component of the camp’s everyday life was the camp press, which, in spite of all the issues, i.a. the difficulties of its publication in Alexandriv, was able to quickly inform the public on the events in Europe and Ukraine, while not forgetting about the coverage of camp life. However, the interned did not have the opportunity to develop their cultural and educational achievements, for back in the autumn of 1921 the Polish authorities have resorted to the settlement of the mentioned camp and the displacement of its inhabitants to other camps.
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Steinlauf, Michael C. "Jewish Theatre in Poland." Polin: Studies in Polish Jewry 16, no. 1 (January 2003): 71–91. http://dx.doi.org/10.3828/polin.2003.16.71.
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Georgopoulou, Xenia, Eleni Pilla, Urszula Kizelbach, and Jacek Fabiszak. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 12, no. 27 (June 26, 2015): 147–65. http://dx.doi.org/10.1515/mstap-2015-0012.
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Romeo and Juliet for Two. Dir. Kostas Gakis, Athina Moustaka, Konstantinos Bibis. 104 Theatre, Athens, Greece.
Lady Macbeth. Dir. Marios Mettis. Theatro Thentro, Nicosia, Cyprus
Hamlet. Dir. Jan Klata. Gdańsk Shakespeare Theatre, Gdańsk, Poland
The Taming of the Shrew [Poskromienie złośnicy]. Dir. Katarzyna Deszcz. Stefan Żeromski Theatre, Kielce, Poland
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Demski, Dagnosław. "Former Soviet Military Bases from the Perspective of Thirty Years: An Ethnographic Mise-en-scene." Folk art and ethnology 4 (November 30, 2022): 42–53. http://dx.doi.org/10.15407/nte2022.04.042.
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The site of the former Soviet military base changed after the withdrawal of the Soviet army in 1991–1993 is discussed in the article. The analysis concerns the third former military bases in Borne Sulinowo (Poland), Milovice (Czech Republic) and the former missile bases near Gulbene (Latvia) and three fieldworks have been taken in the 2005–2020 and finished because of the coronavirus pandemic. Transformation of these places and adaptation of the old infrastructure to the new situation in cities inhabited by civilians from the “exhibitionary” position is considered. My assumption is that after the departure of Russian the key decisions on the future belonged to the local population of cities (Borne Sulinowo, Milovice). As a result of these decision, development went in different directions – various goals, direction, attitude to the difficult past, historical, geographical, political contexts – are the subject of analysis. We can observe a clash between long-term state strategies with the tactic used by individuals, including everyday practice. Comparing the activities and changes in these three localities, I pay attention to the so-called mise-en-scene, a concept named in the sphere of theater and film, but also in ethnography, understood as delineating the area. Such practices formed a separate ‘microcosm’, which later served as attraction for visitors. The juxtaposition showed that each place carried different story emerging in a different context, and thus given a specific message: a modern city opened to the future, although using its unique (both German and Soviet) military past (Borne Sulinowo), a city focused on entertainment and using extensive former military spaces like airfield, buildings (Milovice), or blurring the traces of not very distant past (Gulbene area). Each of these places struggles with its troubled and unwanted past, however over time gaining distance it is manifested in various ways (through entertainment, museums, attempts to present memory, war vehicle festival etc.).