Academic literature on the topic 'Theatre class language polish art'

Although now in his seventy-fifth year, the Polish director and artist Tadeusz Kantor is still regarded in the west as a startlingly experimental director, in the bleak, highly personal mould that has marked his work since the creation of the Cricot 2 Theatre in 1955. Such productions as The Water Hen, The Dead Class, Wielopole, Wielopole, and Let the Artists Die have earned him a strong cult following, but he has rarely chosen to explain his views and approach to theatre in the discursive form of an interview. We are therefore particularly pleased to be able to print here a translation of an interview which first appeared in the journal Polityka, No. 39 (November 1988), which took place during the visit of Kantor's most recent work, I Shall Never Return, to New York earlier in the same year. The translation is by Piotr Kutriwczak.

On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.

The use of poetic texts in heritage Polish composition classes offers a resourceful, motivating, and original way of learning the language and culture, primarily by mastering writing skills and understanding Poland’s rich and complex culture. Moreover, poetic texts give an aesthetical beauty and moral values, and the students discover universal truths during their readings and discussions. A chosen poem, such as Adam Mickiewicz’s “Lelije” (Lilies), Teofil Lenartowicz’s “Złoty kubek” (A Golden Cup), or Bolesław Leśmian’s “Urszula Kochanowska” (Ursula Kochanowska), is presented in class for listening exercises, reading, recitation, discussion, and especially creative writing. The students are introduced to the captivating genre of poetry and learn about the cultural and historical content of this work. Then, they write their poem or a composition on the introduced theme. The assessment consists of the student’s originality, the content of the paper, the organization of the paper, and the employment of correct grammatical sentence structure and vocabulary.Consequently, poetic texts immersed in Polish intertextual space are open and may be read in many ways, beyond their initial context, presenting many fascinating interpretations and offering many intellectual attractions. A poem is an excellent learning source for the creativity stage in the art of writing, transmuting elements of the past Polish culture and literature in modern language classes. Students write their own intriguing stories, focusing on their knowledge of the language, and using resourcefulness and creativity.

Abstract:In this article we perform a juxtaposition of Wittgenstein’s confession with the art of drama. Our aim is to transpose the private language argument criticizing the ostensive definition of internal objects (beetle in a box thought experiment) onto confession and the art of drama performance. The play (possibly called “game”) of the actor is not an expression of his soul interior, but an autonomous necessity in the most decisive meaning – which means: the only thing to be done. Correspondingly, confession doesn’t express any interior misery – it is an acting (the double sense of this word will be further developed), the only possible acting within these conditions, the only possible response to one’s condition – a condition of mutilation where human misery appears very distinctly. Confession creates neither a relation of power (as Foucault was demonstrating in his late writings) nor a form of emotional exhibitionism but a language game consisting on words judging oneself, immune to interpretation, explanation, and vanity coming from their expression. Irreplaceable words become the agent of salvation.1 This article is the effect of great encounters that helped me – a non-Wittgensteinian – to “see” Wittgenstein perhaps more than understand his philosophy. I should first address many thanks to Dr. Ilse Somavilla who welcomed me on the beautiful roof of the Brenner Archives in Innsbruck together with its director Prof. Ulrike Tanzer (Thank you!). It is through Ilse Somavilla’s writings and archive editing work that I could engage myself and follow her on a path of reading Wittgenstein with a sensibility for religion and art. I owe also a lot of thankfulness to Prof. Alois Pichler for long lasting, repeated hospitality in the Wittgenstein Archives at the Bergen University and great patience for my plans of developing research plans about Wittgenstein in the Polish Galicia. The ability to visit these two places, Norway and Austria, have left inside myself a Wittgensteinian imagery that creates the scenography of my philosophical attempt inside this article. My research would not be possible without receiving the scholarship of the Republic of Austria OEAD for which I also express my deep gratitude. I am also very grateful to Kasia Mala for her linguistic revision of my article. And finally, what triggered this Winn-gensteinian performance were unforgettable dinners with Maja, my Mother Agata, and my son Światopełek – to say they were inspiring is not enough…

From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Poland theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the subject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with performance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.

From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Poland theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the subject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with performance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.

Oliver Goldsmith’s She Stoops to Conquer (1773) was staged only two weeks after the publication of his Essay on the Theatre, in which he famously compared sentimental comedies with what he described as laughing comedies. The play thus illustrates Goldsmith’s principles for his ideal laughing comedy. One of the aspects of this type of comedy, which has rarely been addressed, is its representation of the matrix of temporal and spatial elements, or what Mikhail Bakhtin calls a chronotope. The present study is thus aimed at investigating She Stoops to Conquer in terms of Bakhtinian chronotope. The study argues how different chronotopes have influenced the behaviours as well as the decisions of characters in the play. Moreover, it shows that the chronotopic framework can shed new light on the play’s portrayal of the class divisions in the eighteenth century, when the middle class was emerging in England’s social system.

Abstract This article uses a critical and historical perspective to examine some of the achievements of Indonesian community media, the problems they have encountered, as well as the solutions they are offering. It analyses the similarities and differences with earlier genres with an explicit participatory agenda, including certain forms of LEKRA literature and art of the 1950s and 1960s, ‘people’s theatre’ since the 1970s, and ‘conscientization art’ since the 1980s. One of the main challenges for contemporary community media has been to reconcile class differences in the collaboration between media or art facilitators and local communities. These and other factors have affected the accessibility, distribution, sustainability and reach of their ideas, activities and outputs. The article demonstrates how facilitators and practitioners have tried to solve some of these problems through the exploration of alternative media networks, formats and content.

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.

<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">The purpose of this study is to explain the revival of Polish martial arts from the perspectives of cultural sociology, the sciences of physical culture, and the humanistic theory of martial arts. The Polish Martial Arts (<em>Polskie Sztuki Walki</em>) are a subject still requiring serious scientific examination, even in Poland. There are few works concerning the history of Polish weapons, and most only describe techniques for wielding specific types of edged weapons. Nevertheless, there is a large group of enthusiasts trying to restore and cultivate the old Polish tradition, a tradition with heavy emphasis on the art of fencing. The author knows many of the people and facts presented here, from personal observation and from direct participation in these arts. As a disciple of the late Master Yoshio Sugino (10th-dan Kobudo Katori Shinto-ryu), he fought against the Polish saber champion, and he has taken part in joint exhibitions of Polish and Japanese fencing.</span></span></span></p>

Whether it has been the case of Kabir Kala Manch (KKM) in Maharashtra or Jana Naṭya Manḍali (JNM) in Andhra Pradesh, the labouring bodies of subaltern communities have made their presence felt by reconfiguring the language and aesthetics of political theatre performance in India. Expounding on the choreopolitics of labouring bodies, the chapter while discussing the shortcomings of the middle class led left cultural movements, also offers a critique to the ongoing criticisms coming from an essentialist and ahistorical reading of art and politics. The chapter takes up cultural labour and its transformative potential in the context of Gaddar and JNM. It shows the ways in which the ‘folk performance’ can be radically constituted for a transformative politics. Gaddar and JNM reconstitute the cultural labour by reclaiming the radical language and revolutionary subjectivities of labouring body.