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    Wyświetlanie 1-12 z 12
    Tytuł:
    „...i o niczym nie myśli”. Dramaturgia pustki Pawła Priażki
    “…and thinking about nothing”. Pavel Pryazhko’s dramaturgy of emptiness
    Autorzy:
    Lappo, Irina
    Powiązania:
    https://bibliotekanauki.pl/articles/22446761.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Russian drama
    postdramatic theatre
    club theatre
    one-man show-confession
    hyper naturalism
    new drama
    Opis:
    The article presents an analysis of genre transformations in the literary output of Pavel Pryazhko, who has been considered to be a leader of the youngest generation of Russia’s New Drama movement. Following a series of hyper-naturalistic dramas, written with the use of the verbatim technique, dramaturgic self-awareness of the young writer finds its creative outlet in monologue-confession, after which there comes a ‘winding up of the discourse’ and a series of anti-dramatic shows/performances performed as a duet with Dmitry Volkostrelov. Pryazhko shifted attention from the content to the form of drama, from the theme to the language, worked out his own type of hero and type of conflict. The playwright searches for new, radical theatrical forms, carefully listens to contemporary language, and therefore, also the awareness reflected by this language.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 199-210
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku
    “Tupyje, dikije, idioty” vs. new theatre in Russia since the 1990s
    Autorzy:
    Osińska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/22446773.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    new theatre in Russia
    new theatre
    Moscow Conceptualism
    “Hudozhestvennyi zhurnal”
    ‘zaum’
    absurd
    performance of laughter
    Opis:
    In the Russian theatre, especially the postmodern one, since the turn of the 80s and 90s we have been able to observe that young theatre creators tend to adopt a defiant derisive attitude – both towards reality and to texts originating from the culture of the past which often constitute the subject matter of their works. A part of phenomena that are mentioned here might be presumably called ‘performances of laughter’ (as opposed to ‘performances of violence’ – this was the way the so-called new Russian drama was named by Mark Lipovetsky and Birgit Beaumers). This kind of artistic gesture was a reaction to the fact that in the former Soviet Union art was regarded as a mission and theatre was treated as a cradle of culture. They also meant a rebellion against authority figures, also the authority of tradition, and on the other hand they were an expression of surrender in the face of challenges brought in by the new social, political and cultural situation. In the article I assume that ‘performance of laughter’ and other theatre forms, whose authors undermined the possibility of rational cognition, simultaneously enhancing such strategies as absurd, eccentricity, chaos, infantilism, showing-off (in Russian „stiob”), originated from the chronologically earlier trend of visual arts, deriving from the Moscow Conceptualism. Therefore, I begin the article presenting the contents of the magazine “Hudozhestvennyi zhurnal” (2000, 26–27) dedicated to art taming the type of consciousness which medicine diagnoses as “idiotism”.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 31-42
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Семантика театра в повести И. С. Тургенева После смерти (Клара Милич)
    Theatre stratum in Turgenev’s Clara Milich
    Autorzy:
    Шелогурова, Галина
    Powiązania:
    https://bibliotekanauki.pl/articles/22446748.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    theatre
    drama
    tragedy
    mythos
    the category of action
    Opis:
    The article presents an attempt of interpretation of the last story by Turgenev from the point of view of theatre as a specific cultural and social phenomenon. This approach enables us 1) to distinguish between concepts of drama and tragedy as they are used in the text and metatext of the story; 2) to get out of the text’s boundaries and to involve biographical and historical contexts to the analysis.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, 6; 45-54
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Niemiecki skansen w teatrze polskim?
    German museum in Polish theatre?
    Autorzy:
    Leyko, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/968538.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Polish drama/theatre
    contemporary German drama/theatre
    transculturality
    współczesny dramat/teatr polski
    współczesny dramat/teatr niemiecki
    sieć kulturowych powiązań
    Opis:
    Artykuł dotyczy wpływów teatru niemieckiego na teatr polski w ostatnim ćwierćwieczu. Dla opisania tego zjawiska posłużono się koncepcją sieci kulturowych Wolfganga Welscha. Pozwala ona uchwycić różne zjawiska mające udział w przepływach i wymianach między kulturami. Zastosowanie tej koncepcji do badania relacji między teatrem polskim i niemieckim pozwoliło uwzględnić zarówno przepływ technik dramatopisarskich, estetyk i praktyk teatralnych, jak i własnych doświadczeń polskich twórców. W tym świetle czerpanie przez naszych dramatopisarzy i reżyserów z osiągnięć ich niemieckich kolegów nie powinno być postrzegane jako mechaniczne naśladownictwo, lecz jako jedna z nici w sieci interkulturowych powiązań.
    The paper concerns the influence of German drama and theatre on the theatre work in Poland after 1989. It is an attempt to capture the mechanism of this phenomenon and to test theoretical tools to describe and interpret it. Wolfgang Welsch’s concept of transculturality (1992) has been employed, with its assumption that homogeneity is a constitutive feature of neither the contemporary multicultural societies nor contemporary cultures any longer, and that the former formula of the whole has been replaced by the formula of differentiation. Taking into consideration Welsch’s thesis that contemporary cultures are characterised by blending and mutual permeation, selected examples were presented to illustrate the impact of German drama-theatre practice on Polish theatre: the dynamic development of the young drama, the ways of understanding national drama and the emergence of political theatre as a new phenomenon in the Polish tradition.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2015, 08; 231-239
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Шекспировские римейки в современной российской драме
    Shakespearean Remakes in Recent Russian Drama
    Autorzy:
    Шамина, Вера Б.
    Powiązania:
    https://bibliotekanauki.pl/articles/22446760.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    post modernism
    Russian drama
    theatre
    play
    intertextuality
    remake
    Shakespeare
    Hamlet
    Opis:
    The article addresses postmodern plays by recent Russian playwrights, which use the plot of Shakespeare’s Hamlet, such as L. Petrushevskaya, B. Akunin, V. Korkiya and brothers Presnyakov. It demonstrates different techniques and approaches they use to deconstruct the original text. In the end the author comes to the conclusion that these playwrights in their games with classics to a great extent follow the path that was laid by the Bard himself.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 115-124
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Воплощение мифа о смерти и возрождении (на основе пьесы Ивана Вырыпаева „Июль”)
    The Realization of the Myth of Death and Rebirth (in the Play “July” by Ivan Vyrypaev)
    Autorzy:
    Kurant, Elena
    Powiązania:
    https://bibliotekanauki.pl/articles/22446769.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Russian modern drama
    modern theatre
    Ivan Vyrypaev July
    ritual studies
    mythological theory
    liminality
    Opis:
    This article concerns Russian modern drama, exactly the work of one of its most world famous representatives – Ivan Vyrypaev, 37-year-old actor, theatre and film director and playwright. The drama July by Ivan Vyrypaev is seen in relation to the ritual practices, which are a part of the myth of death and rebirth. Based on contemporary studies of ritual and mythological theory in literature the author identifies in the text of drama a kind of special ‘mifomir’– a structure with its sacred space and time, with the liminal stage of existence of a priest, who is at the same time a victim of a ritual sacrifice in the name of the renewal of life and restoring the cosmos out of chaos. This way of reading contemporary drama reveals her attempt to indicate the relations of the modern man with the eternal values and reflects an attempt to determine the identity and the limits of human being.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 165-172
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Русская современная политическая драма в отношении к традиции
    Contemporary Russian political drama vis-à-vis tradition and continuity
    Autorzy:
    Olaszek, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/22593058.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Russian drama
    political theatre/drama
    recent Russian drama vis-à-vis tradition
    Opis:
    Eminent Russian theatre makers, playwrights and theatre critics are not unanimous in their opinion on the matter of the indispensability of political drama. The majority of them maintain that there is a need for political drama in the times of excessive politicization of the mass media. However, they make it clear that theatre productions should not be a direct response to the events, actions and political activities of the governing authorities, individuals and organizations, but merely reflections on the human condition in the new social reality. The subject of our study is the issue of references in the recent Russian political drama to the the politicized Soviet plays of the 1970 with respect to the theme: an individual vs. government, the principles of exercising power, democracy and equal rights and the role of the mass media; and with respect to artistic means of expression: narrative and journalistic, a documentary and parodic manner, the poetics of the absurd and non-canonical genre stylization. From the point of view of the theme, the contemporary drama continues the tradition of the leading playwrights of the ‘new wave’, and as for the way of expression, new solutions are proposed, such as: irony, parody, and the idea of the absurd, with reference to theatre of the absurd.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2012, 5; 164-171
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Диалог с абсурдом. Заметки о драматургии Михаила Волохова
    A Dialogue with the Absurd: Remarks on Mikhail Volokhov’s Dramatic Works
    Autorzy:
    Mięsowska, Lidia
    Powiązania:
    https://bibliotekanauki.pl/articles/968758.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Russian drama
    absurd
    theatre of the Absurd
    Martin Esslin
    Ionesco
    Beckett
    Volokhov
    Opis:
    The article presents an attempt to describe the oeuvre of the Russian and French playwright and theatre theoretician Mikhail Volokhov in the context of his relation to the Russian theatre of the absurd of the 1920s as well as to the 1950s western model of theatre of the absurd, represented by Samuel Beckett and Eugène Ionesco. The author also discusses Volokhov’s dramatic works in reference to the philosophy of existentialism.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2014, 07; 287-295
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Россия в зеркале современной драмы. Коллаж образа
    Russia in the Mirror of Contemporary Dramatic Works – Collage of Image
    Autorzy:
    Olaszek, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/22446767.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    contemporary Russian drama
    image of present-day Russia in contemporary theatre
    new Russian drama – poetics
    Opis:
    This paper attempts to reconstruct the image of present-day Russia, as presented in the contemporary Russian theatre. Combining isolated fragments of new post-perestroika reality into a cohesive whole: the social status of the intelligentsia, of ordinary people, young people and senior citizens and problems of settling accounts with the Communist past and the Chechen war, which have been scattered throughout individual dramatic works, makes it possible to show the author’s appraisal of the social changes. These are expressed through the employment of such metaphorical words and phrases as ‘madhouse / loony bin’, [a right] ‘farce’, [totally] ‘chaotic’, ‘new broom sweeps clean’ etc. The object of scientific reflection is also the ways of artistic realization of the image of Russia. The various means of artistic expression employed in the ‘new drama’: modifications of genre and time-space modifications, historical figures and simulacra, various stylistic means, like irony and grotesque, rhetorical figures, notional metaphors; and finally, inter-textual quotations and references taken from a vast store of pop culture and the language of mass media impart a collage-like atmosphere to the image, which allude through its aesthetics to the theatre of absurd.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 15-29
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Гамлет на российской сцене XX века
    Hamlet on the 20th-Century Russian Stage
    Autorzy:
    Шамина, Вера
    Powiązania:
    https://bibliotekanauki.pl/articles/651002.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Шекспир
    театр XX века
    интерпретация
    режиссура
    аллюзии
    постмодернизм
    Shakespeare
    20th-century theatre
    interpretation
    staging
    allusions
    postmodernism
    Opis:
    The essay addresses the history of staging Hamlet in the Soviet and post-Soviet Russia. It is based both on the reviews by influential critics of the past and on the personal impressions of the author herself at the turn of the 21st century. The analysis of the dynamics of staging Hamlet in Russia leads to the conclusion that Shakespeare’s tragedy has always functioned like a seismograph, registering every little change in the society and reflecting the general intellectual ambience and attitudes of the Russian intelligentsia.
    Статья посвящена анализу истории постановок трагедии Шекспира Гамлет в советской и постсоветской России. Она основывается как на рецензиях авторитетных критиков прошлых лет, так и на личных впечатлениях автора конца XX – начала XXI века. Анализ динамики различных подходов к интерпретации шекспировского сюжета подводит к выводу о том, что это произведение, как сейсмограф регистрирует малейшие колебания в обществе и как нельзя лучше отражает умонастроения российской интеллигенции.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2016, 9
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    К вопросу о технике вербатим в русской драматургии первого двадцатилетия XXI века
    The Question of the Technique of Verbatim Theatre in Russian Dramaturgy in the First Two Decades of the 21st Century
    Autorzy:
    Sikora-Krizhevska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/22446731.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    verbatim technique
    documentary drama
    documentary theatre
    modern Russian drama
    Teatr.doc
    вербатим
    документальная драма
    документальный театр
    современная русская драматургия
    Театр.doc
    Opis:
    Вместе с началом третьего десятилетия ХХI века отмечается двадцать лет существования техники вербатим в российском драматургическом пространстве. В настоящей статье описывается история и специфика российского вербатима, а также разные способы использования и адаптации этой техники в пьесах авторов, связанных, постоянно или эпизодически, с московским Театром.doc. На примере текстов Норд-Ост: Сорок первый день (2002) журналиста и театрального критика Григория Заславского, Новая Антигона (2017) журналистки Елены Костюченко и 67/871 (2017) драматурга Елены Греминой иллюстрируется, что главные различия между пьесами вербатим связаны прежде всего со степенью авторской обработки документального материала. Норд-Ост: Сорок первый день – это расшифровки акции, прошедшей в Театре.doc, дословная запись высказываний ее участников, Новая Антигона – монтаж фрагментов расшифровок судебного процесса, разговоров, историй жизни героинь и цитат из Антигоны Софокла, 67/871 – монтаж фрагментов монологов героев, собранных в тематические блоки, цитат из высказываний Адольфа Гитлера и Генриха Гиммлера и письма немецкого солдата. Разнообразие способов создания текстов вербатим влияет на расширение границ понятия «пьеса» и указывет, что традиционная последовательность возникновения драматического текста и его театрального воплощения потеряла свою актуальность. Специфика пьес вербатим вписывается в современную тенденцию к демократизации театра и драматургии, так как их укорененность в мире реального и документального открывает путь в драматургию авторам, которые раньше не занимались художественной деятельностью.
    The start of the third decade of the 21st century marks twenty years of the existence of the verbatim technique in the Russian dramatic space. This article describes the history and specificity of the Russian verbatim theatre, as well as different ways of using and adapting this technique in the plays of the authors associated, permanently or occasionally, with the Moscow-based Teatr.doc. Using the example of texts such as Nord-Ost: Forty-First Day (2002) by journalist and theatre critic Grigory Zaslavsky, New Antigone (2017) by journalist Elena Kostyuchenko, and 67/871 (2017) by dramatist Elena Gremina, it can be concluded that the main differences between verbatim plays are primarily related to the degree of the author’s processing of documentary material. Nord-Ost: Forty-First Day is a transcript of the event that took place in the Teatr.doc, a literal recording of the statements of their participants; New Antigone – the montage of fragments of transcripts of the trials, conversations, life stories of the heroines, and quotes from Sophocles’ Antigone; 67/871 – a montage of fragments of the characters’ monologues united into thematic blocks, quotes from statements from Adolf Hitler and Heinrich Himmler, and letters from a German soldier. The variety of ways to create verbatim texts influences the expansion of the boundaries of the concept of “play” and indicates that the traditional sequence of the emergence of a dramatic text and its theatrical embodiment has lost its relevance. It is concluded that the specificity of verbatim plays fits into the modern trend of the democratisation of theatre and drama, since their rootedness in the world of reality and documentaries opens the way to dramaturgy for those authors who had not been engaged in this type of activity before.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2022, 15; 23-32
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    «Подлое звание театрального стихотворца»: А. П. Сумароков и Дж. Бонеки
    “The despicable rank of a theatrical versifier”: Alexander Sumarokov and Giuseppe Bonechi
    Autorzy:
    Дёмин, Антон
    Powiązania:
    https://bibliotekanauki.pl/articles/651290.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Александр Сумароков
    Джузеппе Бонеки (Бонекки)
    русский театр
    опера
    социальное положение писателя
    Alexander Sumarokov
    Giuseppe Bonechi (Bonecchi)
    Russian theatre
    opera
    writer’s social position
    Opis:
    The paper examines the mention of Giuseppe Bonechi made by Alexander Sumarokov in his letter to count Shuvalov dated the 12th March 1761 in the context of the quarrel with count Sievers and of Sumarokov’s dismissal from theatre and from service. The expression “the despicable rank of a theatrical versifier” is interpreted in the light of Bonechi’s social position as a subordinate in the court’s Italian troupe, while Sumarokov aspires to a leading position in the Russian company. The artistic relationship of Sumarokov and Bonechi is examined from the point of view of the competition between the Italian and the Russian company at the court. Bonechi’s dismissal in 1752 was less painful than that of Sumarokov in 1761 because the Italian could easily find a place at any European court as a man of theatre, while Sumarokov, having created the unique Russian national theatre, was considerably more vulnerable due to his social position.
    Рассмотрено упоминание Дж. Бонеки в письме А. П. Сумарокова от 12 марта 1761 г. к И. И. Шувалову в контексте ссоры с К. Е. Сиверсом и отставки Сумарокова от театра и от службы. Выражение «подлое звание театрального стихотворца» толкуется в свете социального положения Бонеки как подчиненного в придворной итальянской труппе, тогда как Сумароков претендует на руководящую должность в русской. Рассмотрены творческие связи Сумарокова и Бонеки в свете конкуренции русской и итальянской трупп при дворе. Отставка Бонеки в 1752 г. была для него менее болезненна, чем отставка для Сумарокова в 1761 г., поскольку он легко мог найти себе место как театральный деятель при любом европейском дворе, а Сумароков, создававший уникальный русский театр, был более уязвим в своем социальном положении.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2018, 11; 55-63
    1427-9681
    2353-4834
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Rossica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-12 z 12

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