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    Wyświetlanie 1-9 z 9
    Tytuł:
    „Tak, tato!”. Daddy issues i toksyczna męskość
    Yes, daddy! Daddy Issues and Toxic Masculinity
    Autorzy:
    Stępniak, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/2186095.pdf
    Data publikacji:
    2023-02
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    gender
    masculinity
    sexuality
    patriarchy
    feminism
    Opis:
    The main objective of the article is to analyse the so-called “daddy issues” and their relations to modern masculinity. Using feminist, queer and gender theories as well as some basic psychoanalytical tools, the author tries to dismantle the toxicity of both daddy issues and masculinity itself. Discussing a mainstream Hollywood film, a festival circuit film and a popular TV show, this article offers an insight into and a thoroughly critical perspective on one of the worst shadows of manhood, that is the father figure.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2023, 173; 67-88
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Opera – między opresją a emancypacją kobiet
    Opera: Between the Oppression and Emancipation of Women
    Autorzy:
    Bogucki, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/889529.pdf
    Data publikacji:
    2020-06
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    opera
    madness
    gender
    feminism
    new musicology
    Opis:
    The article analyses opera as a place which generates unhealthy excitement in men while being dangerous for women. This is the central theme of Opera, a horror directed by the Italian master of the genre, Dario Argento. The film, which tells the story of a young singer stalked by a madman, may be interpreted as a metaphor for the conservative sexual politics of the opera house. Argento’s work is an excellent introduction to the discussion that swept across American musicology in the early 1990s, about the gender analysis of European musical culture; a discussion that can be summarised in the question: is the opera house a place where women are oppressed or, on the contrary, is it a space for their emancipation?
    Źródło:
    Didaskalia. Gazeta Teatralna; 2020, 157-158; 1-22
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “No one will ever be alone again”: Performances of Precarity and Solidarity amid the Greek #MeToo
    Autorzy:
    Fragkou, Marissia
    Powiązania:
    https://bibliotekanauki.pl/articles/2031436.pdf
    Data publikacji:
    2022-02
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    MeToo
    Greek theatre institutions
    solidarity
    precarity
    feminism
    Opis:
    This essay considers how #MeToo’s recent iteration in the Greek context has stirred trouble in the theatre, instigating a politics of resistance against obdurate histories of injustice against women’s bodies in the industry whilst also creating spaces for solidarity among performers and theatre makers. My main intention is to examine how the above issues form part of the same ecology of precarity that dovetailed when the Greek #MeToo began to take force. In doing so, I will first focus on two recent major incidents occurring in the country’s flagship state theatre, the National Theatre of Greece, which involved two of its former male artistic directors in order to discuss how debates around precarity and exclusion in the theatre industry were unearthed. I will then shift focus to Greek artists’ self-organizing tactics through the examples of the activist network Support Art Workers and the Actors’ Trade Union who have started developing codes of conduct and strategies to challenge the devaluation and feminization of artistic labour. The article will further make reference to specific developments across the international theatre industry that connect to the tenets of the #MeToo which offer apertures for progressive change in the field of Greek theatre and its institutions.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2022, 167; 6-32
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Performatywne archiwum ustanowień i relacyjności.Feminizm i postmodernizm lat dziewięćdziesiątych w Polsce
    Performative archive of establishments and relationality. Polish feminism and postmodernism of the 1990
    Autorzy:
    Iwanczewska, Łucja
    Powiązania:
    https://bibliotekanauki.pl/articles/1359019.pdf
    Data publikacji:
    2021-06
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    feminism
    postmodernism
    feminist art
    archives
    public discourse
    Opis:
    The article discusses the discourse and feminist practices of the transformation period in Poland. The author traces the intermingling of feminism and postmodernism at the time, the Polish specificity of modernity and democratization, pointing to the role of critical art in the performative archive of Polish feminism of the 1990s. She reconstructs the feminist archive of that time to inquire about its contemporary potential and agency.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2021, 163/164; 193-239
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Are You Very Stupid or Very Intelligent?” : Joanna Szczepkowska and the Embarrassing Performance of Announcing the End of Communism
    Autorzy:
    Waligóra, Katarzyna
    Suh, Lynn
    Powiązania:
    https://bibliotekanauki.pl/articles/2035208.pdf
    Data publikacji:
    2020
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    feminism
    embarrassment
    Szczepkowska
    communism
    television news
    June 4
    Opis:
    The article takes a closer look at actress Joanna Szczepkowska’s appearance on Dziennik Telewizyjny [Television Daily] on October 28, 1989 when she famously said: “Ladies and Gentlemen, on 4th June 1989, communism in Poland came to an end.” Waligóra describes how the statement came about, the first responses to it, and how it was preserved in the collective memory. The author also discusses the actress’ public image in 1989 and the effect her public image had on the reception of what she had spoken on television. The author also explains why she sees Szczepkowska’s appearance as an embarrassing female performance – simultaneously emancipatory and eliciting consternation.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2020, English Issue 3; 37-67
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ocalenie nie musi być śmiercią
    Rescue does not have to be death
    Autorzy:
    Kwaśniewska, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/3201183.pdf
    Data publikacji:
    2023-04
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    theatre history
    feminism
    Antonina Grzegorzewska
    Jerzy Grzegorzewski
    alcoholism
    disability
    Opis:
    In the first part of the article, the author critically refers to her book Pytanie o wspólnotę. Jerzy Grzegorzewski i Jan Klata (The question of community. Jerzy Grzegorzewski and Jan Klata). She looks at her own feminist reading of Grzegorzewski’s performances through the prism of Audre Lorde’s essay The Master’s Tools Will Never Dismantle the Master's House and looks at the number and function of women in the institutions he managed. She also notes that the last performance, On. Drugi powrót Odysa (He. The Second Return of Odysseus), was Grzegorzewski’s only production based on a script written by a woman. At the same time, she sees in it yet another emancipatory potential. The subject of her father’s alcohol addiction, raised by Antonina Grzegorzewska and staged on the national stage by him, can be understood as a stage coming-out of an alcoholic and his daughter as a co-addict. Putting forward the thesis that the play operated on the poetics of ugly feelings described by Sianne Ngai, Kwaśniewska analyses its reception, wondering why it failed to cause a debate about the normalisation of drinking in Polish theatre and urges us to start such a discussion now.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2023, 174; 157-185
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rekonfiguracje męskości w najnowszym polskim teatrze
    Reconfigurations of masculinity in recent Polish theatre
    Autorzy:
    Tabak, Wiktoria
    Powiązania:
    https://bibliotekanauki.pl/articles/2186096.pdf
    Data publikacji:
    2023-02
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    masculinities in Polish theatre
    feminism
    representation
    toxic masculinity
    patriarchy
    care politics
    Opis:
    Based on selected performances (including Autobiografia na wszelki wypadek [Autobiography just in case] by Michał Buszewicz, Woyzeck by Grzegorz Jaremko, Chcieliśmy porozmawiać o męskości, ale zostaliśmy przyjaciółmi [We wanted to talk about masculinity, but we became friends] by the Grupa Performatywna Chłopaki, Bromance by Michał Przybyła and Dominik Więcek, Halka by Anna Smolar and Ojcowie [Fathers] by Błażej Biegasiewicz), the author analyses transformations in the ways of representing masculinities in recent Polish theatre. In her opinion, it has been possible for the past few years to notice both a marked increase in interest in thematising male emotionality, fragility, caring, tenderness or intimacy in Polish theatre and a radicalisation of angry patriarchal masculinity, especially among those who reject the perspectives of institutional criticism or the #metoo movement. In this article, however, the author focuses solely on outlining the historical conditions that constituted patriarchal masculinity with all its qualities and on analysing feminist-formed masculinities in Polish theatre using methodologies developed by feminist theorists (bell hooks and Karla Elliott) and by researchers associated with the field of critical studies of men and masculinities (Michael Kimmel, Raewyn Connell, Jason Wilson, Erik Anderson and Paco Abril).
    Źródło:
    Didaskalia. Gazeta Teatralna; 2023, 173; 46-66
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Reżyserka w teatrze. Władza w teatrze i możliwości zmiany modelu pracy na przykładzie procesu twórczego podczas realizacji spektaklu „M.G.” w Teatrze Polskim w Warszawie
    Female Director in a Theatre. Power in theatre and possibilities to change the model of work based on the example of the creative process during the production of M.G. at Teatr Polski in Warsaw
    Autorzy:
    Strzępka, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/2079052.pdf
    Data publikacji:
    2022-06
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    feminism
    institutional criticism
    contemporary history of Polish theatre
    theatre ensembles
    public theatre
    Opis:
    This piece of work is an attempt, grounded in artistic practice, to describe several key aspects of the mechanisms of hierarchy, power and violence in Polish theatre taking into account the perspective of a woman director. These mechanisms are currently the subject of theoretical studies and discussions within the community. In this paper I would like to propose a look “from the inside.” There is a historical and theoretical part followed by an attempt to analyse the mechanisms of power-sharing in theatre based on a discussion on competitions for the position of theatre manager, taking into consideration the criteria that discriminated against women for years, and the unspoken assumptions. This is followed by a self-reflection on the evolution of the author’s own working methods as a director with almost twenty years of artistic experience, and finally a description of the hierarchical relationships between an actress, a director and a manager, and of the political mechanisms involved. The second part of the paper is empirical in nature and is based primarily on the author’s experience of working at the Teatr Polski in Warsaw as well as her active participation in professional and public debate. It also describes the tension between the possibility of individual professional success and the permanence of anachronistic and violent systemic mechanisms of functioning of the institution of theatre.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2022, 169-170; 33-74
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Każdy ją przynajmniej raz widziała”
    “Każdy ją przynajmniej raz widziała” (Everyone has seen it at least once)
    Autorzy:
    Skrzypek, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/2079076.pdf
    Data publikacji:
    2022-06
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    vagina
    pink
    feminism
    identity
    recovery
    Malina
    have a good cry
    Marta Malikowska
    Magda Szpecht
    Opis:
    The aim of the article is to investigate the relations between the colour pink and the performative representations of vaginas based on the examples of two performances, Malina and Have a Good Cry. The author claims that the subversive interception of these characteristic emblems of femininity accelerates the process of rebuilding and redefining the female identity. Referring to Elizabeth Grosz’s project of corporeal feminism, the author analyses the process of reclaiming the vagina both as a tool of social control located in the body and as a discursive field. Recalling contemporary references to the anasyrma ritual as well as the history and symbolism of pink, she considers the process of covering and/or replacing the vagina with this colour. Then, in the context of the oeuvre of Maria Pinińska-Bereś, she discusses the intertwining of pink and vaginas which occurs in the aforementioned performances.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2022, 169-170; 281-311
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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