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    Wyświetlanie 1-12 z 12
    Tytuł:
    Systematyka operowych duchów
    The Systematics of Operatic Ghosts
    Autorzy:
    Golianek, Ryszard Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/2135481.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    opera
    ghosts
    musical characteristics
    Opis:
    Ghosts have been an attractive element of operatic dramaturgy since the beginning of the genre’s history, and their stage presence influences the metaphysical and fantastic features of the works. In seventeenth- and eighteenth-century operas, conventional forms of musical presentation and characteristics of ghosts were developed, and in the nineteenth century a conventionalized method of musical presentation of ghosts in opera was shaped, which was also due to the great popularity of the theme of various spectres and phantoms in romantic culture. The proposed systematics concerns the ghosts presented in operatic works. Three criteria of division have been introduced: the existential status of ghosts, their number (singularity or multiplicity), and the types of afterlife the ghosts are associated with. The systematics is accompanied by the distinction of the means of musical characteristics used by opera composers in order to suggestively represent ghosts in their works.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 183-205
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Postać celebrytki w operze: rozwiązła księżna i króliczek „Playboya”
    The Character of a Celebrity in an Opera: a Promiscuous Duchess and a “Playboy” Playmate
    Autorzy:
    Bogucki, Marcin
    Powiązania:
    https://bibliotekanauki.pl/articles/2135474.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    celebrity
    contemporary opera
    gender
    sexuality
    Opis:
    The aim of the article is to analyse two British contemporary operas: Thomas Adès’s Powder Her Face and Mark Anthony Turnage’s Anna Nicole from the perspective of celebrity studies. Both of these works were inspired by the biographies of celebrities – Margaret Campbell, Duchess of Argyll’s and Anna Nicole Smith’s. The text analyses how their biographies were edited both in literary and musical terms, attempting to determine to what extent they are either pioneering or embedded in the traditions of the opera.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 229-248
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Narrator czy… poeta oralny? Mickiewiczowski „Powrót taty” w opracowaniu muzycznym Henryka Jareckiego i Jana Gołębiowskiego
    Narrator or… Oral Poet? Mickiewicz’s “Powrót taty” (“Father’s Return”) in a Musical Edition by Henryk Jarecki and Jan Gołębiowski
    Autorzy:
    Piotrowska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/2135483.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    ballad
    opera
    oral poet
    storyteller
    Opis:
    The article discusses the opera-ballad Powrót taty (Father’s return) in a musical edition by Henryk Jarecki with a libretto by Jan Gołębiowski. Its goal is to present the manners of building the character and the narrative. Apart from the characteristic features of a ballad, the text also discusses the category of an oral poet, a “storyteller” and the dialogue relation (“speaking” instead of “talking”.) These are the means that gave Mickiewicz’s ballad a new dimension. Helpful in its reception are texts on cultural practices, especially those referring to oral culture (compare with e.g. Jack Goody, Albert B. Lord, Eric A. Havelock, Walter J. Ong.).
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 157-169
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    W rokokowym blasku podróży na Cyterę… Dramaturgiczne antecedencje formowania koncepcji postaci w XVIII-wiecznej operze seria na przykładzie Alciny Georga Friedricha Händla
    In the Rococo Glow of a Journey to Kythira. The Dramaturgic Antecedents to the Formation of the Concept of a Character in eighteenth-century Opera Seria as in Alcina by Georg Friedrich Händel
    Autorzy:
    Lisiecka, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2135522.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    tragedy
    poetics
    French classicism
    Aristotle
    opera seria
    Rococo
    Watteau
    Händel
    Opis:
    This study presents the effect of the principles of dramatic poetics with regard to the way the concept of a character in eighteenth-century opera seria was formed. Similarly to the rococo message of Antoine Watteau’s paintings, this genre of opera was characterised by melancholic sophistication, the rule of the artificiality of the presented world and an allegorical plan of reference that assumed an intellectualised strategy of reception of a work of art. The article presents the path to the formation of a model eighteenth-century-opera character, from the transformation of the principles of Aristotelian poetics due to the influence of the rhetorical and scholastic tradition and later due to that of the poetics of French classicism. Händel’s Alcina serves as an example of the superiority of ethos and pathos, i.e. of the presentation of the affects and internal states of the titular character, over other elements of the drama. It is also used to explain to what extent the project of the rococo opera, artificial and challenging the probability rule, practises the mimetic postulates of artistics presentation.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 33-56
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    W poszukiwaniu postaci (w XIX-wiecznych teoriach opery i prozie artystycznej)
    In the Search of Character (in Nineteenth-century Theories of Opera and Artistic Prose)
    Autorzy:
    Nowicka, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/2135523.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    opera
    theories of music
    theories of literature
    character
    nineteenth century
    Opis:
    The article analyses texts regarding the opera character, or indirectly linked to it, by a number of authors from the late eighteenth century to the last decades of the nineteenth century: Sulzer, Rousseau, Hoffmann, Stendhal, Baudelaire, Wagner. The author focuses on their theoretical texts and artistic prose. The analysis indicates a strong multilateral involvement of the reflection on the topic of character in contemporary aesthetic views and anthropological concepts.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 15-32
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Teatr cieni: „Wieczór w Teatrze Wielkim” Stanisława Balińskiego
    Theatre of Shadows: Stanisław Baliński’s Wieczór w Teatrze Wielkim
    Autorzy:
    Puchalska, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/2135485.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Stanisław Baliński
    A Night at the Grand Theatre
    emigration poetry
    Skamander Group
    opera in the literature of the twentieth century
    opera character
    Opis:
    The text is devoted to an emigration poem by Stanisław Baliński, A Night at the Grand Theatre (1943), in which the Warsaw opera became a synecdoche of the pre-war Warsaw, and the entire poetic structure is built as a kind of virtual stage on which special characters appear and perform their roles. This text is an interesting contribution to the research on the influence of the imaginarium of the musical theatre on the imagination of twentieth-century poets, and at the same time performs a specific functionalisation of the operatic character – in several meanings of the word.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 121-136
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Le influenze italiane in Karol Szymanowski
    Italian Influences in Karol Szymanowski’s Work
    Autorzy:
    Masi, Leonardo
    Powiązania:
    https://bibliotekanauki.pl/articles/1040459.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Szymanowski
    Italy
    Sicily
    Renaissance
    homosexuality
    reception of Italian opera in Poland
    Opis:
    Like many other artists, Szymanowski was hugely attracted to Italy. In this article, I will briefly expose, firstly, the “Italian” tracks that can be found in the Polish composer’s music, and, secondly, the declarations on Italy in Szymanowski’s writings, in particular on his art and music, trying to relate these elements between them to see what image of Italian culture emerges. I will show how Szymanowski’s cultural environment remains German-based nevertheless looking for the lost unity between man, art and nature in the heritage of the Italian Renaissance.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2020, 39; 101-111
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bohaterowie drugiego planu – o postaciach służących w operze
    Secondary Characters – on the Role of Servants in Opera
    Autorzy:
    Sokalska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2135480.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    opera
    libretto
    servant
    Mozart
    Tchaikovsky
    Mussorgsky
    Rimsky-Korsakov
    Strauss
    Wnuk-Nazarowa
    Opis:
    The article is devoted to the characters of servants in opera and their two radically different variants: a clever servant and a nursemaid. The first variant, rooted in the ancient tradition, becomes more independent with time, and these characters become fully-fledged and sometimes even turn into main characters (e.g. Figaro or Leporello.) The other variant is rooted in the Baroque, when nursemaids were treated, similarly to clever servants, as comic characters. The evolution of the character of a nursemaid in opera turns towards realism, fabulousness and highlighting archetypal features, which can be seen in the examples taken mainly from the Russian operatic tradition. Both types of servants in opera show that despite their socially secondary meaning, these characters serve important functions and become key for the interpretation of a particular scene as a whole.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 207-228
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mahomet jako centralna postać wyobrażonej opery w opowiadaniu „Gambara” Balzaca
    Muhammad as the Central Character of the Imagined Opera in Balzac’s Short Story “Gambara”
    Autorzy:
    Gamrat, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2135487.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Balzac
    Gambara
    character in opera
    music and literature
    philosophy of music
    Opis:
    The article discusses the fragment of Balzac’s short story Gambara in which the titular character discusses his opera. The focal point of this article is a character from the opera written by Paolo Gambara – Muhammad. The elements used to build the character (character traits, transformations, biography, relationships with his environment, actions, emotions etc.) were analysed in the context of the musical means used to present them and of the entire short story. The background of this analysis consists of a short overview of the philosophical ideas about music and science expressed by Gambara in order to better present the sources of his ideas and the musical solutions that he used.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 97-119
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Nie wierz tak niedorzecznej baśni” . O tożsamości postaci „Królewny Śnieżki” Roberta Walsera i Heinza Holligera
    “Do Not Believe Such a Ridiculous Tale.” On the Identity of Robert Walser’s and Heinz Holliger’s Snow White
    Autorzy:
    Kornatowska, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/2135482.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Robert Walser
    Snow White
    Grimm
    Heinz Holliger
    opera
    fairy tale
    Opis:
    This article is devoted to the characters in Heinz Holliger’s opera Snow White (1998) based on Robert Walser’s dramolette (1901) of the same title. Taking into account the chronology of the plot, the analysis and interpretation focuses on the evolution of the relationships of the characters struggling with the baggage of a difficult past written in the Grimms’ fairy tale. Snow White, the Queen, the Prince and the Huntsman juggle with each other’s versions of events, swapping positions at the expense of the characters’ individual contours, succumbing to the changeability of their feelings and opinions, not stopping in their search for a post-tale identity which would allow them to coexist harmoniously. The discussion emphasises the psychoanalytical approach and criticism of language characteristic of the period in which the dramolette was written. The interpretation of the libretto is complemented by the presentation of selected musical aspects, corresponding with the character of Walser’s text and determining the final meaning of the operatic work.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 171-184
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Poza głosem. Postać Fenelli w świetle wystawień warszawskich z 1831 roku
    Beyond the Voice. The Character of Fenella in the Light of 1831 Warsaw Stagings
    Autorzy:
    Kaminiczna, Natalia
    Powiązania:
    https://bibliotekanauki.pl/articles/2135471.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Daniel Auber
    La muette de Portici
    Fenella
    opera character
    no voice
    pantomime
    Antonina Palczewska
    Opis:
    The article is an attempt to describe an operatic figure deprived of a voice. Following the views of Thrasybulos G. Georgiades, who believes that an operatic character differs from a literary or a dramatic one in that it constitutes a kind of symbiosis between person and sound, the author tries to characterise a mute character. She analyses the Warsaw stagings of Daniel Auber’s opera Masaniello ou La muette de Portici from 1831. Additionally, by activating the visual imagination and relying on iconographic and book sources (including Mimika [Facial expression] by Wojciech Bogusławski), the author reconstructs the character of Fenella in the interpretation of Antonina Palczewska in order to be able to investigate how this character functioned on stage. Such a procedure allowed for an in-depth analysis of the operatic figure devoid of a voice and created by means of a combination of facial expressions and gestures. The study also takes into account the circumstances and problems related to the performance of this opera during the November Uprising.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 265-293
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Makbet Giuseppe Verdiego wobec romantycznej recepcji
    Macbeth by Giuseppe Verdi and the Romantic reception of William Shakespeare’s drama
    Autorzy:
    Borkowska-Rychlewska, Alina
    Powiązania:
    https://bibliotekanauki.pl/articles/1535114.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    William Shakespeare’s dramatic works
    Giuseppe Verdi’s opera
    Romantic reception of Shakespeare
    operatic stage
    adaptation of the works of Shakespeare
    Opis:
    Romantic approach to William Shakespeare’s dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi’s Macbeth. The Italian composer, who knew the Romantic reception of Shakespeare’s dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth’s sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo’s considerations on Shakespeare). The two versions of the operatic Macbeth — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple Ake a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2010, 17; 227-248
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-12 z 12

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