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    Wyświetlanie 1-4 z 4
    Tytuł:
    Self-Censorship Between Self-Ridicule and Self-Reflection
    Autorzy:
    Jakimiak, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/2050053.pdf
    Data publikacji:
    2022-04
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    self-censorship
    theatre
    performing arts
    Oliver Frljić
    humour
    Opis:
    This essay investigates the notion of humour as a tool used to highlight the acts of self-censorship in theatre and performing arts and its subversive potential. By referring to the examples from the process of working on the Imaginary Europe performance directed by Oliver Frljić, the essay problematizes the acts of self-prevention committed by artists who decide to withdraw a certain figure of speech in order not to cause harm towards minorities or underprivileged groups. I revisit theories that tackle humour and reveal its complexity (Billig, McGowan and Zupančič), and I refer to the work of artists who combine humour with self-reflection in the process of undermining and questioning theatrical hierarchies and mechanisms of power.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2022, 168; 200-232
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    How to Lift the Curse? Oliver Frljić and the Poles
    Autorzy:
    Adamiecka, Agata
    Sofulak, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/2035205.pdf
    Data publikacji:
    2020
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    political theatre
    Catholic Church
    democracy
    Oliver Frljić
    John Paul II
    Opis:
    Agata Adamiecka’s article is devoted to Oliver Frljić’s affective The Curse, a play of unprecedented social impact in the post-transformation history of theater in Poland. Adamiecka chiefly focuses on the closing scene, where a wooden cross is cut down and a noose is hung around a plaster figure of John Paul II, as the clearest acts of symbolic violence, through which the artists affectively work on the audience, simultaneously showing themes that are most powerful taboos in the public sphere. Turning her attention to the wave of violence that actress Julia Wyszyńska experienced after the premiere, as well as statements by the Minister of Culture and other representatives of the political right, the author demonstrates how The Curse reveals the structure of symbolic power in Poland, with the inextricable alliance between state and church powers, and the permanent marginalization of women in the public sphere and the restriction of their rights, particularly when it comes to deciding about their own bodies.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2020, English Issue 3; 18-36
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Oliver Frljić i nowy koszmar Europy
    Oliver Frljić and Europe’s New Nightmare
    Autorzy:
    Sztarbowski, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/889428.pdf
    Data publikacji:
    2020-06
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    Oliver Frljić
    political theatre
    nationalism
    European crisis
    leftist populism
    agonism
    Opis:
    This article covers the works of the Croatian director Oliver Frljić from the perspective of the political influence of his performances. The frame for this research is Walter Benjamin’s historiosophical concept of „angel of history” and Chantal Mouffe’s theory of agonism concentrated on positive aspects of political conflicts. The author situates the director’s theatrical activities and his biography (especially his personal experience of the Yugoslav Wars) as a tool for understanding inexorable nationalistic tendencies in contemporary Europe. Frljić’s strategy of creating “radical fiction” and strong, shocking images is analysed as a vehicle for breaking the postdemocratic and postpolitical order. It means that theatre can be treated as a new form of protest and political subjectivity. For this reason Frljić’s performances are concerned with social debates about refreshing democracy
    Źródło:
    Didaskalia. Gazeta Teatralna; 2020, 157-158; 1-32
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Klątwa” w Teatrze Rozrywki. Cenzura w afekcie
    The Curse at the Teatr Rozrywki. Censorship in Affect
    Autorzy:
    Głowacka, Aneta
    Powiązania:
    https://bibliotekanauki.pl/articles/2164344.pdf
    Data publikacji:
    2022-12
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    preventive censorship
    emotional censorship
    The Curse
    Oliver Frljić
    affective economies
    Opis:
    The subject of the article is the circumstances of the production of The Curse, directed by Oliver Frljić, at the Teatr Rozrywki (Entertainment Theatre) in Chorzow in August 2017 as part of the Wakacyjny Przegląd Przedstawień (Holiday Performance Festival). This was the first presentation of this play outside the house of the Powszechny Theatre in Warsaw. For a few weeks while the show was on sale nothing foreshadowed the subsequent protests to block its presentation. Recalling the events of five years ago, I do not only reconstruct the course of events, but also analyse the documentation that could be collected at the theatre and the experiences of the staff, as well as the role of the media, the Catholic Church and local politicians in the creation of events. The actions aimed at cancelling the performance fall into the category that Grzegorz Niziołek calls censorship of passion as the passionate emotions surrounding the performance significantly influenced the way it was organised.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2022, 172; 139-165
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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