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Wyświetlanie 1-15 z 94
Tytuł:
Teorie pochodzenia Pulcinelli i jego związki z antykiem
Theories of Origin of Pulcinella and His Connections with Antiquity
Autorzy:
Sterna, Marta
Powiązania:
https://bibliotekanauki.pl/articles/967175.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
mask
Pulcinella
Neapolitan theatre
ancient theatre
Maccus
Opis:
A discussion on the origin of Pulcinella, the most important mask of Neapolitan Theatre, is the subject matter of the following article. At the beginning, I will present the characteristics of this figure including his symbolism. Then, I will discuss possible connections of Pulcinella with some dramatic forms of ancient theatre. At the same time, I will describe a review of study of this figure specifying the most important phases of this research. The conclusion of this article will consist of the summary of the results of carried out analysis.
Źródło:
Collectanea Philologica; 2015, 18
1733-0319
2353-0901
Pojawia się w:
Collectanea Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Yard and Korean Shakespeare
Autorzy:
Lee, Hyon-u
Powiązania:
https://bibliotekanauki.pl/articles/648138.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
yard
Globe Theatre
traditional Korean theatre
Shakespeare
Opis:
Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre. The yard is an essential part of traditional Korean theatre, called “talchum (mask dance)” or “talnori (mask play).” The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modern theatre of Korea. And many Korean directors including Oh Tae-suk, Yang Jung-ung, Sohn Jin-chaek, Park Sung-hwan, and myself, have applied the yard techniques to their Shakespearean productions. Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, implies that Shakespeare's texts themselves have enough room for the yard.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 39-52
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Theatre reviews: Jovial Usurper in the Traditional Kyogen Style: Kuninusubito (based on Richard III) at the Setagaya Public Theatre, Tokyo
Autorzy:
Noda, Manabu
Powiązania:
https://bibliotekanauki.pl/articles/647958.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare in Romania: The Meandering Road from Adoption to Adaptation
Autorzy:
Sirbulescu, Emil
Powiązania:
https://bibliotekanauki.pl/articles/647960.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
To love the Moor? The representation of Otherness in Spanish translations of Othello .
Autorzy:
Ezpeleta Piorno, Pilar
Powiązania:
https://bibliotekanauki.pl/articles/647962.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Towards Intercultural Dialogue with Shakespeare
Autorzy:
Colarusso, Dana Mafalda
Powiązania:
https://bibliotekanauki.pl/articles/647966.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dramaturgy of "Hamlet"(s) in Czech Theatre between 2000 and 2023
Autorzy:
Drozd, David
Powiązania:
https://bibliotekanauki.pl/articles/39774946.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
dramaturgy
directing
post-modern theatre
performance analysis
Czech theatre
Opis:
The paper focuses on five Czech productions of Hamlet that attracted the most critical and public attention between 2000 and 2023. Namely, the productions directed by Miroslav Krobot (2006), Jan Mikulášek (2009), Daniela Špinar (2013), Michal Dočekal (2021) and finally the most recent version by Jakub Čermák (2022). All five performances could be seen as contemporary reinterpretations of a classical text using a (post-)modern stylistic approach, as examples of post-millennium Hamlets. The paper discusses dramaturgical choices (such as the conceptualisation of the ghost, the mousetrap scene, or the character of Fortinbras) in order to identify and analyse possibilities for interpreting Hamlet as a political drama in the context of Czech performance tradition and the current political situation. The results show that performances generally present variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 177-192
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
No Calm After the Storm. A Decade of "The Tempest" in Polish Theatres (2012–2021)
Autorzy:
Romanowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/39777196.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
'The Tempest'
Polish theatre
adaptation
theatre seasons 2012–2021
Opis:
The article discusses twelve productions based on The Tempest shown in Polish theatres in the years 2012-21, a decade whose challenges included escalation of the migration crisis, increasing climate change, social and political unrest around much of the globe, and the covid pandemic, but which was also marked by important Shakespearean anniversaries. In order to inspect the play’s significance for contemporary Polish audiences the productions are scrutinised in relation to four categories of interrelated issues: modification of characters, depiction of suspended reality connected with sleep, dreaming, memory and recollection, references to current social and political challenges, and employment of the play’s meta-artistic potential. The productions’ interpretative tendencies reveal a number of common denominators which are analysed with an aim of explaining why, in today’s Poland, the possibility of reconciliation and return to some form of re-established order that the playwright contemplates is seen as very difficult, if not impossible.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 209-225
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Being European: "Hamlet" on the Israeli Stage
Autorzy:
Barzilai, Reut
Powiązania:
https://bibliotekanauki.pl/articles/1033507.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Theatre
appropriation
Zvi Friedland
Konrad Swinarski
Dinu Cernescu
Rina Yerushalmi
Steven Berkoff
Habima Theatre
The Cameri Theatre of Tel Aviv
Itim Ensemble
Haifa Municipal Theatre
Opis:
One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 27-53
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Passion and Politics in Diego de Brea and Jakub Čermák’s "Edward II": Marlowe’s Controversial History on Czech Stages
Autorzy:
Mišterová, Ivona
Krajník, Filip
Powiązania:
https://bibliotekanauki.pl/articles/39779166.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Christopher Marlowe
'Edward II'
Czech Republic
Slovenia
Diego de Brea
Jakub Čermák
Elizabethan theatre
LGBT theatre
queer theatre
Opis:
The present article outlines the stage history of Christopher Marlowe’s history Edward II on Czech stages, focusing chiefly on how the respective directors approached the titular character of Marlowe’s play and his sexuality. The study focuses on two post-2000 productions of the play: Diego de Brea’s Edvard Drugy for the Slovenian National Theatre, which toured to the 16th “Divadlo” International Theatre Festival in Pilsen, West Bohemia, in 2008; and Jakub Čermák’s production of Edvard II. for the independent Czech theatre company “Depresivní děti touží po penězích” (Depressive Children Yearn for Money) that premiered in 2023 in Prague. Since for both Czechs and Slovenians, King Edward II is a minor figure of English history and Elizabethan history plays are generally less appealing to them than other genres, both the directors sideline the political dimension of the story to fully explore the issue of social and sexual norms and relate it to current social and cultural discussions both in the West and the former Eastern Bloc. Stressing the motif of social and sexual otherness even more bravely than most recent Western productions, de Brea and Čermák offered not only valuable contributions to both local and global reception of Marlowe’s Edward II, but also raised the visibility of LGBT theatre in a region where it has only a modest history and tradition.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 227-243
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Drunken Language, Elliptical Politics: Caryl Churchill’s Oblique Protest Theatre
Autorzy:
Jones, Matt
Powiązania:
https://bibliotekanauki.pl/articles/653533.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
political theatre
war on terror
Caryl Churchill
British theatre
Iraq war
Opis:
Can “political theatre” exist in today’s political climate? In the last few decades, our understanding of politics and theatre has undermined the basis on which prior generations of artists conceived of both politics and theatre. Caryl Churchill’s Drunk Enough to Say I Love You? sits at the intersection of critiques of dramatic theatre and new forms of post-dramatic, non-representational performance. The play tells the story of a man, Guy, who falls in love with a country, Sam, and critics have largely seen the play as an allegory for the “special relationship” between Britain and the United States. But while the play riffs on that metaphor, it also includes aspects that work against a political reading. Churchill’s depiction of the relationship as a sincere gay love affair raises questions about what it means to say that politicians are “in bed together.” As the play develops, the political critique and the personal relationships seem to work against each other, and the play becomes an elliptical invitation to think political theatre anew.
Źródło:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2018, 5, 1; 11-20
2353-6098
Pojawia się w:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Popular and Populist Shakespearean Transcreations in Central and Eastern Europe
Autorzy:
Cinpoeş, Nicoleta
Deres, Kornélia
Fabiszak, Jacek
Földváry, Kinga
Schandl, Veronika
Powiązania:
https://bibliotekanauki.pl/articles/39775750.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
populism
popular(ity)
mainstream
Shakespeare
postwar theatre
cabaret
burlesque
experimental theatre
Opis:
The article discusses the variety of ways in which the terms “popular” or “populist” could be associated with postwar Shakespearean transcreations in the Central and Eastern European region, pointing out how performers and adaptors challenged the canonical, highbrow status of Shakespeare and used his oeuvre as raw material in experimental forms and genres. Following a discussion on the variety of socio-historical contexts which inspired noteworthy popular and/or populist reworkings in several Central and Eastern European countries, the article takes a more in-depth look at a few specific comic genres, particularly the burlesque and the cabaret in a theoretical framework, and concludes by examining post-1989 experimental theatre practices.  
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 69-88
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Drama is for Life! Recreational Drama Activities for the Elderly in the UK
Autorzy:
Sextou, Persephone
Smith, Cory
Powiązania:
https://bibliotekanauki.pl/articles/641677.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Applied Theatre
wellbeing
community
Opis:
Applied Theatre is an inclusive term used to host a variety of powerful, community-based participatory processes and educational practices. Historically, Applied Theatre practices include Theatre-in-Education (TiE), Theatre-in-Health Education (THE), Theatre for Development (TfD), prison theatre, community theatre, theatre for conflict resolution/reconciliation, reminiscence theatre with elderly people, theatre in museums, galleries and heritage centres, theatre at historic sites, and more recently, theatre in hospitals. In this paper we are positioning the application of recreational dramatic activities with older adults (55+) under Applied Theatre and we are exploring the benefits they offer to the participants. We are concerned that their health and wellbeing in western societies is not prioritized and it is clear that loneliness in particular is a current and ongoing issue. We will present research results from a drama dissertation study that took place in a community hall in the South East England where drama is placed at the core of their practice with old populations. Data was collected by a mixed method (semi-structured interviews and semi-immersive observations) and was critically discussed amongst the authors to conclude that attending recreational drama classes brings a certain degree of happiness, social belonging and improvement of interaction with others to old people’s lives.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 273-290
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama
Autorzy:
Lorek-Jezińska, Edyta
Powiązania:
https://bibliotekanauki.pl/articles/641685.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
diegesis
mimesis
narration
theatre
Opis:
The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 353-367
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Moor’s Political Colour: Race and Othello in Poland
Autorzy:
Kowalcze-Pawlik, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1033510.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello in Poland
blackface in theatre
brownface in theatre
race in translation
Opis:
This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 171-190
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 94

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