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    Wyświetlanie 1-7 z 7
    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variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.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:
    Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet
    Autorzy:
    Lorek-Jezińska, Edyta
    Powiązania:
    https://bibliotekanauki.pl/articles/648024.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    authority
    hauntology
    Shakespeare
    Hamlet
    postdramatic performance
    Walny Theatre
    Opis:
    The aim of this article is to explore the potential of hauntological theories to explain and problematise selected aspects of authority and performance in the context of Shakespeare’s drama. Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority. The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition (Carlson), disappearance and perpetual present (Phelan), as well as archive and repertoire (Taylor) in order to highlight the contradictory yet productive ways of understanding performance. The final part of the article, focusing on the significance of the ghost figure, examines experimental appropriations of Shakespeare’s play in Walny Theatre’s Hamlet (2015) in the light of postdramatic aesthetics.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 21-34
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    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:
    Shakespeare in Digital Games and Virtual Worlds
    Autorzy:
    Timplalexi, Eleni
    Powiązania:
    https://bibliotekanauki.pl/articles/648293.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    digital games
    virtual worlds
    media and performance
    computers and theatre
    Opis:
    Shakespeare’s plays have long flirted with using various artistic and medial forms other than theatre, such as cinema, music, visual arts, television, comics, animation and, lately, digital games and virtual worlds. Especially in the 20th and 21st century, a fascination with Shakespeare both as a historical and theatrical figure and as a playwright has become evident in screen based media (cinema, television and video), ranging from “faithful,” almost documented performances of his plays to free style adaptations or vague film references. Digital games and virtual worlds carry on this tradition of the transmedial journey of Shakespeare’s plays to screen based media but top it up with new forms of interaction and performativity. For the first time in the history of mankind everyone can enjoy firsthand from his armchair and for free the experience of taking part in a play by the Bard by entering a virtual world as if it was a stage and by assuming roles through avatars. The article attempts first to introduce the reader to the deeper needs that gave rise to animation, a fundamental aspect of digital gaming and virtual worlds. It then tries to illuminate the various facets of digital performance and gaming, especially in relation to Shakespeare-themed and inspired digital games and virtual worlds, by putting forward some axes of classification. Finally, it both suggests some ideas that may be of use in rendering the Shakespeare gaming experience more “complete” and “theatrical” and ends by acknowledging the immense potential for the exploration of theatricality and performativity in digital games and virtual worlds.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 129-144
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions
    Autorzy:
    Fabiszak, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/648047.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    authority
    authorship
    performance
    post-dramatic theatre
    Shakespeare productions in Poland
    Jan Klata
    Opis:
    Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examines Klata’s treatment of theatrical and national authority in his Shakespeare productions, on the one hand, and the image of the director as an authority on the other. All in the light of the theoretical model on authority in theatre, especially in Shakespeare productions, developed by W.B. Worthen.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 51-60
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Polscy mistrzowie teatru w Chinach
    Polish Masters of Theatre in China
    Autorzy:
    Duda, Artur
    Powiązania:
    https://bibliotekanauki.pl/articles/686849.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    teatr
    performatyka
    Chiny
    Polska
    Krystian Lupa
    Jerzy Grotowski
    mistrz
    theatre
    performance studies
    China
    Polska
    masters
    Opis:
    The aim of this article is to present aspects of a theatrical co-operation between Poland and China, in particular the reception in the Middle Kingdom of characters such as Jerzy Grotowski and Krystian Lupa.  
    Celem artykułu jest prezentacja wybranych aspektów współpracy teatralnej pomiędzy Polską a Chinami, w szczególności zaś recepcja w Kraju Środka postaci takich jak Jerzy Grotowski i Krystian Lupa.
    Źródło:
    Nauki o Wychowaniu. Studia Interdyscyplinarne; 2019, 8, 1; 324-328
    2450-4491
    Pojawia się w:
    Nauki o Wychowaniu. Studia Interdyscyplinarne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography
    Autorzy:
    Meyer, John M.
    Powiązania:
    https://bibliotekanauki.pl/articles/39763541.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare in performance
    utopia
    race
    slavery
    Early Modern history
    Black
    African American
    Public Theatre
    American Shakespeare Center
    Oregon Shakespeare Festival
    Texas
    Opis:
    The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 119-146
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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