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Tytuł:
Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira
Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare
Autorzy:
Śliwińska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1039093.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare
Upstart Crow
Shakespeare in Love
biography
biographism
mystification
deception
Opis:
Śliwińska Anna, Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira [Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 323–339. ISSN 1644-6763. DOI 10.14746/pt.2019.32.17. The article focuses on two productions (the TV series Upstart Crow and the feature film Shakespeare in Love), which present the life of the famous playwright in an unusual way. It also looks at matters related to the practice of writing biographies of famous people, as well as biographism, which is treated by the makers of the aforementioned productions in a deceptive and hypothetical way. Finally, the question is asked regarding the function of deception and mystification, which were consciously used in the process of creating Shakespeare’s biographies in the two examples analysed.
Źródło:
Przestrzenie Teorii; 2019, 32; 323-339
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare. Stwarzanie świata Stephena Greenblatta, czyli odkrywczość kulturowej mozaiki
Will in the World: How Shakespeare Became Shakespeare by Stephen Greenblatt, or the insightfulness of a cultural mosaic
Autorzy:
Krystek, Jędrzej
Powiązania:
https://bibliotekanauki.pl/articles/1040974.pdf
Data publikacji:
2019-11-05
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
New historicism
Shakespeare
biography
Hamlet (a book)
Stephen Greenblatt
Renaissance
Purgatory
drama
Opis:
The article is an attempt to analyze the narrative and methodological techniques of new historicism. The basis for the analysis was Stephan Greenblatt’s book Will In the Word. How Shakespeare Became Shakespeare, especially because of of creating biographical and intercultural areas. The author of the analysis follows the relations between the truth of narration and historical truth and tries to determine the constituent elements of Hamlet’s author. The author of the analysis traced the relations between two truths: the truth of the historical time and the truth of the narrative time.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2019, 35; 421-438
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
Tytuł:
Hamlet Szekspira a tragedie Seneki
Shakespeare’s ‘Hamlet’ and Seneca’s Tragedies
Autorzy:
Hajduk, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/1046681.pdf
Data publikacji:
2015-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare
Seneca the Younger
Ancient tragedy
Elizabethan drama/theatre
Hamlet
Opis:
In this paper I am discussing some crucial resamblences between ancient tragedy of Seneca the Younger and Hamlet by William Shakespeare. I want to show how important is to have in mind Seneca’s efforts while trying to understand „philosophy” and structure of Hamlet.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2015, 25, 1; 109-125
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
L’ABÎME DU SENS OU LE CHAUDRON DES SIGNES. SENS ET TERTIUM QUID : SHAKESPEARE TRADUCTEUR ?
Autorzy:
Gémar, Jean-Claude
Powiązania:
https://bibliotekanauki.pl/articles/921398.pdf
Data publikacji:
2021-02-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Shakespeare
law
language
translation
signs
meaning
Opis:
Sum of atoms or molecules that are the signs that the author of a text organizes in speech, the text contains meaning, in latency. To activate it, reveal it must be interpreted, whether or not the purpose is to translate it. When it comes to translating, the difficulties presented by the translation of normative texts are due in large part to the notional burden, the degree of “juridical status” of the message conveyed by the text and the cultural singularity revealed by its mode of writing. While the substance of a text is of paramount importance in its interpretation, the manner in which it is written and presented – its form – is far from negligible. Each way of saying carries its own, and participates in the, meaning. The approach defined for the translation, sourcing (least-cultural) or targeting (most-cultural), guides the meaning. That is when the final interpretation of the two versions of the instrumental text by the courts fulfils the canonical function of law and language: to say the law by determining the meaning of all or part of a text. Until then, the signs generating the speech and its meaning nested in this place of uncertainty that is the tertium quid, where rest, like the ingredients that the Sisters of Destiny (Macbeth) stir in their cauldron, the signs of where meaning will come out, an uncertain and precarious truth deduced by the original interpreter of the instrumental text, the translator, transcribed into the target text. Would Shakespeare provide an answer to the existential questions posed by the translator, when the spectre (Hamlet) and the witches (Macbeth), enigmatic oracles, answer the protagonists' ontological questions about the meaning and direction of their lives? The bard indeed launches this injunction: keep law and form and due proportion in Richard II (3.4.43)! Will the translator follow him in each of these three directions?
Źródło:
Comparative Legilinguistics; 2021, 45, 1; 11-38
2080-5926
2391-4491
Pojawia się w:
Comparative Legilinguistics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Téte-à-téte avec Hamlet ou Jules Laforgue et George Rodenbach suites sur les pas de William Shakespeare
Rendez-vous with Hamlet or Jules Laforgue and George Rodenbach in the footseps of William Shakespeare
Autorzy:
Lewandowska, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/1052652.pdf
Data publikacji:
2008-12-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Laforgue Jules
Rodenbach George
Shakespeare William
Opis:
The aim of the paper at hand is to find parallel elements between the following two texts: Jules Laforgue's Hamlet, ou les suites de la piété filiale (1886) and George Rodenbach's Bruges-la-Morte (1892), in relation to William Shakespeare's play. Our analysis is of a three-level character. Firstly, it is concerned with a comparison of biographies of the two 19th century authors. Secondly, it takes into its scope the plot events of both texts in question. Thirdly, it attempts to explain the linguistic transposition of poetry into prose. The final goal of this perusal is a demarcation of common points of reference between the three texts, which, in turn, is to prove Hamlet's intertextuality.
Źródło:
Studia Romanica Posnaniensia; 2008, 35; 67-81
0137-2475
2084-4158
Pojawia się w:
Studia Romanica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Z Szekspirem w tle. "Opowieść zimowa" Erica Rohmera
With Shakespeare in the background. Eric Rohkers "A Tale of Winter"
Autorzy:
Kowalski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/918029.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Eric Rohmer
Shakespeare
adaptation
plot
structure
Opis:
The paper aims at analyzing the relationship between Eric Rohmer’s A Tale of Winter (Conte d’hiver, 1992) and Shakespeare’s late comedy. Although both works are entitled similarly, at first glance they have hardly anything in common, aside from one scene in which the two main characters watch Shakespeare’s play staged in a theatre. The author argues, however, that many references to original comedy, both on the level of plot and structure, can be found in Rohmer’s movie, which can therefore be perceived as a loose adaptation of Shakespeare’s work. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 295-301
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Aktorzy i Szekspir. O pewnym motywie w polskim filmie
Actors and Shakespeare or About a Certain Motif in Polish Film
Autorzy:
Jazdon, Mikołaj
Powiązania:
https://bibliotekanauki.pl/articles/1039039.pdf
Data publikacji:
2019-03-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Shakespeare
Polish film
actor
adaptation
theater in film
Polish People’s Republic
Opis:
Jazdon Mikołaj, Aktorzy i Szekspir. O pewnym motywie w polskim filmie [Actors and Shakespeare or About a Certain Motif in Polish Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 15–44. ISSN 1644-6763. DOI 10.14746/pt.2019.32.1. This article deals with various references to William Shakespeare’s plays in Polish postwar films, both theatrical and television ones. There are no Polish film adaptations of Shakespeare’s works except for television dramas made for the Television Theater on state TV. There are, however, Polish films (mainly from 1962–1989) about actors and performing arts with fragments and motifs from Shakespeare plays. Their characters are often actors deprived by fate (or History) of the chance to play a Shakespeare role on stage and forced to play it in life instead.
Źródło:
Przestrzenie Teorii; 2019, 32; 15-44
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Niech się połączą niebiosa i ziemia…”: w poszukiwaniu (nowej) astronomii w Antoniuszu i Kleopatrze Williama Shakespeare’a
“Heaven and earth may strike their sounds together”: In search of the (new) astronomy in Shakespeare’s Anthony and Cleopatra
Autorzy:
Cetera-Włodarczyk, Anna
Włodarczyk, Jarosław
Powiązania:
https://bibliotekanauki.pl/articles/1041723.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare
Nicolaus Copernicus
Anthony and Cleopatra
new astronomy
geocentric universe
heliocentric universe
celestial spheres
Opis:
Shakespeare appears to be one of the most intensely studied authors exemplifying mutual influence of literature and science. Significantly enough, astronomical references deserve a particular attention due to the spectacular change of paradigm resulting from the replacement of the concept of the geocentric cosmos with the concept of the heliocentric universe. Starting from some general remarks concerning the methodological assumptions of such analyses and the specificity of Shakespeare canon, the paper offers an in-depth study of Anthony and Cleopatra  as one of the most representative plays with regard to the number, suggestiveness and interpretative potential of astronomical references. The paper exemplifies the way in which the play combines traditional astronomical and astrological allusions with some unconventional images, usually featuring imaginative hyperboles, which inscribe the fate and feelings of the characters into a cosmic framework. These references repeatedly trigger some fascinating and yet risky interpretations which strive to present Shakespeare as part of the scientific revolution of the age. Refraining from any value judgment, the paper highlights the overall importance of reading Renaissance literature, and Shakespeare in particular, against the background of the history of science in a way which allows for precise identification of contemporary sources of astronomical knowledge as well as for the reconstruction of the actual paths of dissemination of such ideas.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2017, 31; 23-46
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Гамлет. Версия” Бориса Акунина как отказ от регламентации шекспировского интертекста
„Hamlet. Version” Boris Аkunin’s as a refusal of regulation of Shakespeare’s text
Autorzy:
Kiseleva, Kristina
Powiązania:
https://bibliotekanauki.pl/articles/915537.pdf
Data publikacji:
2018-09-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
postmodernism
dramaturgy
Shakespeare
Hamlet
Akunin
intertextuality
post-modernist language play
Opis:
The present article aims at analyzing one of the modern drama's strategies  — playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting — consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
Źródło:
Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2016, 6; 97-105
2391-470X
Pojawia się w:
Kultury Wschodniosłowiańskie – Oblicza i Dialog
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Postdramatic Engagement with Robinsonade Motifs in Tim Crouch’s I, Caliban
Postdramatyczne użycie motywów z robinsonady w Ja, Kaliban Tima Croucha
Autorzy:
Özmen, Özlem
Powiązania:
https://bibliotekanauki.pl/articles/912307.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
postdramatic theatre
Robinsonade
Tim Crouch
I
Caliban
Shakespeare adaptation
teatr postdramatyczny
robinsonada
Ja
Kaliban
adaptacja Shakespeare’a
Opis:
Tim Crouch’s I, Caliban is a postdramatic adaptation of Shakespeare’s The Tempest included in a collection titled I, Shakespeare in which he recreates Shakespeare’s most marginalised characters. The focus in this sequel adaptation is on Caliban who tries to survive after Prospero and all others have left the island. Different from the representation of Caliban in postcolonial reworkings of Shakespeare’s play, Caliban, in this work, is not preoccupied with taking revenge. Instead, he emphasises the need for social interaction as he has been left alone on his island. Drawing on former structural comparisons of The Tempest and Daniel Defoe’s Robinson Crusoe based on their common themes such as the island setting, master-servant relationship, colonial expansion, and power politics, the aim of this paper is to discuss Crouch’s adaptation as a transformation of common motifs of the Robinsonade in its attempt to respond to the ideologicalformations of Shakespeare’s text. Among such transformations, the concept of survival, for instance, is handled from the native’s viewpoint in Crouch’s work. Instead of the figure of the stranger who finds life on an unknown land difficult to cope with, this time, the native turns into a captive on the island though it is a familiar setting. Another motif used in an alternative manner is isolation, which is not presented as fuel for civilisation but as Caliban’s psychological trauma, which he explores through storytelling as a postdramatic element. Apart from the narration, the play demonstrates other uses of postdramatic elements to suggest an isolated figure on an uninhabited island like the use of objects such as toy boats and tape of sea sounds. Instead of seeing Crouch’s work as a postcolonial response to Shakespeare’s work, this paper will try to investigate how the use of island setting and the theme of isolation can make it closer to a Robinsonade. By this means, it will also try to ask whether an adaptation could also be read in relation to a work that is not intended as its source text.
Ja, Kaliban Tima Croucha to postdramatyczna adaptacja Burzy Shakespeare’a wchodząca w skład zbioru Ja, Shakespeare, w którym odtworzone zostały najbardziej zmarginalizowane postaci z Szekspirowskich dzieł. Adaptacja koncentruje się na Kalibanie, który próbuje przetrwać po tym, jak Prospero i inni opuszczają wyspę. W odróżnieniu od postkolonialnych przeróbek sztuk Szekspirowskich w tej wersji Kaliban nie jest pochłonięty myślami o zemście. Jako że jest sam na wyspie, skupia się głównie na potrzebie interakcji społecznej. Na podstawie zarówno strukturalnych porównań pomiędzy Burzą a Robinsonem Crusoe Daniela Defoe, jak i podobnych tematów takich jak wyspa, relacja pan – sługa, ekspansja kolonialna i polityka władzy, celem niniejszego artykułu jest omówienie adaptacji Croucha jako przykładu transformacji typowych motywów dla robinsonady w odpowiedzi na ideologiczne adaptacje tekstów Shakespeare’a. Wśród tego typu transformacji wymienić można pojęcie przeżycia, które w dziele Croucha ukazane jest poprzez percepcję tubylców. Tym razem zamiast osoby obcego, który zmaga się z życiem na nieznanym terytorium, przedstawiona jest osoba tubylca, który staje się niewolnikiem na wyspie w znajomym sobie środowisku. Izolacja jest kolejnym motywem użytym w sposób alternatywny. Nie jest ona przedstawiona jako stymulator wprowadzania cywilizacji tylko jako trauma psychologiczna Kalibana, którą analizuje za pomocą opowieści jako element postdramatyczny. Nie tylko narracja jest tu wykorzystana w inny sposób. Inne postdramatyczne elementy to między innymi izolacja na niezamieszkałej wyspie, która wzmocniona jest zabawkowymi stateczkami i odgłosem morza. W artykule odchodzę od analizy dzieła Croucha jako postkolonialnej odpowiedzi na sztukę Shakespeare’a. Skupiam się natomiast na tym, w jaki sposób użycie motywów wyspy i izolacji zbliża dzieło do robinsonady. Kolejnym celem jest odpowiedź na pytanie, czy adaptacja może też być odczytana w relacji do takiego dzieła, które niekoniecznie jest pierwotnym tekstem źródłowym.
Źródło:
Porównania; 2019, 25, 2; 101-112
1733-165X
Pojawia się w:
Porównania
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Praca nad rolą - Ryszard III*
Working on the role –Richard III
Autorzy:
KAŁUŻYŃSKI, MAREK
Powiązania:
https://bibliotekanauki.pl/articles/920949.pdf
Data publikacji:
2016-11-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
actor
stage role
director
William Shakespeare
translation
Opis:
The author describes the contexts for working on the title role of Shakespeares Richard III. He points to specific stages in working on the role: familiarising oneself with the original text and associated literature (research), creating the character (concealing intentions, plans and emotions from other characters in the play, the characters internal struggle, perceiving psychological truths); developing relationships with the director and other actors; the use of scenography, costumes, lighting and music to create characters for the stage, considering the meaning of translation and rapport with the audience.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 211-230
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzyka Ariela i muzyka Kalibana w Burzy Williama Szekspira
Ariel's and Caliban's music in William Shakespeare's The Tempest
Autorzy:
Solski, Zbigniew Władysław
Powiązania:
https://bibliotekanauki.pl/articles/1392846.pdf
Data publikacji:
2008-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
Jan Kott wrote that in Tempest there is Ariel's music and Caliban's music and that there have not been a performance of The Tempest in which there would be no distinction between the two musics. Differentiation of various musics is not only a theatrical trick which serves greater dynamics the reception of the play, but it touches deeper and structural meanings. Opposition between Caliban's music and Ariel's music de facto reveals a clash of a civilisational character. For the culture of Italy rooted in the antiquity and in the "Dionysian" by its primordial character of Ariel’s culture the world of symbolism of Caliban's mother is both distant and alien. Like the witch Sycorax in the role of the queen of the island did not find common grounds with Ariel, neither can her son communicate with Prospero. Between Ariel's music and that of Caliban there is some fissure which makes it difficult to produce the state of mutual balance. On the one hand, harmony, however, unstable can be found in the relations between Prospero and Ariel. Their mutual harmony could be explained by the capability of their cultures to take up cooperation with division of the roles and with a peculiar specialisation. Prospero's "Appolinian", which is manifested in the indirect visual accounts found its complement Ariel's Dionysian culture, which was expressed directly in the recreation, in the musical symbol of the will. Thus, they were not in opposition to each other as elements of contradiction, but rather as two antithetic ways of its removal. While retaining their style, the music of Prospero and that of Ariel found unity in a common source: "the music of spheres*. Was Caliban's inability to enter a dialogue with representatives of other cultures caused by the character of his defiant anti-music? Or just the opposite, the reason is hidden in the dark past, in some hurt the memory of which makes the intercivilisational exchange and cooperation difficult?
Źródło:
Przestrzenie Teorii; 2008, 10; 171-195
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Szekspir katolikiem?”. Odpowiedź na książkę Hildegard Hammerschmidt-Hummel
”Catholic Shakespeare?”. A response to Hildegard Hammerschmidt- Hummel’s book
Autorzy:
Honigmann, Ernst A.J.
Powiązania:
https://bibliotekanauki.pl/articles/1392136.pdf
Data publikacji:
2011-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Szekspir
katolicyzm
sztuka
Opis:
The text “Catholic Shakespeare?” is a response to the book of Hildegard Hammerschmidt-Hummel titled William Shakespeare – Sein Zeit – Sein Leben – Sein Werk (2003). E.A.J. Honigmann joins the debate about a secret Catholic code in Shakespeare’s plays. The researcher disagrees with some theses, for example with mysterious inscriptions in the English College at Rheims. He also tries to convince that Shakespeare’s Catholicism isn’t that obvious as Hammerschmidt-Hummel says.
Źródło:
Przestrzenie Teorii; 2011, 16; 299-306
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O przemieniającym życie mroku postaci
On the darkness of the character that transforms life
Autorzy:
WIERZCHOWSKI, MARCIN
Powiązania:
https://bibliotekanauki.pl/articles/920976.pdf
Data publikacji:
2016-11-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
theatre role
actor
acting skills
William Shakespeare
director
Opis:
The author analyses the relationship between the actor's life and the character they create on stage. He points to the interdependencies between the actor and their role. He determines the conditions in which the role should be constructed and also discusses the on- and off-stage circumstances that determine the value of a particular role. This analysis is supported by the authors own experience as a theatre director.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 47-60
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 23

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