Wszystkie pola: Nō theatre - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Dialog with a Ghost: Modern Nō Plays by Mishima Yukio on the Stages of the Polish Theatre
霊魂との会話、ポーランドの劇場における三島由紀夫の近代能楽
Autorzy:: Kubiak Ho-Chi, Beata
Powiązania:: https://bibliotekanauki.pl/articles/1810610.pdf
Data publikacji:: 2014
Wydawca:: Polskie Stowarzyszenie Badań Japonistycznych
Tematy:: Mishima Yukio
Tadeusz Łomnicki
Andrzej Wajda
Agnieszka Olsten
Natalia Sołtysik
Nō theatre
modern Nō plays
Polish theatre
shingeki
Opis:: 20世紀の日本の偉大な作家の一人である三島由紀夫（1925–1970）にとって、中世の能は重要な霊感の源であった。1950年から1962年にかけて、彼は九つの能作品を書き、これらを「近代能楽集」と名付けた。能とは呼ばれるものの、舞台は20世紀であり、登場人物は古典的な作品とは対照的に現代の話し言葉を用い、現代の観客が無理なく理解できるものとなっている。これらの作品は、日本のみならず、海外でも瞬く間に人気を得た。幾つかの作品は英語、ドイツ語、スペイン語、フランス語、そしてポーランド語にも翻訳され、1950年代からはアメリカおよびヨーロッパの舞台で成功を収めた。ポーランドの演出家もこれらの短い劇作品に魅せられ、幾度もポーランドの劇場で上演してきた。既に1965年に、タデウシュ・ウォムニツキは三島由紀夫の三作品の近代能楽を演出し、それからおよそ30年後、1994年にアンジェイ・ワイダは四作品の舞台化を実現した。若い演出家達は、それによって能に興味を示すようになった。2007年には、アグニェシカ・オルステンとナタリア・ソウティシクの二人の演出家が、三島の能に対する彼女らの解釈を示した。筆者はこの論文で二つの問題に取り組みたい。第一には、日本の劇作家によって書かれ、西洋とは異なると思われる表現や詩情に満ちた作品が、どのようにポーランドの重鎮とも言える演出家達や若手の関心をひいたのか。第二に、三島由紀夫はどのように中世の能の世界を自身の作品の中に反映させたのか。そしてポーランドの演出家達はこれらの三島作品をどのようにポーランドの文脈の中で発展させていったのかを考察したい。
Źródło:: Analecta Nipponica; 2014, 4; 11-29
2084-2147
Pojawia się w:: Analecta Nipponica
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: A Cognitive Approach to Shakespeare Plays in Immersive Theatre: With a Special Focus on Punchdrunk’s "Sleep No More" in New York (2011-) and Shanghai (2016-)
Autorzy:: Hamana, Emi
Powiązania:: https://bibliotekanauki.pl/articles/1033509.pdf
Data publikacji:: 2020-06-30
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: Cognitive science
4E cognition
immersive theatre
„Sleep No More”
Opis:: Although cognitive science is an interdisciplinary field, its central questions are ‘what is humanity?’ and ‘what is emotion?’ Since the field of theatre and performing arts is deeply concerned with humans and emotions, we expect that it will contribute to the understanding of these concepts. Immersive theatre is an experimental performance form that emphasizes site, space and design while immersing spectators in a play. The number of immersive theatre companies or productions has been growing worldwide. This paper discusses Punchdrunk’s Sleep No More, directed by Felix Barrett and performed in London (2003), New York (2011-) and Shanghai (2016-). While elucidating the cognitive impact of immersive Shakespeare performances on spectators, this paper aims to uncover new artistic and cultural value in Shakespeare plays performed in an experimental form in order to advance their contemporary relevance.
Źródło:: Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 13-26
2083-8530
2300-7605
Pojawia się w:: Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: “No one will ever be alone again”: Performances of Precarity and Solidarity amid the Greek #MeToo
Autorzy:: Fragkou, Marissia
Powiązania:: https://bibliotekanauki.pl/articles/2031436.pdf
Data publikacji:: 2022-02
Wydawca:: Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:: MeToo
Greek theatre institutions
solidarity
precarity
feminism
Opis:: This essay considers how #MeToo’s recent iteration in the Greek context has stirred trouble in the theatre, instigating a politics of resistance against obdurate histories of injustice against women’s bodies in the industry whilst also creating spaces for solidarity among performers and theatre makers. My main intention is to examine how the above issues form part of the same ecology of precarity that dovetailed when the Greek #MeToo began to take force. In doing so, I will first focus on two recent major incidents occurring in the country’s flagship state theatre, the National Theatre of Greece, which involved two of its former male artistic directors in order to discuss how debates around precarity and exclusion in the theatre industry were unearthed. I will then shift focus to Greek artists’ self-organizing tactics through the examples of the activist network Support Art Workers and the Actors’ Trade Union who have started developing codes of conduct and strategies to challenge the devaluation and feminization of artistic labour. The article will further make reference to specific developments across the international theatre industry that connect to the tenets of the #MeToo which offer apertures for progressive change in the field of Greek theatre and its institutions.
Źródło:: Didaskalia. Gazeta Teatralna; 2022, 167; 6-32
2720-0043
Pojawia się w:: Didaskalia. Gazeta Teatralna
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

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

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