Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

Wyszukujesz frazę "Oliver Frljić" wg kryterium: Temat


Wyświetlanie 1-2 z 2
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
    Wyświetlanie 1-2 z 2

    Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies