Temat: Dance - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Bibliografia taneczna. Stan literatury tanecznej w Polsce – perspektywy badawcze
Bibliography of Dance. Dance Studies in Poland: Research Perspectives
Autorzy:: Iwańska, Alicja
Powiązania:: https://bibliotekanauki.pl/articles/460220.pdf
Data publikacji:: 2012
Wydawca:: Fundacja Pro Scientia Publica
Tematy:: dance literature in Poland
dance periodicals
dance books
dance web sites
polish dance bibliography
dance research in Poland
dance library
Opis:: The objective of this paper is twofold: (1) to review the literature on dance in Poland and (2) to make Polish dance bibliography more elaborate. First, the essay discusses the current state of research on dance in Poland. Second, it presents the classification of dance publications by Leslie Getz and attempts to create a bibliography of the dance catalogue in Poland. Finally, it comments on the scientific activity of Polish research institutions studying dance and suggests some improvements to the current situation of dance research in Poland.
Źródło:: Ogrody Nauk i Sztuk; 2012, 2
2084-1426
Pojawia się w:: Ogrody Nauk i Sztuk
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Prosto w oczy – Jacek Łumiński i Śląski Teatr Tańca (1991-2011)
Straight in the Eyes: Jacek Łumiński and the Silesian Dance Theatre (1991-2011)
Autorzy:: Iwańska, Alicja
Powiązania:: https://bibliotekanauki.pl/articles/459959.pdf
Data publikacji:: 2012
Wydawca:: Fundacja Pro Scientia Publica
Tematy:: Jacek Luminski
Silesian Dance Theatre contemporary dance
history of dance in Poland – 20th century
dance education
Opis:: The last decade of the 20th century marked a turning-point in the development of Polish contemporary dance. In 1991, Jacek Luminski established the Silesian Dance Theatre in Bytom.The theatre is said to have been the avant-garde of all activities around contemporary dance in Poland. It was J. Luminski and his theatre that set new trends in contemporary dance of the early 1990s, at the same time having fulfilled educational purposes for the last twenty years. The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the last twenty years. It first presents a choreographic portrait of J. Luminski, founder and choreographer of the Silesian Dance Theatre, the creator of the Polish contemporary dance technique. Then, this paper analyses Luminski’s dance style and reviews the Silesian Dance Theatre’s choreographic achievements. The final part of the article discusses a wide spectrum of educational activities undertaken in the field of contemporary professional dance by the Silesian Dance Theatre, and the phenomenon of theatre on the Polish stage.
Źródło:: Ogrody Nauk i Sztuk; 2012, 2
2084-1426
Pojawia się w:: Ogrody Nauk i Sztuk
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Teatr tańca – dzieje pojęcia
The theatre of dance – history of the term
Autorzy:: Iwańska, Alicja
Powiązania:: https://bibliotekanauki.pl/articles/460176.pdf
Data publikacji:: 2011
Wydawca:: Fundacja Pro Scientia Publica
Tematy:: teatr tańca
taniec XX wieku
taniec - historia
taniec – teoria
theatre of dance
20th century dance
dance – history
dance - theory
Opis:: Teatr tańca jest obecnie przedmiotem rozważań i dyskusji w wielu środowiskach. Gatunek ten silnie obecny we współczesnej kulturze nie został dotąd zdokumentowany ani poddany historycznej i naukowej refleksji. Autorka podejmuje taką próbę. Celem referatu jest przedstawienie znaczeniowych fluktuacji, jakim na przestrzeni XX wieku podlegał sam termin „teatru tańca”. Na wstępie autorka omawia źródła teatru tańca oraz przybliża dokonania i idee artystów, którzy na kształtowanie się tej formy sztuki widowiskowej wywarli największy wpływ. Następnie prezentuje i analizuje ważniejsze definicje tego zjawiska artystycznego funkcjonujące w historii w XX-wiecznej sztuki. Zwraca uwagę na wąskie i szerokie rozumienie tego terminu. W części tej omawia też elementy strukturalne spektakli teatru tańca. W zakończeniu zastanawia się nad obecnym rozumieniem teatru tańca oraz jego znaczeniem w sztuce współczesnej.
The theatre of dance is currently the subject of reflection and discussion in numerous circles. This genre, significantly present in the modern culture, has not been yet documented nor subjected to historical and academic reflection. The author makes such an attempt The aim of the paper is the presentation of the fluctuations of meaning, which were experienced by the sole term “theatre of dance”. In the introduction the author discusses the origins of the theatre of dance and examines the achievements and ideas of the artists, who have mostly influenced the shaping of this performance art. Then, the author presents and analyzes the significant definitions of this artistic phenomenon present in the history of 20th century art. She points out to the narrow and broad understanding of this term. In this part she also discusses the structural elements of the theatre of dance performances. In the conclusion the author reflects on the current understanding of the theatre of dance and its importance in the modern art.
Źródło:: Ogrody Nauk i Sztuk; 2011, 1
2084-1426
Pojawia się w:: Ogrody Nauk i Sztuk
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Taniec w pedagogice przygody. Rekonesans w literaturze
Autorzy:: Ewa, Palamer-Kabacińska,
Powiązania:: https://bibliotekanauki.pl/articles/892413.pdf
Data publikacji:: 2017-08-23
Wydawca:: Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:: outdoor education
adventure education
arts
performing arts
dance
Opis:: Outdoor and adventure education is an increasingly popular trend in education in Poland – nowadays it is manifested mainly in practical forms and only in non-formal education. In Western Europe and the USA, with developed research methodology and a long tradition, this trend can be called science. Outdoor and adventure education is a heterogeneous sphere, but it has several elements that are at the heart of the adventure education method. One of its main assumptions is working with a specific “adventure medium” through which the intended goals are achieved. The most popular are outdoor sports and tourism, but more and more often new means are used, for example those derived from the arts. It is manifested mostly in practical activities (which is natural, as this field developed out of practice, and its theoretical and research background was created later). The use of arts is two-dimensional. The first dimension is based on visual arts (handicraft, painting), most often linked to outdoor education, and their main goal is to build relationships with nature. The second, less popular dimension, focuses on the use of body expression (theatre, dance, movement). In Poland, this trend is not yet known, whereas in Western countries there have appeared some articles showing the value of using arts in this area of education. The purpose of this article is to show how arts, and body expression in particular, may be used in outdoor and adventure education activities.
Źródło:: Kwartalnik Pedagogiczny; 2017, 62(2 (244)); 204-220
0023-5938
Pojawia się w:: Kwartalnik Pedagogiczny
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: ZABAWA W KONTEKŚCIE KULTUROWYM. CZĘŚĆ I. CZŁOWIEK ZABAWY – OD KOŁYSKI DO WIEKU SĘDZIWEGO
PLAY IN A CULTURAL CONTEXT. PART ONE: A MAN OF PLAY – FROM A CRADLE TO OLD AGE
Autorzy:: ROMANOWSKA, Teresa
Powiązania:: https://bibliotekanauki.pl/articles/546376.pdf
Data publikacji:: 2018
Wydawca:: Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:: play,
fun,
dance event,
game,
everyday life,
prize,
ritual dance,
orchestra,
musical instruments,
buffet,
children’s plays,
movement games,
plays with babies,
lullabies,
baptism,
traditional culture,
folk culture
Opis:: For centuries people have enjoyed playing. Play is an essential element of everyone’s life, not only children. This article explores own research containing: ethnographic interviews with citizens of Elk region, participant observation of children’s plays and shows by folk artists, survey with preschool and school teachers conducted during traditional play workshops for children. In addition it analyses memories from diaries and from an autobiography. The analysis is supported by examples from literature. Description of some plays gives an opportunity to find out more about everyday life in a particular region in a certain period of time. The literature shows how old are some plays, which are popular and still taught in kindergartens. It is noticed that in the past children, young people and adults had similar plays. Nowadays adults choose mainly dance events, which differ from those described in the article. Children however know and sometimes play the traditional games alongside with new ones. Considering play as a cultural phenomenon it is observed that the rules of children’s plays has not changed, only their form or contents may differ. Children have still enjoyed playing and miming the reality around them.
Źródło:: Civitas et Lex; 2018, 3(19); 49-61
2392-0300
Pojawia się w:: Civitas et Lex
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Taniec jako sztuka relacji
Dance - the art of relations
Autorzy:: Zerek, Ula
Powiązania:: https://bibliotekanauki.pl/articles/424732.pdf
Data publikacji:: 2016
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: sztuka tańca,
współczesna choreografia,
improwizacja,
ciało,
ruch,
art of dance,
contemporary choreography,
improvisation,
body,
movement
Opis:: Humans were expressing their needs and emotions in movement far before developing speech or any other civilised skills. The body as a source of movement is the closest and primary form of experiencing life as well as perceiving the surrounding world. Dealing with dance as a form of artistic expression, I question the essence and meaning contained in dance presentations from both the perspective of a dancer and as a researcher. Contradictory to visual arts, literature and even music, dance is a living ephemeral art that evolves in time and space in front of the spectator. Without time and space the experience would not be possible. By observing transformations within the art of dance, searching for deeper understanding of its roots as well as for artistic self reflection, I have come upon with principles which can define the essence of dance. In addition to the previously mentioned condition of time and space, there is a fusion of body and mind. Dance exceeds stereotypes and limiting ideologies. Dance as a field of art practice is able to challenge both the artist and the spectator. All the elements – body, mind, time, space, artist, spectator may take different configurations influencing each other. Therefore dance is the art of relations. The direct input on the individual character of dance experience and interpretation lays in body awareness. This phenomenon is explained through the phenomenology of perception by the French philosopher Maurice Merleau-Ponty, and further developed studies by the contemporary researcher Richard Shusterman. The potential of dance seems to be infinite which might be the reason for the unlimited explorations of artists in relation to dance voyaging beyond the boundaries of the discipline. In this text a variety of contemporary dance art is presented by introducing examples of chosen artists and their works. Art performances which are hard to classify, often cause controversy and difficulties with reception and interpretation. There is another element necessary for the understanding of the contemporary art of dance and this is the theory and practice which builds a discourse that develops a tradition. This paper is a reflective analyses which goes beyond explicit meanings and theories while at the same time following the primal essence of dance.
Źródło:: Sztuka i Dokumentacja; 2016, 14; 118-143
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Terapia tańcem i ruchem kluczem do świata wewnętrznego osób z zaburzeniami ze spektrum autyzmu (ASD)
Dance and movement therapy as the key to the inner world of people with autism spectrum disorders (ASD
Autorzy:: Rojewska-Nowak, Anna
Powiązania:: https://bibliotekanauki.pl/articles/473042.pdf
Data publikacji:: 2017-06-01
Wydawca:: Collegium Witelona Uczelnia Państwowa
Tematy:: terapia tańcem i ruchem
autyzm
zaburzenia ze spektrum autyzmu
Dance and movement therapy, autism, autism spectrum disorder,
Opis:: Zaburzenia ze spektrum autyzmu stanowią obecnie jeden z najpoważniejszych problemów zdrowotnych, jak oceniła Organizacja Narodów Zjednoczonych. Z danych ONZ wynika, że w ostatnich dwóch dekadach występowanie autyzmu zwiększyło się aż dziesięciokrotnie. Nie dziwi więc, że coraz częściej sięga się po alternatywne i uzupełniające formy terapii osób z ASD w poszukiwaniu pomocy. Terapia tańcem i ruchem na Zachodzie opisywana jest od ponad pięćdziesięciu lat jako jedna z form, które mogą wspomagać terapię osób z autyzmem. Umożliwienie zrozumienia, odzwierciedlenia i rozszerzanie ekspresji pozawerbalnej może nieść pomoc osobom z autyzmem przez wspomaganie socjalizacji i komunikacji, budując świadomość ciała oraz wspomagając deficyty motoryczne
Nowadays autism spectrum disorders constitute one of the most serious health problems, as concluded by the United Nations. According to the data obtained from them, in the last two decades, a tenfold increase has been observed in the incidence of autism around the world. Consequently, it is not surprising that more and more use is made of alternative and complementary therapies in case of people with ASD. Dance and movement therapy has been described for over fifty years in Western countries, where it has been used to support conventional treatment of people with autism. Allowing them to understand, reflect on and expand their non-verbal expression, this particular form of therapy can be beneficial, by supporting socialization and communication, building awareness of the body and aiding motor deficits
Źródło:: Zeszyty Naukowe Państwowej Wyższej Szkoły Zawodowej im. Witelona w Legnicy; 2017, 2, 23
1896-8333
Pojawia się w:: Zeszyty Naukowe Państwowej Wyższej Szkoły Zawodowej im. Witelona w Legnicy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: Potencjalność relacji. Choreografia w muzeum
Potentialities of relationships. Choreography in the Museum
Autorzy:: Słoboda, Katarzyna
Powiązania:: https://bibliotekanauki.pl/articles/424291.pdf
Data publikacji:: 2016
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: choreografia, relacyjność, praktyka, dyspozytyw, wystawa, muzeum, ciało, performatyka, taniec, ruch, afekt, choreography, relations, practice, dispositif, exhibition, museum, body, performativity, dance, movement, affect
Opis:: Experiments in the field of dance in the second half of the 20th century resulted in an expansion of the notion of choreography. Nowadays choreography, as a cluster of various practices developing on the verge of the arts, does not to have to be understood exclusively as composing the movement of bodies or the notation of dance. Choreographic tools are being used to produce relationships between heterogeneous elements in structures organising time and space as well as to inquire into their dynamics and intensities. Choreography enables us to think critically about corporeality, subjectivity, performativity and the conditions of art production. It can be understood as a sensual analysis on the intersection of what is intimate, social, political and aesthetic. This text revolves around the notion of choreography as a social and artistic practice in the realm of museum strategies and exhibition making. The exhibition Frames of Reference. Choreography in the Museum curated by Katarzyna Słoboda and Mateusz Szymanówka focused on choreographic practices and the presentation modes of performative actions in collaboration with a group of Polish choreographers (Alex Baczyński-Jenkins, Przemek Kamiński, Ramona Nagabczyńska, Anna Nowicka, Magdalena Ptasznik, Agata Siniarska, Iza Szostak, Kasia Wolińska, Marta Ziółek). The artists were invited to temporarily use the first floor of the Museum Sztuki on Więckowskiego Street in Lodz as a space for rehearsals and research. During their stay in the museum, during regular opening hours, they returned to concepts and strategies present in their previous works, looking for ways to open up their practice to visitors. In the second half of April they moved out from the exhibition space, leaving behind scores, objects, documents and situations to be experienced by the museum visitors until the closing date of the exhibition.
Źródło:: Sztuka i Dokumentacja; 2016, 14; 144-150
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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