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    Wyświetlanie 1-6 z 6
    Tytuł:
    Muzyka górą? Dziesięć wydarzeń teatralnych 2010 roku
    Autorzy:
    Mikołajczyk, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/510737.pdf
    Data publikacji:
    2011
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    contemporary Polish theatre
    musical theatre
    drama
    Opis:
    Music Dominates? Ten Theatrical Events of the Season 2010/2011
    Źródło:
    Postscriptum Polonistyczne; 2011, 2(8); 283-295
    1898-1593
    2353-9844
    Pojawia się w:
    Postscriptum Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Theatre and Drama of Socialist Realism in the Context of Cryptotexts (Based on MKiS and WUKPPiW Material)
    Autorzy:
    Wiśniewska-Grabarczyk, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/648897.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    censorship
    cryptotext
    post-war Polish theatre and drama
    Opis:
    The main goal of the article is to offer a description of cryptotexts of theatre staging handbooks and dramatic works created in Poland during the socialist realism period. A cryptotext is a secret text which is the result of a purposeful act of subterfuge. In the article, I present selected cryptotexts – reviews produced in the Ministry of Culture and Art (MKiS) and censorship reviews of the dramatic works submitted for evaluation to the Voivodship Control Bureau for Press, Main Office of Control of Press, Publications and Shows (WUKPPiW). The archives contain evaluation of works which have been published in subsequent years as well as those which remained only in their draft form. Analysis of the evaluations of ministry officials reveal the mechanisms for allowing and withholding submitted dramatic works and a theatre staging handbook which shows the practices of publishing theatrical works. An analysis of different evaluations of the same text allows for a hypothesis that the main aim of cryptotexts was the evaluation of ideological correctness of submitted works. Despite this main function it is possible to point out specific passages in the statements by the WUKPPiW officials which are similar to statements of Ministry officials. In both cases the evaluation pertains to the content and the planned fulfilment of the work and plays mainly a didactic function.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2016, 37, 7
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Współczesna polska muzyka teatralna
    Music in Contemporary Polish Dramatic Theatre
    Autorzy:
    Figzał, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/510943.pdf
    Data publikacji:
    2011
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    theatre music
    musical citation
    Polish dramatic theatre
    Opis:
    The article is an attempt to describe the function of music in contemporary Polish dramatic theatre. The author of the text refers to the art of Polish theatre directors and composers in order to show that music in dramatic theatre is not only an illustration or a signal. The article analyses the compositions that were written for particular performances, as well as bor-rowed compositions which are musical citations.
    Źródło:
    Postscriptum Polonistyczne; 2011, 2(8); 95-109
    1898-1593
    2353-9844
    Pojawia się w:
    Postscriptum Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Adaptacja jako twórcza praktyka w polskim teatrze współczesnym. Krystian Lupa – Krzysztof Warlikowski – teatr krytyczny
    Adaptation as a Creative Practice in Polish Contemporary Drama. Krystian Lupa – Krzysztof Warlikowski – Critical Theatre
    Autorzy:
    Sordyl, Alina
    Powiązania:
    https://bibliotekanauki.pl/articles/511421.pdf
    Data publikacji:
    2011
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Polish theatre after 1989
    critical theatre
    adaptation practices
    Krystian Lupa
    Krzysztof Warlikowski
    Opis:
    Adaptation of different literary texts is one of the important practices in Polish contempo-rary theatre after 1989. Adaptations are being undertaken by the creators of the authorial theatres, directors of the repertory theatres and young artists who began their professional career in the theatre in the late nineties and after a year 2000. The article discusses three different types of adaptory practices. Krystian Lupa's adaptations are a kind of creative dialogue with literature that becomes a base for individual and evolving esthetics of his own theatre. Krzysztof Warlikowski struggles with the tradition and exceeds it. Directors repre-senting critical theatre use classical dramatical and epic texts to build a dialectical discourse with Polish “ready¬ made world”.
    Źródło:
    Postscriptum Polonistyczne; 2011, 2(8); 43-60
    1898-1593
    2353-9844
    Pojawia się w:
    Postscriptum Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History
    Autorzy:
    Fabiszak, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/888889.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    Hamlet
    Macbeth
    Andrzej Wajda
    Polish theatre productions
    Opis:
    Andrzej Wajda is a renown Polish theatre and film director, whose achievements have been recognised by theatre and film artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were first staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed significant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very significant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most significant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a difference in their life, touches upon both getting old and a long-term marriage.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 97-106
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dogonić świat. Musical i teatr muzyczny w Polsce po 1989 roku
    Catch up with the World. Musical and Musical Theatre in Poland after 1989
    Autorzy:
    Mikołajczyk, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/511144.pdf
    Data publikacji:
    2011
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    Polish contemporary theatre development of theatre in Poland commercial theatre
    musical
    Opis:
    Musical theatre in Poland entered a new stage in its history after 1989. Being forced to exist in a new economical situation, it had to develop a new organization model, different from the one it was using for last 45 years. Managing directors of such theatres as Musical Thea-tre in Gdynia, Musical Theatre Roma in Warsaw or Musical Theatre in Wrocław reformed their institutions, introducing strategies present in the Western theatrical world, for example castings for performers, giving up permanent theatrical groups etc. In theatres in Gdynia, Warsaw and in Rozrywka Theatre in Chorzów many Polish premieres of worldwide known musicals took place. Artistic and technical quality of Musical Theatre Roma in Warsaw reached the levels of European theatres of that type. Theatre in Wrocław, that has changed its name into Musical Theatre Capitol, became the leading centre of sophisticated musical theatre. Wojciech Kościelniak, connected with theatres in Gdynia and Wrocław, has directed many new and original musicals, based usually on outstanding literary works. Kościelniak is one of the most interesting personalities of contemporary Polish musical theatre.
    Źródło:
    Postscriptum Polonistyczne; 2011, 2(8); 111-122
    1898-1593
    2353-9844
    Pojawia się w:
    Postscriptum Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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