Wszystkie pola: theatre of imagination - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Analiza materii fonicznej wybranych słuchowisk Andrzeja Waligórskiego
An analysis of the phonic material in selected radio dramas by Andrzej Waligórski
Autorzy:: Kołodziejska, Joanna
Powiązania:: https://bibliotekanauki.pl/articles/1358072.pdf
Data publikacji:: 2019
Wydawca:: Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:: Andrzej Waligórski
Radio Wrocław SA
słuchowisko radiowe
semantyka
dźwięk
teatr wyobraźni
radio drama
semantics
sound
theatre of imagination
Opis:: The study of radio art, whose most representative genres include radio drama is undoubtedly of interest not only to media scholars. Works of art created for the radio, as sound art pieces per se, are also becoming an engaging research ground for such disciplines as theory of music or musicol- ogy. Some of the most fascinating examples of radio dramas that may be found in the archives of Radio Wrocław are those created by Andrzej Waligórski – a distinctive artist whose activity fell on the “golden days” of Polish radio drama art, commonly dated back to the 1960s and 1970s. His works constitute a perfect example of a diverse approach to the phonic material of radio drama employed in order to enhance the presentation of the world depicted in the piece. Words and sounds, including music, become carriers of multiple meanings, which the author of the present article at- tempts to explore.
Twórczość radiowa, której jednym z najbardziej reprezentatywnych gatunków1 jest słuchowisko, to niewątpliwie interesujący materiał badawczy nie tylko dla medioznawcy. Dzieło stworzone dla radia, jako utwór dźwiękowy per se, staje się również ciekawym polem rozważań dla teorii muzyki bądź muzykologii. Jednymi z najbardziej interesujących przykładów słuchowisk radiowych, jakie odnajdujemy w Archiwum Radia Wrocław SA, są te autorstwa Andrzeja Waligórskiego – artysty wyrazistego, którego aktywność przypada na „złoty czas” polskiej twórczości słuchowiskowej, za który powszechnie podaje się lata 60. i 70. XX wieku. Jego utwory to doskonały przykład różnorodnego traktowania materii fonicznej słuchowiska, w celu wykreowania świata przed stawionego. Słowo i dźwięk, w tym muzyka, stają się tutaj nośnikami wielu znaczeń, które próbuje uchwycić autorka niniejszego artykułu.
Źródło:: Edukacja Muzyczna; 2019, 14; 229-263
2545-3068
Pojawia się w:: Edukacja Muzyczna
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Poszukiwania i fascynacje Antoniego Bohdziewicza (1906-1970)
The quests and fascinations of Antoni Bohdziewicz (1906-1970)
Autorzy:: HENDRYKOWSKA, MAŁGORZATA
Powiązania:: https://bibliotekanauki.pl/articles/920943.pdf
Data publikacji:: 2016-11-03
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Antoni Bohdziewicz
Imagination Theatre
Opis:: The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.This article is devoted to the director Antoni Bohdziewiczs creative output and teaching work at the Łódź Film School, to commemorate the 110th anniversary of his birth. The author presents Bohdziewiczs early days as a director at Polish Radio in Vilnius, and also his work as a film critic. A significant moment in Bohdziewiczs life was his leaving for Paris on a scholarship on Prof. Władysław Tatarkiewicz’ recommendation, where he produced several short films. On returning to Poland, Bohdziewicz enjoyed success mainly as a reporter for Polish Radio and also as the co-founder of the Imagination Theatre (Teatr Wyobraźni). When war broke out he got involved in underground activities, becoming one of the organisers recording the events of the Warsaw Uprising on film. Bohdziewiczs post-war activities were significantly affected by his appearance at the Filmmakers’ Congress in Wisła (1949), at which he spoke out against introducing the ideas of socialist realism. Bohdziewicz never felt fulfilled as a director, despite producing several films, including documentaries, feature films based on contemporary themes and literary adaptations. His true passion remained his lecturing work at the Łódź Film School. The article quotes many of his pupils and protegees, including Andrzej Wajda, Janusz Majewski, Kazimierz Kutz, who saw him as their master, and their artistic and spiritual guide through those times. Without exception they emphasise how Bohdziewicz lived solely for the School. In his later years he was strongly associated with the Film Discussion Club movement; he occasionally worked in theatre, wrote, and taught at the INSAS Film School in Brussels. With hindsight and from his pupils’ remembrances, it becomes clear just how invaluable his teaching work at the Łódź Film School was
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 248-264
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination
Autorzy:: Khomenko, Natalia
Powiązania:: https://bibliotekanauki.pl/articles/1812145.pdf
Data publikacji:: 2021-06-30
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: Othello
blackface
Russian theatre
Russian film
Soviet theatre
Soviet film
adaptation
translation
Sergei Iutkevich
Eldar Riazanov
Aleksei Zernov
Nikolai Koliada
Petr Gladilin
Vahram Papazian
Opis:: Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.
Źródło:: Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 75-89
2083-8530
2300-7605
Pojawia się w:: Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:: Biblioteka Nauki

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