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Wyszukujesz frazę "theatre of the silence" wg kryterium: Wszystkie pola

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    Tytuł:
    Intimité de Jean-Victor Pellerin, ou à la recherche du « théâtre du silence »
    Intimacy by Jean-Victor Pellerin, or in search of „theatre of the silence”
    Autorzy:
    Kaczmarek, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/483546.pdf
    Data publikacji:
    2017
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
    Tematy:
    Jean-Victor Pellerin
    Gaston Baty
    theatre of the silence
    soliloquy
    loneliness.
    Opis:
    Jean-Victor Pellerin was a representative author of the „school of silence” or, as some called it, „art of unexpressed”, in which emotions are implied in gestures, fragments of speach, and silence. In his first drama Intimacy (1922) the French playwrighter presents a bourgeois marriage living a monotonous life. The characters discuss trivial things of everyday life, they talk to each other, but there is no communication between them, because each of them is closed in their own world. Nobody is listening one another and words are spoken only in order to fill their existential emptiness. The writer is focused on the dialogue between the characters in the context of what they hide and what they do not want to tell themselves. People who appear to them are not flesh and blood human beings but they are the reflection of their own disturbed personality only. In this manner the writer focuses on the inner life of his solitary, their nostalgia for youth or even their hidden sexual motives. This is why the silence grows into the main element of the drama. Intimacy is one of the finest examples of „intimist aesthectic” developed by the avant-garde theater creator Gaston Baty who rejected the predominance of the word for discovering the mysterious world of the spiritual man.
    Źródło:
    Quêtes littéraires; 2017, 7; 114-122
    2084-8099
    2657-487X
    Pojawia się w:
    Quêtes littéraires
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Le silence de la personne présente dans le théâtre français du XXe siècle
    The silence of a present person in some French 20th century drama
    Autorzy:
    Modrzejewska, Krystyna
    Powiązania:
    https://bibliotekanauki.pl/articles/483665.pdf
    Data publikacji:
    2012
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
    Tematy:
    silence
    Anouilh
    Beckett
    Lagarce
    Sarraute
    Opis:
    The consideration of the silence of a present person in some French 20th century drama reveals the power and the cruelty of human silence. The play by Anouilh displays the destiny of a woman who is convicted to be a voiceless witness, whereas the one by Beckett shows the silence of a husband begged by his companion to confirm her presence. In the play by Lagarce, the agony of an ungrateful son unleashes a torrent of complaints pronounced by a women belonging to his family. Finally, both of the analysed plays by Sarraute show the consequences of silence in relations between friends.
    Źródło:
    Quêtes littéraires; 2012, 2; 93-100
    2084-8099
    2657-487X
    Pojawia się w:
    Quêtes littéraires
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Salvatore Sciarrino. The Sicilian alchemist composer
    Autorzy:
    Misuraca, Pietro
    Powiązania:
    https://bibliotekanauki.pl/articles/780301.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Sciarrino
    Alchemist
    Virtuosity
    Shades of sounds
    Silence
    Ecology of listening
    Figure
    Window form
    Singing style
    Musical theatre
    Opis:
    Salvatore Sciarrino (Palermo, 1947) began his career in the fervent climate of the six Settimane Internazionali Nuova Musica. Still very young he attracted the attention of the musical world, with his sonorous invention full of startling innovation that was to make him one of the protagonists of the contemporary musical panorama. Sciarrino is today the best-known and most performed Italian composer. His catalogue is a prodigiously large one, and his career is dotted with prestigious prizes and awards. Alchemically transmuting sound, finding new virginity in it has for fifty years been the objective of his music. Timbric experimentation is the goal of his virtuosity. The prevailing use of harmonic sounds and other subversive emission techniques make his sonorous material elusive, incorporeal, particularly close to noise: hence not sounds in the traditional sense, but ghosts and shades of sounds, systematically deprived of the attack and situated in a border zone between the being of the material and its not-being. The sound comes out changed by the osmotic relationship with silence: it is a mysterious epiphany, a “presence” that strives to appear on the surface, living and pulsating almost according to a physiology of its own. Hence it is a music of silences furrowed by minimal sound phenomena, for an “ecology of listening” - an antidote to the noise pollution of consumer society - able to clear perception, to sharpen auditory sensibility and to free the mind of stereotyped stimuli. His music is not concretized in intervallic relations and in harmonic-contrapuntal constructive logics, but in complex articulatory blocks which Sciarrino calls figures. Even though the structural use of timbre becomes a disruptive fact, which brings an upheaval to the perception of pitches and seems to burn up every linguistic residue, in thefigural articulation and in its perceptibility the composer finds a new logic and a new, infallible sense of form. Musical discourse proceeding through complex wholes is mirrored in Sciarrino’s peculiar composition method. For him the layout of a score in traditional notation is preceded by a graphic-visual project (which he calls “flow chart”) allowing synthetic control of the form and highlighting the relationship between construction and space. “Window form” had become a characteristic feature of his composition technique. With this term, borrowed from computer terminology, the composer indicates a formal procedure that mimics the intermittence of the human mind and that he considers typical of the modem and technological era. The gradual recovery of a new singing style is a central problem in his most recent production: psychotic and gasping utterance, messa di voce, glissandos, portamenti, slipping syllabification, incantatory and alienating reiterations avoid all danger of stylistic regression, shaping a new and personal monody, artificial and hallucinatory. The working-out of a personal singing style is Sciarrino’s main conquest in the last years. Hence his fundamental contribution to experiments in contemporary musical theatre and a particular flowering of vocal works that characterizes his most recent creative phase.
    Źródło:
    Interdisciplinary Studies in Musicology; 2013, 12; 73-90
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dlaczego przestały milczeć? Dlaczego zostały wysłuchane? Afektywna analiza #metoo w Teatrze Bagatela
    Why Did They Break the Silence? Why Were They Heard? An Affective Analysis of #MeToo at the Bagatela Theatre
    Autorzy:
    Kwaśniewska, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/889481.pdf
    Data publikacji:
    2020-10
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    Bagatela Theatre
    #MeToo
    affect theory
    media
    institutional critique
    Opis:
    The article analyses the media coverage of the accusations of sexual harassment and mobbing made against Henryk Jacek S., a long-time director of the Bagatela Theatre in Krakow, by its female employees. Based on the employees’ statements, the author tries to describe the situation in the theatre before the case was exposed. She refers to the category of ‘ugly feelings’, created and explored by Sianne Ngai, and specifically, to the affect of animatedness, which is characterised by particularly limited agency and the blurring of the boundary between the inside and the outside. The moment when the female employees broke the silence is associated by the author with the affect of disgust (as defined by Sara Ahmed) and the related revulsion and nausea. She also examines how this affective dynamic has influenced the women’s agency and effectiveness in relation to the recipients of their public appearances.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2020, 159; 1-41
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Exit from Silence. The Cultural, Educational, and Therapeutic Roles of the Olsztyn Mime Ensemble
    Wyjście z ciszy. Rola kulturalna, edukacyjna i terapeutyczna Olsztyńskiej Pantomimy Głuchych
    Autorzy:
    Sokołowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/923150.pdf
    Data publikacji:
    2020-12-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    amateur theatre
    Olsztyn Mime Ensamble
    deaf
    silent actors
    Bohdan Głuszczak
    Opis:
    The article recalls the role played by the Olsztyn Mime Ensamble in the culture of the region of Warmia and Mazury and Poland. The Ensamble gained their artistic rank thanks to the theater director, professor Bohdan Głuszczak (1936-2016).
    Źródło:
    Studia Edukacyjne; 2018, 50; 229-239
    1233-6688
    Pojawia się w:
    Studia Edukacyjne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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