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    Wyświetlanie 1-6 z 6
    Tytuł:
    "... I owo". Humor i humory Tadeusza Różewicza
    ”... and that.” Tadeusz Różewicz’s Humor and Moods
    Autorzy:
    Solski, Zbigniew
    Powiązania:
    https://bibliotekanauki.pl/articles/487910.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    Różewicz
    poetry
    humor
    cognitive sphere
    comedy
    director
    Opis:
    Farewell volume by Czeslaw Milosz was entitled ‘It’. Because of the importance of the text, some re-viewers compared the text with the epilogue to ‘The Tempest’ by William Shakespeare. Tadeusz Rożewicz published a parody of Miłosz’s text entitled ‘This and That’. By adding ‘… and that’, he produced an effect resembling the puncturing of the bubble of illusion. The goal of this and similar polemics by Różewicz was not to arouse uncontrollable laughter, but recall a smile. Smile is always associated with the form and serves to maintain the continuity of culture. In intertextual games, the poet uses dif-ferent styles. The fact that he often reached for ludic and farcical conventions does not diminish the sophistication of his media. In the process of ridicule, the poet always kept the authenticity and naturalness. What is the kind of humor by Różewicz? We should rather talk about the many shades of his humor.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 19; 162-175
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obrus. O definicji performansu
    Autorzy:
    Solski, Zbigniew Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/487762.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    PERFORMATICS
    PERFORMANCE ART
    THEATRE
    PERFORMATYKA
    TEATR
    Opis:
    Tablecloth. On the definitions of performance From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Po- land theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the sub- ject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with per- formance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 6-29
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Artysta w kręgu mitów późnej nowoczesności
    Autorzy:
    Władysław, Solski, Zbigniew
    Powiązania:
    https://bibliotekanauki.pl/articles/487951.pdf
    Data publikacji:
    2019-08-04
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    LATE MODERNITY
    THE MYTH ABOUT ACQUIRING THE KNOWLEDGE OF THE WORLD
    IMMORTALITY MYTH
    PÓŹNA NOWOCZESNOŚĆ
    MIT POZNAWALNOŚCI ŚWIATA
    MIT NIEŚMIERTELNOŚCI
    Opis:
    The author – referencing the thought by Chantal Delsol – uses the term “late modernity”, recognizing in subsequent after-the-Enlightenment peri- ods subsequent phases of modernity. Among countless myths of after-mo- dernity he chose two: about acquiring the knowledge of the world and im- mortality, which, in his opinion, influenced the condition of a modern artist in the strongest way. In conclusions the author notices that the biggest weakness of modernity (in contrary to its self-assessment) is impossibility to build a consistent image of reality, which is a result of lack of originality. Creators of modern culture specialized in theft of ideas of their predeces- sors, and out of context foreign fragment may be presented by them as a fruit of their own reflections. The weakness of modernity, displaying in its morbid tendency to reduction, became its strength: it is impossible to build a whole from the fragments, but with small fragments a whole may be infected. The success of modernity turned out to be, then, a success of a virus spreading from period to period.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2019, 27; 108-125
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dwie rękopiśmienne wersje Kartoteki Tadeusza Różewicza
    Two manuscript versions of Tadeusz Różewicz’s Kartoteka
    Autorzy:
    Solski, Zbigniew Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/1392804.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    This article discusses two handwritten versions of Tadeusz Różewicz’s Kartoteka (The Card Index) from the manuscript of the play which since the 70s is to be found in Professor Józef Kelery’s archive. The range of differences between the manuscript and the printed version of the drama is comparable as between Kartoteka (The Card Index) and Kartoteka rozrzucona (The Scattered Card Index). In the manuscript the author distinguished Kartoteka (The Card Index) and Odmiana tekstu (The Kind of Text). A similar division into Kartoteka (The Card Index) and Odmiana tekstu (The Kind of Text) was used by the poet when the works were printed in 1971. Loose pages from Odmiana tekstu (The Kind of Text) contain unordered fragments of the play of written in 1957. These are mainly variants of conversations of the Hero with the Choir in which the author referred to the then vivid debate on the poetic drama. Mieczysław Kotlarczyk was made a hidden partner of discussion and disguised the Choir as actors of Teatr Rapsodyczny (The Rhapsodic Theatre). On the other hand, Kartoteka (The Card Index) of 1958 is a well-ordered and coherent paginated text by the author himself. In this version the author divided the play into three acts, putting most emphasis on the scene of the Wielki Egzamin (A Big Exam). He also removes unrealistic motifs, among other things, the scene when the Choir participates. The poet writes about the peerelowska (Polish People’s Republic’s the reality with the passion of a political commentator, referring to political harassment).
    Źródło:
    Przestrzenie Teorii; 2010, 13; 29-54
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rękopis „Kartoteki”
    The manuscript of Kartoteka (Card Index)
    Autorzy:
    Solski, Zbigniew Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/1392836.pdf
    Data publikacji:
    2009-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    At the beginning of the 70s Tadeusz Różewicz presented the manuscript of Card Index to Professor Józef Kelera. It might have stayed a secret of friendship of the dramatist and the critic, however, Różewicz revealed the initials of his friend when in a commenatry to the play, he posed a question, whether there was a full stop after the last word in the manuscript or not? Posing this question, the author claimed the integrality of his masterpiece which was threatened by the widespread interpretations of Card Index as a play of a loose and dispersed structure. Appreciating the value of this question, I turned to Professor Kelera. This way I have had an access to the autograph of the play. In this manuscript has been preserved the play from before its final editing, which its author must surely have made during typing the text. Handwritten notes contain two unknown versions of the play with fragments which would not have been passed by the censors in the then Polish People’s Republic. In the reading of the manuscript the functions of the word and its graphic shape appeared of equal importance, so this version of Card Index can be recognised as a masterpiece of literature.
    Źródło:
    Przestrzenie Teorii; 2009, 12; 75-117
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Muzyka Ariela i muzyka Kalibana w Burzy Williama Szekspira
    Ariel's and Caliban's music in William Shakespeare's The Tempest
    Autorzy:
    Solski, Zbigniew Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/1392846.pdf
    Data publikacji:
    2008-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Opis:
    Jan Kott wrote that in Tempest there is Ariel's music and Caliban's music and that there have not been a performance of The Tempest in which there would be no distinction between the two musics. Differentiation of various musics is not only a theatrical trick which serves greater dynamics the reception of the play, but it touches deeper and structural meanings. Opposition between Caliban's music and Ariel's music de facto reveals a clash of a civilisational character. For the culture of Italy rooted in the antiquity and in the "Dionysian" by its primordial character of Ariel’s culture the world of symbolism of Caliban's mother is both distant and alien. Like the witch Sycorax in the role of the queen of the island did not find common grounds with Ariel, neither can her son communicate with Prospero. Between Ariel's music and that of Caliban there is some fissure which makes it difficult to produce the state of mutual balance. On the one hand, harmony, however, unstable can be found in the relations between Prospero and Ariel. Their mutual harmony could be explained by the capability of their cultures to take up cooperation with division of the roles and with a peculiar specialisation. Prospero's "Appolinian", which is manifested in the indirect visual accounts found its complement Ariel's Dionysian culture, which was expressed directly in the recreation, in the musical symbol of the will. Thus, they were not in opposition to each other as elements of contradiction, but rather as two antithetic ways of its removal. While retaining their style, the music of Prospero and that of Ariel found unity in a common source: "the music of spheres*. Was Caliban's inability to enter a dialogue with representatives of other cultures caused by the character of his defiant anti-music? Or just the opposite, the reason is hidden in the dark past, in some hurt the memory of which makes the intercivilisational exchange and cooperation difficult?
    Źródło:
    Przestrzenie Teorii; 2008, 10; 171-195
    2450-5765
    Pojawia się w:
    Przestrzenie Teorii
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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