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    Wyświetlanie 1-4 z 4
    Tytuł:
    Improwizacja w choreografii
    Improvisation in choreography
    Autorzy:
    Ciesielski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/1944332.pdf
    Data publikacji:
    2020-12-15
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    choreografia
    improwizacja
    choreograf
    uwaga
    strategie twórcze
    choreography
    improvisation
    choreographer
    attention
    creative strategies
    Opis:
    This article discusses the relationship between choreography and improvisation, both in the context of the denotation of these two terms and the creative activities that they describe. While of key importance for the phenomenon of dance, both notions remain vague and are frequently presented as contradictory. Adopting an alternative perspective, this paper, firstly, offers an overview of the historical contexts that have shaped the contemporary forms of performance dance as well as non-European contexts. Thus, it provides the basis for exploring the extent to which the assumptions and ideas of improvisation (developed primarily in the second half of the 20th century in the United States) have been updated in contemporary practices. Secondly, the article analyses the relationship between improvisation and choreography. It is studied in terms of creative strategies employed throughout the production process, with a particular emphasis on the participants’ agency. Seeking to avoid value judgements and inaccurate labels, the author proposes a more frequent use of other terms such as a ‘dance artist’ and verbal nouns such as ‘choreographing’ and ‘improvising’.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2020, 111, 4; 26-41
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ignacy Wachowiak – tancerz, choreograf, pedagog (1936-1996)
    Autorzy:
    Drela, Luiza
    Powiązania:
    https://bibliotekanauki.pl/articles/1853758.pdf
    Data publikacji:
    2005
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    edukacja artystyczna
    zespół folklorystyczny
    Wachowiak Ignacy
    tancerze
    choreograf
    artistic education
    folklore ensemble
    dancers
    choreographer
    Opis:
    Ignacy Wachowiak (1936-1996) was a prominent Lublin dancer and choreographer. In the period of 1980-1996 he was a director of the Song and Dance Company of the Lublin Region. His attitude, personality, and choice of the way of life were decisively affected by Wanda Kaniorowa. In 1948 she took Ignacy to her Theatre of the Young Spectators, five years later transformed into a folklore group. W. Kaniorowa developed the skills of her pupils, shared with them her pedagogical knowledge and abilities in dancing, choreography, directing, and managing. In effect, I. Wachowiak came to love folklore, learned it and popularised throughout his life. In the period of 1953-1964 I. Wachowiak performed in ZPiTZL as a soloist – dancer. While he was in the army (1956-1958), he danced in the Central Artistic Company of the Polish Army. Endowed with talents and temperament, he learned the technique and rendered the character of the most demanding dances. He was not spoilt as a member of the company. At the age of 24 he was threatened with a disability due to a contusion while dancing. His effective action at the right moment several times saved the ensemble from dissolution. He put high aspirations into practice by a well-directed daily work. Wachowiak put the Company first before material values. In 1964 he obtained a full-time job there as an instructor and choreographer. Having graduated from the Pedagogical Institute for Dance of the Central Amateur Counselling of the Artistic Movement, in the specialities of folk and ballroom dance, even obtaining the highest “S” category in choreography, he continued education without interruption. From 1965 onwards he became well-known as a choreographer of dance suites. In his work he carried out two goals: artistic and formative, and both of them he treated as equally important. He passed his skills on the members – amateurs - of the Ensemble. He was disciplined, conscientious, ambitious, and gathered people of the same kind around himself. All the positions of the repertoire prepared under his direction were characterised by a striving after perfection: clarity of the drawing, faithfulness to the climate and character, and the style of music. Their performers distinguished themselves in dancing. He was successful on the stages of Poland and the world, trying to get higher and higher – according to the will of W. Kaniorowa. Faithful to folklore, he would extend his interest onto the world heritage of folk culture. In 1985 he established one of the most joyful artistic events in Poland: International Folklore Encounters. Wachowiak was thought to be a choreographer with a charisma. He was especially predisposed to work at large outdoor performances and supervise thousands of participants. From 1984 onwards he was entrusted with the organisation of the harvest festival. In 1988 as the first one in post-war Poland he introduced some patriotic elements to commemorate the 70th Anniversary of Independence into the curriculum of the feast of harvest in Marszewo. Wachowiak believed it was his success to in the ensemble the values advocated by W. Kaniorowa: a family “sunny” atmosphere, the ties among the members of the Company, and the joy of dancing in all dancers. In his message he left for the followers I. Wachowiak expressed his wish to cultivate the transcendent values: beauty and goodness. He prepared choreographers for the Ensemble that would continue his work. One year and a half after his death the Representation of the Lublin Song and Dance Company conducted by Bożena Baranowska gained the highest score and Grand Prix at a tournament of continents in Brasil. The band was conducted by Włodzimierz Kukawski and the whole was directed by Alicja Lejcyk-Kamińska. A question arises: what was so strong to have bound the various generations of artists and dancers with the Lublin ensemble? The author puts forward a hypothesis that the solid emotional relationship with the work in the Company consisted of four elements mentioned by humanistic ergonomic. Successive directors and instructors distinguished themselves by thorough professionalism in their disciplines. One of the components of artistic activity is thinking – conceptual, creative work. The member of the Company acquired skills and travelled, thereby satisfying their aesthetic needs and participating in fun. In their work on behalf of the common good and in social work there was sacrifice as well. The large number of the levels of the Company's activity provides topics for research on its history and today.
    Źródło:
    Roczniki Nauk Społecznych; 2005, 33, 2; 149-167
    0137-4176
    Pojawia się w:
    Roczniki Nauk Społecznych
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wanda Kaniorowa – pedagog, twórca i kierownik zespołu artystycznego (1912-1980)
    Wanda Kaniorowa as Educator, Founder and Manager of an Artistic Ensemble (1912-1980)
    Autorzy:
    Drela, Luiza
    Powiązania:
    https://bibliotekanauki.pl/articles/1857136.pdf
    Data publikacji:
    2003
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Wanda Kanior
    edukacja artystyczna
    amatorski ruch artystyczny
    zespół folklorystyczny
    tancerze
    choreograf
    artistic education
    amateur artistic movement
    folk ensemble
    dancers
    choreography
    Opis:
    Wanda Kaniorowa (1912-1980), the founder of amateur artistic movement in the Lublin region, was born and spent her childhood in Kiev. Between the two World Wars she graduated from pedagogy, choreography and direction departments; she also gained her first experiences working as a teacher. She considered this job the most important one during all her life, and she thought educating the young generation well was the most important problem and the basis for all other achievements. In her work she was distinguished by initiative, efficiency, and willingness to act in difficult, dispiriting – it would seem – times, as well as by unselfish, welfare involvement. During World War II she took part in the resistance movement, as she belonged to the Home Army. In each place she lived in (first in Polesie and then in the Lublin region) Wanda Kaniorowa, working as a teacher, at the same time established an artistic ensemble, often made up of not only children and youths but adults as well, even of people who never went to school. She popularized in their circles theatrical forms, recitation, dance and singing. With the plays she herself wrote and then put up with amateurs she had local and national successes. The performances, at first with patriotic, religious and fairyland subjects, in the Communist Poland assumed forms and contents that supported the building of a new, secularized reality. In 1948, influenced by a group of children who wanted to have a closer contact with art, she established in Lublin the Theatre of the Young Spectator. At that time she was an employee of the Culture Department of the People's Provincial Council in Lublin and the work with amateurs was her welfare work. The rehearsals before the numerous performances of the Theatre were most often held in the hall of the Provincial Office. With a natural talent of a manager W. Kaniorowa won financial means for the work of the group that was deprived of any premises. The latter were given to the theatre in 1953, when after its artistic successes (the second place in the National Contest in the category of Song and Dance Ensembles) the members of the Presidium of the State and Welfare Employees Trade Union Headquarters changed the name of the ensemble to the Dance and Song Ensemble of the Lublin Region of the SWETU and affiliated it to the Presidium of the PPC in Lublin. W. Kaniorowa was given the job of the artistic manager of the formation and a real school of education by means of art and dance was established in this way. Professionals collaborated with it, but the members of the group were amateurs. The manageress had a high opinion of their freshness, strength and authenticity of experiencing the art and elicited these features on the stage (in folk and national dances). She formed her actors as human beings and influenced their artistic tastes, and she herself found her vocation in the activity. After the “Polish October” of 1956 the Lublin ensemble, like all the ensembles belonging to the trade unions, lost its subventions and it faced the threat of being liquidated. In 1957, owing to the aid, among others, of the then Lublin voivode, Paweł Dąbek, the group, as well as its output and belongings (costumes and the premises in I Armii Wojska Polskiego Street), managed to survive. The members of the Ensemble's idea was put into practice – a self-dependent Ensemble of Song and Dance of the Lublin Region Association was established; it was independent economically and only partially was it subsidized by the People's Provincial Council. The artistic development of the Ensemble was so rapid that in 1959 the group of Lubliners (chosen by the Ministry for Culture and Arts) represented Poland in the prestigious Folklore Dance Contest in Agrigento in Sicily. The representative of the authorities, when bidding them good-bye, said: “Do not return without the first prize”. Under the pressure of these words, starving during the journey, they struggled ambitiously and won the first prize, sharing it with another, professional group. In 1972 the Ensemble managed by W. Kaniorowa already represented Europe. At the Folklore Festival in Japan the representatives of the Emperor's family, organizers and sponsors of the event decided that it was the best one of all taking part. In sum, up to 1980 the Ensemble prepared and staged over 90 different performances, including 44 ones directed by W. Kaniorowa; also with her choreography. It gave 2987 concerts: 2560 in Poland and 418 during its abroad tours – there were 43 of them. It was seen by about 2 million spectators. W. Kaniorowa's contributions include: her care of young people's education, achieving a high artistic standards with a group of amateurs, establishing its high prestige, ensuring financial means for many years of the Ensemble's work, creating the atmosphere of “a great family” in it, mutual help among the members, educating people devoted to work, representing the Lublin region, Poland and Europe on the world's stages. In 1978 W. Kaniorowa was decorated with the Commander's Cross of the Order of Poland's Revival. Among the issues concerned with the Ensemble of Song and Dance of the Lublin Region that have not been studied yet the following ones should be mentioned: defining W. Kaniorowa's worldview, examining the facts in the light of source materials, gathering information about people aiding the Ensemble in crisis situations and about the employees who were significant for the Ensemble's work, examining the changes in the ideological conception of the Ensemble, ways of gathering and using the folk materials and of collecting the costumes. It will also be purposeful to make research into the question of what integrated the members of the Ensemble as well as what – in the field of work organization – made the work unusually effective, and how the artistic tours affected the young amateurs, or what they taught them about the world. People and facts connected with the Lublin Ensemble surely deserve to be presented in an academic monograph.
    Źródło:
    Roczniki Nauk Społecznych; 2003, 31, 2; 43-70
    0137-4176
    Pojawia się w:
    Roczniki Nauk Społecznych
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Daniela Kurtza lata szkolne
    The School Years of Daniel Kurtz
    Autorzy:
    Komorowski, Jarosław
    Powiązania:
    https://bibliotekanauki.pl/articles/30108313.pdf
    Data publikacji:
    2018-12-20
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Daniel Kurtz
    choreograf
    historia tańca
    XVIII-wieczny teatr polski
    historia teatru
    choreographer
    history of dance
    18th-century Polish theatre
    theatre history
    Opis:
    Daniel Kurtz (Curz, Kurz, Kurc), baletmistrz Teatru Narodowego w czasach króla Stanisława Augusta, był znakomitym tancerzem i autorem wielu podziwianych baletów. Po rozbiorach Rzeczypospolitej wyjechał do Lwowa, gdzie po zakończeniu kariery scenicznej podjął pracę nauczyciela tańca. Uczył między innymi młodego Aleksandra Fredrę. W 1809 udał się na Podole (czyli z zaboru austriackiego do rosyjskiego), a w 1816 został nauczycielem tańca w wysoko cenionej szkole – Gimnazjum Podolskim w Winnicy. Równocześnie uczył w prywatnych szkołach dla panien. Jego podopieczni występowali podczas corocznych egzaminów publicznych, kończących rok szkolny, co odnotowywała nawet gazeta w Wilnie. Kurz był nauczycielem gimnazjum do 1822, po czym zaprzestał pracy lub zmarł. Data jego śmierci nie jest jednak znana z dokumentów.
    Daniel Kurtz (Curz, Kurz, Kurc), the ballet master of the Narodowy Theatre under the reign of King Stanisław August, was an outstanding dancer and author of numerous ballets admired by the public. Following the partitioning of the Polish-Lithuanian Commonwealth, Kurtz moved to Lwów, where having retired as a dancer, he took on the career of a dance teacher. He was a teacher of a young Aleksander Fredro, among others. In 1809 Kurtz moved to Podolia (i.e. from the Austro-Hungarian territory to the territory under Russian rule), and he became a teacher of the renowned Podolian Gymnasium in Winnica in 1816. At the same time, he taught at private schools for girls. His students performed at public examinations that marked the end of the school year, which was duly noted even in Vilnius newspapers. Kurtz taught at the gymnasium until 1822, after which time he either retired or passed away. The date of his death, however, is not recorded in any surviving documents.
    Źródło:
    Pamiętnik Teatralny; 2018, 67, 4; 130-138
    0031-0522
    2658-2899
    Pojawia się w:
    Pamiętnik Teatralny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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