Temat: musical theatre - Katalog OPAC zbiorów

Skocz do pozycji: 1.

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

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Skocz do pozycji: 2.

Tytuł:: Between Body and Sound: The Theatre of Wojtek Blecharz
Autorzy:: Figzał-Janikowska, Magdalena
Wawrzyńczak, Marcin
Powiązania:: https://bibliotekanauki.pl/articles/1955913.pdf
Data publikacji:: 2021-12
Wydawca:: Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:: Wojtek Blecharz
opera
musical theatre
performativity
body
Opis:: The article attempts a synthetic overview of Wojtek Blecharz’s major theatrical projects, including specifically his opera productions, such as Transcryptum, Park-Opera, Body-Opera, Fiasko [Fiasco] and Rechnitz-Opera (Anioł Zagłady [The Exterminating Angel]). What these shows have in common is a clear tendency to transcend traditional operatic conventions, associated with both the form of the genre and its reception. The composer’s musical and theatrical experiments focus on sound – its performativity and inseparable link to corporality. The privileging of the body and musical gesture goes hand in hand with enhancing the visual aspect of music, which makes it possible to see even Blecharz’s autonomous compositions in terms of performance and often also instrumental theatre. This article presents the operatic work of Blecharz against the background of contemporary theories related to the performativity of music and its intermedia contexts.
Źródło:: Didaskalia. Gazeta Teatralna; 2021, English Issue 2021; 141-166
2720-0043
Pojawia się w:: Didaskalia. Gazeta Teatralna
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Między ciałem a dźwiękiem: teatr Wojtka Blecharza
Between Body and Sound: The Theatre of Wojtek Blecharz
Autorzy:: Figzał-Janikowska, Magdalena
Powiązania:: https://bibliotekanauki.pl/articles/1817015.pdf
Data publikacji:: 2020-12
Wydawca:: Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:: Wojtek Blecharz
opera
musical theatre
performativity
body
Opis:: The article attempts a synthetic overview of Wojtek Blecharz’s major theatrical projects, including specifically his opera productions, such as Transcryptum, Park-Opera, Body-Opera, Fiasko (Fiasco) and Rechnitz-Opera (Anioł Zagłady (The Exterminating Angel)). What these shows have in common is a clear tendency to transcend traditional operatic conventions, associated with both the form of the genre and its reception. The composer’s musical and theatrical experiments focus on sound – its performativity and inseparable link to corporality. The privileging of the body and musical gesture goes hand in hand with enhancing the visual aspect of music, which makes it possible to see even Blecharz’s autonomous compositions in terms of performance and often also instrumental theatre. This article presents the operatic work of Blecharz against the background of contemporary theories related to the performativity of music and its intermedia contexts.
Źródło:: Didaskalia. Gazeta Teatralna; 2020, 160; 155 - 181
2720-0043
Pojawia się w:: Didaskalia. Gazeta Teatralna
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Postać jako wehikuł adaptacji: musical „Kapitan Żbik i żółty saturator”
Character as a Vehicle of Adaptation: the Musical “Kapitan Żbik i żółty saturator”
Autorzy:: Woźniak, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/2135469.pdf
Data publikacji:: 2022-09-30
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: musical
musical theatre
Wojciech Kościelniak
Syrena theatre
Captain Żbik
comic book
Opis:: The article presents an analysis of the adaptation idea for the musical Kapitan Żbik i żółty saturator (Captain Żbik and the yellow carbonator) directed by Wojciech Kościelniak. The direct inspiration for the show created in 2020 in the Syrena theatre in Warsaw was the comic book series published between 1968 and 1982. The interpretation of the cultural significance of the colourful books forms the introduction to the analysis of the show. The author also presents how the literary genre of the source affects the screenplay and the characters. The stage and costume design, the spoken texts and songs and the acting style all refer back to the comic books. The article is an attempt at determining how similar the staged Captain Żbik is to its source and what adaptation tools have been used to adjust the comic book language to the requirement of a theatre stage.
Źródło:: Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 295-310
1233-8680
2450-4947
Pojawia się w:: Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Brush up your Shakespeare! O szekspirowskich inspiracjach w amerykańskim musicalu teatralnym i filmowym (na wybranych przykładach)
Autorzy:: Pitak-Piaskowska, Barbara
Powiązania:: https://bibliotekanauki.pl/articles/650275.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:: William Shakespeare, musical, theatre, film, American culture
Opis:: The article examines the manifestations of William Shakespeare’s output in the American musical, both theatrical and cinematic. The author shows that almost since its very beginning, these stage forms have drawn inspiration from the famous Bard’s dramas and comedies. Using the examples of musicals inspired by his works, such as The Boys from Syracuse (1938), Swingin’ the Dream (1939), Kiss Me Kate (1953) and West Side Story (1957), the article analyzes the reasons why the subject matter undertaken by Shakespeare proves to be universal and remains relevant, thus constituting an inexhaustible source of inspiration for American authors of musicals. The author describes the manners of drawing from Shakespeare’s works, as well as forms of development and adjustment of his plays to the convention of musical.
Źródło:: Konteksty Kultury; 2014, 11, 4
2353-1991
Pojawia się w:: Konteksty Kultury
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

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

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Skocz do pozycji: 7.

Tytuł:: Contemporary Music in Central Italy: an Overview of Recent Decades
Autorzy:: Mastropietro, Alessandro
Powiązania:: https://bibliotekanauki.pl/articles/780341.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Compositional Teaching
Post-Modernism
Complexity [Theory of]
Electronic Music
(Post-)Serialism
Rome
Florence
Musical Theatre
Multimedia
(Neo- and Post-)Avantgarde
Opis:: The present article tries to make thematic the geographical plan of the present volume, by examining the major focal points of Contemporary Music in Central Italy which act as centres disseminating compositional trends through a long-established interest in recent music, as well as didactical structures and important teachers. Clearly, Rome is a more influential centre than Florence (where the endemic tendency of Florentine culture towards a sense of order, the settlement there of Dallapiccola, and the rise of a pioneering activity in the field of electronic music since the ‘60s are noteworthy); this is due to the teaching - through different generations - of Petrassi, Guaccero, Donatoni, Corghi and now Fedele, as well as the presence of many musical institutions, and the availability of artists and writers involved in exchanges and collaborations with composers. For this reason, many composers who were educated or active in Rome developed an outstanding - often prophetic - predilection for mix-media or theatrical works. After Bussotti, Guaccero, Macchi and Bertoncini, Giorgio Battistelli is a pivotal figure representing this trend in the next generation of composers; nonetheless an aptitude for it can be perceived also in other composers from both generations (Clementi, Pennisi and Renosto; Sbordoni, Lombardi, Rendine, D’Amico and De Rossi Re), including among the younger ones Silvia Colasanti, Roberta Vacca and Francesco Antonioni. In parallel, electronic music has been cultivated by Evangelisti and Branchi, as a way of renewing musical thought and language from their foundations: researches in the musical application of digital processing have been remarkable in Rome, along with experimentation in real time sound-generation and -transfoimation (Nottoli, Lupone, Di Scipio). On the whole, the generation born in the 1950s seems to tend (in aesthetics as well as in poetics) towards a change of thinking about musical form, integrating paradigmatic (structural) categories, typical of serial music, with syntagmatic (fictional) ones. Such an integration is perceivable as early as in the works of Donatoni, which have widely influenced many younger Italian composers, whether they have studied under him or not. The compositional horizon in Central Italy will be examined, with a special focus on that generation, with regard to two issues: 1) Has this change been determined (or helped) by post modernism? Before post-modernism became widespread during the 1980s, some composers from Rome had already elaborated a language which included heterogeneous sound materials and playing with musical codes, even if they did not deny the necessity of historical progress of musical language. Furthermore, postmodernism doesn’t suffice to explain the music of many composers, for whom the stratification of musical language and the sphericity of internal relationship inside a work is a result of the theory of complexity. 2) What is the aesthetical and poetical tendency in the youngest generation of composers, since a radicalization between a fictional and a visionary approach seems to have been established in their music?
Źródło:: Interdisciplinary Studies in Musicology; 2013, 12; 13-40
1734-2406
Pojawia się w:: Interdisciplinary Studies in Musicology
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

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

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Skocz do pozycji: 9.

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

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Skocz do pozycji: 10.

Tytuł:: Sceniczne adaptacje komiksów. Strategie przekładania historii obrazkowych na język teatralny
Stage adaptations of comic books. Strategies for translating graphic stories into theatrical language
Autorzy:: Dąbrowska, Zofia
Powiązania:: https://bibliotekanauki.pl/articles/11855294.pdf
Data publikacji:: 2023-06
Wydawca:: Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:: comic books
musical
adaptation
theatre play
pop culture
Opis:: Comic books are increasingly being used as a material for creating theatre plays. In Poland, first theatre adaptations of comics appeared in the mid-20th century, but on Broadway, comic strips have provided source material for theatre plays since its outsets in the late 1800s. In this paper I present a short history of the most important comic book adaptations for the theatre in Poland, with an emphasis on plays based on a Henryk Jerzy Chmielewski’s series Tytus, Romek i A’Tomek. I ponder upon the connotations between comic books and music, and bring into consideration many different forms that comic book adaptations can take. Above all, I analyse in details a few examples (Polish productions Staś i Zła Noga [Staś and the Bad Leg] by Bartłomiej Błaszczyński and Kajko i Kokosz by Marta Ogrodzińska, and an American production Spider-Man: Turn Off The Dark by Julie Taymor) for the purpose of discussing the strategies of putting the comic book stories onto the stage and the difficulties involved with the process.
Źródło:: Didaskalia. Gazeta Teatralna; 2023, 175-176; 277-304
2720-0043
Pojawia się w:: Didaskalia. Gazeta Teatralna
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 11.

Tytuł:: Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”
Autorzy:: Lecińska-Ruchniewicz, Monika
Powiązania:: https://bibliotekanauki.pl/articles/777183.pdf
Data publikacji:: 2017
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Takarazuka Revue
Japanese theatre
entertainment
musical
mass culture
modernization
Opis:: The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
Źródło:: Slavia Occidentalis; 2017, 74/2; 51-64
0081-0002
Pojawia się w:: Slavia Occidentalis
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 12.

Tytuł:: Monsters and Marvels: Shakespeare Across Opera, Ballet, Dance, Puppetry, and Music in Central and Eastern Europe—and Beyond
Autorzy:: Cetera-Włodarczyk, Anna
Havlíčková Kysová, Šárka
Kowalcze-Pawlik, Anna
Mišterová, Ivona
Reuss, Gabriella
Powiązania:: https://bibliotekanauki.pl/articles/39773465.pdf
Data publikacji:: 2023
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: William Shakespeare
dance theatre
opera
ballet
musical
puppetry
transmediality
Opis:: This collectively authored position paper discusses “hybrid” Shakespeares in Central and Eastern Europe, focusing on productions that offer formal experimentation and transnational perspectives. While their contexts remain regional, they provide an insight into how Shakspeare has been mobilised regionally. The paper consists of four distinct parts, each considering Shakespeare in a hybrid form: in opera, dance and musical theatre as well as puppetry in the transnational, regional context. The general discussions of Shakespeare’s presence/appropriation in these art forms are followed by case studies that illustrate the significance of hybridity that characterises Shakespeare in the Central and Eastern European transnational context. Our brief analyses and selected case studies suggest a need for a detailed study of Shakespeare and performative arts in Central and Eastern Europe that would concentrate on the transgressive impulse these theatrical blends realised through formal experiment and artistic innovation.
Źródło:: Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 89-108
2083-8530
2300-7605
Pojawia się w:: Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 13.

Tytuł:: Musical life in Slutsk during the years 1733-1760 in the light of archive materials
Autorzy:: Bieńkowska, Irena
Powiązania:: https://bibliotekanauki.pl/articles/780177.pdf
Data publikacji:: 2012
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Slutsk
musical culture
1733-1760
Hieronim Florian Radziwiłł
Jesuit music boarding school
Jesuit school theatre
aristocratic theatre
Opis:: This article represents the very first attempt at reconstructing musical life in Slutsk (Pol. Sluck) during the first half of the eighteenth century, and it merely outlines the issues involved. Slutsk was a typical private town - a multicultural centre inhabited by Jews, Orthodox Ruthenians, Lithuanians and Poles of the Protestant and Roman-Catholic faiths. Among the representatives of the Roman-Catholic faith, the Jesuits were the main animators of the town’s cultural and educational life, alongside the court of Prince Hieronim Florian Radziwiłł. A medium-sized music boarding school attached to the Jesuit College in Slutsk existed from around 1713. Musical instruments were purchased for the school quite regularly, often in faraway Koenigsberg. The contacts between the boarding school and the prince’s court were relatively frequent and good, and some school leavers found jobs at the court, chiefly in the garrison or janissary band, and sporadically also in Prince Radziwill’s music ensemble. The court was the main centre of the town’s cultural life. Among its numerous artistic ventures, stage shows seem to have been the most spectacular. For the purposes of such performances, a free-standing theatre was built in the centre of Slutsk at the turn of 1753. This building is worth mentioning because of the rarity of such projects in the Commonwealth of Poland-Lithuania during the 1750s. The repertoire of the Slutsk theatre was initially dominated by commedia dell’arte in German and the occasional dramma per música, but during the second half of the 1750s, one-act ballets began to dominate. Among the instrumental works performed in Slutsk were compositions by Carl Heinrich and Johann Gottlieb Graun, Georg Christoph Wagenseil, and musicians active at the Radziwiłł court (Andreas Wappler, Joseph Kohaut and Johannes Battista Hochbrucker), as well as improvisations by Georg Noelli. The town’s artistic heyday ended with the death of Prince Hieronim Florian Radziwiłł, in 1760, and the dissolution of the Society of Jesus, a decade or so later.
Źródło:: Interdisciplinary Studies in Musicology; 2012, 11; 235-248
1734-2406
Pojawia się w:: Interdisciplinary Studies in Musicology
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 14.

Tytuł:: Creative drama in both school and after-school musical education
Autorzy:: Felix, Belo
Powiązania:: https://bibliotekanauki.pl/articles/28407847.pdf
Data publikacji:: 2004-04-30
Wydawca:: Wydawnictwo Adam Marszałek
Tematy:: creative drama
interpretation
socialization
musical activities
communication
theatralization
experience learning
conflict
tension
cooperation
poly-esthetic formation
moral education
creativity
children's theatre
musical-dramatic activities
Opis:: The author exposes theoretical substantiation as well as practical utilization of new integrative musical-dramatic activities which have become a part of the latest textbooks and methodical handbooks of musical education in Slovak elementary schools. He brings forth basic information on the method of creative drama as well as its application in both school and after-school musical education.
Źródło:: The New Educational Review; 2004, 2; 119-130
1732-6729
Pojawia się w:: The New Educational Review
Dostawca treści:: Biblioteka Nauki