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Tytuł:
Postmedia w mediach: przypadek teatru
Postmedia in media: The case of theatre
Autorzy:
Pieniążek, Marek
Powiązania:
https://bibliotekanauki.pl/articles/22645698.pdf
Data publikacji:
2020-09-22
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
teatr
postteatr
performans
postmedia
aktor
theatre
post-theatre
performance
actor
Opis:
Artykuł poświęcony jest obecności postmediów w przestrzeni współczesnych przedstawień teatralnych. Autor wykorzystuje kategorię tak zwanego postteatru. W kontekście diagnoz kultury postmedialnej proponuje spojrzenie na współczesne przedstawienia teatralne jako syntezę dramaturgicznych, cielesnych, afektywnych i technologicznych mechanizmów mediatyzacji. Na przykładzie odbioru spektaklu Vernon Subutex autor dowodzi, iż współczesny podmiot znajduje swoje najpełniejsze uobecnienie w postmedialnym teatrze. Reakcje recenzenckie odsłaniają zarazem niską świadomość społeczną nowego paradygmatu kulturowego, który choć na co dzień tworzy i stymuluje zachowania na masową skalę, nie jest rozumiany i adekwatnie nazywany.
The paper is devoted to the presence of postmedia in contemporary theatre performances. The author uses the category of the so-called post-theatre. In the context of diagnosis of postmedial culture, he suggests looking at modern theatre plays as a synthesis of dramaturgical, corporal, affective and technological mechanisms of mediatisation. On the basis of Vernon Subutex performance, the author proves that the contemporary subject finds its fullest representation in postmedial theatre. At the same time, reviews show a low social awareness of the new cultural paradigm, which despite creating and stimulating mass behaviours on a daily basis, is not understood or appropriately named.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2020, 12, 3; 13-29
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dramaturgy of "Hamlet"(s) in Czech Theatre between 2000 and 2023
Autorzy:
Drozd, David
Powiązania:
https://bibliotekanauki.pl/articles/39774946.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
dramaturgy
directing
post-modern theatre
performance analysis
Czech theatre
Opis:
The paper focuses on five Czech productions of Hamlet that attracted the most critical and public attention between 2000 and 2023. Namely, the productions directed by Miroslav Krobot (2006), Jan Mikulášek (2009), Daniela Špinar (2013), Michal Dočekal (2021) and finally the most recent version by Jakub Čermák (2022). All five performances could be seen as contemporary reinterpretations of a classical text using a (post-)modern stylistic approach, as examples of post-millennium Hamlets. The paper discusses dramaturgical choices (such as the conceptualisation of the ghost, the mousetrap scene, or the character of Fortinbras) in order to identify and analyse possibilities for interpreting Hamlet as a political drama in the context of Czech performance tradition and the current political situation. The results show that performances generally present variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 177-192
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Barbarzyńcy w teatrze. Strategie artystyczne Moniki Pęcikiewicz, Moniki Strzępki i Wiktora Rubina
Barbarians in the Theatre. Comments on the Margins of Monika Pęcikiewicz's, Monika Strzępka's and Wiktor Rubin's Creativity
Autorzy:
Głowacka, Aneta
Powiązania:
https://bibliotekanauki.pl/articles/511385.pdf
Data publikacji:
2011
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
contemporary theatre in Poland anti-aesthetics
post-dramatic theatre
pop culture
Opis:
The article concerns contemporary Polish theatre, and particularly the creativity of young directors who are in their thirties: Monika Pęcikiewicz, Monika Strzępka and Wiktor Rubin who give up the traditional theatre and mingle with mass and popular culture. The article also focuses on the problem of reception, because theatrical performances, distancing themselves from the traditional ones, still cause emotional reactions of conservative specta-tors who often feel shocked and offended by such theatre. Such performances ignore the hegemony of dramatical text – they deconstruct cause and effect order of narration, con-front text with contemporary context, they are incoherent; they use new media to contact with a spectator by acting that is based on quoting a character and constant balancing be-tween theatrical performance and private life.
Źródło:
Postscriptum Polonistyczne; 2011, 2(8); 75-93
1898-1593
2353-9844
Pojawia się w:
Postscriptum Polonistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Theatre and Drama of Socialist Realism in the Context of Cryptotexts (Based on MKiS and WUKPPiW Material)
Autorzy:
Wiśniewska-Grabarczyk, Anna
Powiązania:
https://bibliotekanauki.pl/articles/648897.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
censorship
cryptotext
post-war Polish theatre and drama
Opis:
The main goal of the article is to offer a description of cryptotexts of theatre staging handbooks and dramatic works created in Poland during the socialist realism period. A cryptotext is a secret text which is the result of a purposeful act of subterfuge. In the article, I present selected cryptotexts – reviews produced in the Ministry of Culture and Art (MKiS) and censorship reviews of the dramatic works submitted for evaluation to the Voivodship Control Bureau for Press, Main Office of Control of Press, Publications and Shows (WUKPPiW). The archives contain evaluation of works which have been published in subsequent years as well as those which remained only in their draft form. Analysis of the evaluations of ministry officials reveal the mechanisms for allowing and withholding submitted dramatic works and a theatre staging handbook which shows the practices of publishing theatrical works. An analysis of different evaluations of the same text allows for a hypothesis that the main aim of cryptotexts was the evaluation of ideological correctness of submitted works. Despite this main function it is possible to point out specific passages in the statements by the WUKPPiW officials which are similar to statements of Ministry officials. In both cases the evaluation pertains to the content and the planned fulfilment of the work and plays mainly a didactic function.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2016, 37, 7
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions
Autorzy:
Fabiszak, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/648047.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
authority
authorship
performance
post-dramatic theatre
Shakespeare productions in Poland
Jan Klata
Opis:
Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examines Klata’s treatment of theatrical and national authority in his Shakespeare productions, on the one hand, and the image of the director as an authority on the other. All in the light of the theoretical model on authority in theatre, especially in Shakespeare productions, developed by W.B. Worthen.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 51-60
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nażywość czy nowa nażywość. Obecność a niecielesność we współczesnym teatrze
Autorzy:
Pogonowicz, Judyta
Powiązania:
https://bibliotekanauki.pl/articles/2057159.pdf
Data publikacji:
2021-03-31
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
współczesny teatr
nowe media
teatr postdramatyczny
nowa nażywość
immersja
contemporary theatre
new media
post-dramatic theatre
new liveliness
immersion
Opis:
W artykule podsumowuję sposoby definiowania teatru oraz mediów. Pokazuję różnorodność w definiowaniu i wyznaczaniu granic teatru. Omawiam skrótowo rozwój mediów i nowych technologii. Łączę skutki rozwoju mediów wraz ze zmianami w teatrze. Udowadniam, że nażywość ciała aktora i widza nie są koniecznymi warunkami do powstania spektaklu.
In the article I summarize ways of defining theatre and media. I present the diversity in defining and setting the boundaries of the theatre. I briefly discuss the development of media and new technologies. Moreover, I combine the effects of media development with changes in theatre. To sum up I prove that the presence of the actor’s and the viewer’s body is not a condition for the production of a performance.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2021, 13, 1; 95-102
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“The Many Languages of the Avant-Garde”: In conversation with Grzegorz Bral of Teatr Pieśń Kozła (Song of the Goat Theatre)
Autorzy:
Sakowska, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/648105.pdf
Data publikacji:
2014-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
avant-garde theatre
intercultural theatre
Jerzy Grotowski
Gardzienice
globalisation
the global versus the local
post-colonialism
Western culture
montage
post-dramatic theatre
utopian primitivism
intertextuality
text
adaptation
Opis:
How to theorise and review avant-garde Shakespeare? Which theoretical paradigms should be applied when Shakespearean productions are multicultural and yet come from a specific locale? These and other many questions interrogating the language of performance in global avant-garde Shakespeare productions are put forward to Grzegorz Bral, the director of the Song of the Goat ensemble in the context of their evolving performance of Macbeth (2006/2008) and their Songs of Lear (2012).
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2014, 11; 45-63
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nadbudowa matrycy mitów i ich transformacje na przykładzie najnowszej twórczości chorwackich, czarnogórskich i kosowskich dramatopisarzy oraz realizatorów scenicznych
The Superstructure of Myths’ Matrices and Their Transformations Based on the Latest Works of Croatian, Montenegrin, and Kosovan Playwrights and Stage Producers
Autorzy:
Abrasowicz, Gabriela Dorota
Powiązania:
https://bibliotekanauki.pl/articles/467705.pdf
Data publikacji:
2019
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
dramatopisarstwo, teatr, transfer, transgresja, region postjugosłowiański
playwriting, theatre, transfer, transgression, post-Yugoslav region
Opis:
Myths evolve continuously and they are influenced by transfer; in this way they cross the boundary between ages, geocultural areas, and art genres. This dynamic system of symbols, archetypes, images, and schemes has been integrated by culture and stimulates the artistic activity of the 21st century. This also happens when it comes to the playwrights and stage producers of the post-Yugoslav countries. One should point to the extraordinary transformations of myths by Ivana Sajko (Croatia), Ljubomir Ðurković (Montenegro), and Jeton Neziraj (Kosovo). As a result of such strategies as e.g. prefiguration, transposition, and reinterpretation, ancient and modern contents overlap and create new quality. The theatrical plays which are based on such texts are other examples of transfer and transformation depending on the performative circumstances of the exposition. Moreover, these productions are transcultural and transgressive.
Mity stale ewoluują i podlegają transferowi, w ten sposób przekraczają linię podziału między epokami, obszarami geokulturowymi i gatunkami sztuki. Ten dynamiczny system symboli, archetypów, obrazów i schematów został zintegrowany przez kulturę i stymuluje twórczość artystyczną w XXI wieku. Ma to miejsce także w przypadku dramatopisarzy i realizatorów scenicznych aktywnych w krajach byłej Jugosławii. Na uwagę zasługują przykłady szczególnego przetworzenia mitów autorstwa Ivany Sajko (Chorwacja), Ljubomira Ðurkovicia (Czarnogóra) i Jetona Neziraja (Kosowo). W wyniku strategii takich jak m.in. prefiguracja, transpozycja i reinterpretacja dochodzi do konfrontacji treści antycznych i nowoczesnych oraz do wytworzenia się nowej jakości. Spektakle teatralne, które powstają na podstawie tych tekstów są kolejnym przykładem transferu i transformacji w zależności od okoliczności performatywnej ekspozycji. Ponadto, realizacje te mają charakter transgresyjny i wymiar transkulturowy.
Źródło:
ER(R)GO: Teoria – Literatura – Kultura; 2019, 39; 39-58
1508-6305
2544-3186
Pojawia się w:
ER(R)GO: Teoria – Literatura – Kultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Trupy wstawać". O "Weselu" w reżyserii Jana Klaty
Autorzy:
Duda, Artur
Powiązania:
https://bibliotekanauki.pl/articles/962171.pdf
Data publikacji:
2017
Wydawca:
Polskie Towarzystwo Ludoznawcze
Tematy:
theater, Polish theater, teatr, teatr polski, post-dramatic theatre, Jan Klata, Stanisław Wyspiański, Wesele, black metal
teatr polski, Stanisław Wyspiański, "Wesele", kultura popularna, Jan Klata, teatr postdramatyczny
Opis:
The article offers an analysis and interpretation of Jan Klata’s conception of staging Wesele [The Wedding] by Stanislaw Wyspianski at the National Old Theatre in Cracow. The author focuses on the key elements of Klata’s vision, beginning from anchoring this vision in the text, through the use of music and lyrics of the black metal band Furia, to scenography, costumes and actors, all of which make up the overall message of the performance as “the night of the living dead”. The author pays special attention to the characters of the drama as the living dead and to the apparitions from Act 2 of Wesele. 
Artykuł jest próbą analizy i interpretacji reżyserskiej koncepcji wystawienia Wesela Stanisława Wyspiańskiego w Narodowym Starym Teatrze w Krakowie. Autor ukazuje kluczowe elementy wizji Jana Klaty, poczynając od umocowania tej wizji w tekście dramatu, poprzez użycie muzyki i tekstów blackmetalowego zespołu Furia, po rozwiązania scenograficzne, kostiumowe i aktorskie, które składają się na ogólną wymowę spektaklu jako „nocy żywych trupów”. Szczególną uwagę autor poświęca postaciom dramatu jako żywym umarłym oraz kreacjom zjaw z II aktu Wesela.
Źródło:
Literatura Ludowa; 2017, 4-5
2544-2872
0024-4708
Pojawia się w:
Literatura Ludowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Scena prawdy dyskursywnej i postprawdy. „Fakty autentyczne” i fakty medialne we współczesnym teatrze polskim
Stage of discursive truth and post-truth. Reality, authenticity and media facts in contemporary Polish theatre
Autorzy:
Dobrowolski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1039676.pdf
Data publikacji:
2019-04-16
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
theatre
drama
performance
mass media
truth
post-truth
experience
Opis:
Theatre practitioners’ statements relating to the notion of truth lead to the category of post-truth. Stage of discursive truth and post-truth article discusses theatre practice of engaging feelings, impressions and emotions to take precedence over interpretations, assessments and descriptions of facts. The article critically approaches using of media discourses in theatre in order to produce the imitation of truth. The author refers to Agnieszka Jakimiak’s and Weronika Szczawińska’s play Wojny, których nie przeżyłam [Wars I have not experienced] and other selected recent Polish plays and performances. The thesis connects the media-shaped image of Polish theatre art institution seen as an area of provocation with an experience of a viewer and an ontological status of an actor. This allows drawing a conclusion that theatre uses the category of truth instrumentally, as one of its repertoire’s tools to provoke emotional reactions in the audience. Theatre performances allow one to explore the world, but also to co-create it. The theatre is a performative and cognitive sieve provoking and shaping experience that affects reality.
Źródło:
Przestrzenie Teorii; 2018, 30; 167-186
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Шекспировские римейки в современной российской драме
Shakespearean Remakes in Recent Russian Drama
Autorzy:
Шамина, Вера Б.
Powiązania:
https://bibliotekanauki.pl/articles/22446760.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
post modernism
Russian drama
theatre
play
intertextuality
remake
Shakespeare
Hamlet
Opis:
The article addresses postmodern plays by recent Russian playwrights, which use the plot of Shakespeare’s Hamlet, such as L. Petrushevskaya, B. Akunin, V. Korkiya and brothers Presnyakov. It demonstrates different techniques and approaches they use to deconstruct the original text. In the end the author comes to the conclusion that these playwrights in their games with classics to a great extent follow the path that was laid by the Bard himself.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 115-124
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Wyzwania kolektywnej dyrekcji Volksbühne oraz teatru politycznego par excellence
Challenges of Collective Management of the Volksbühne and of the Political Theatre Par Excellence
Autorzy:
Duda, Artur
Powiązania:
https://bibliotekanauki.pl/articles/2079074.pdf
Data publikacji:
2022-06
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
Volksbühne
post-heroic management
contemporary German theatre
political theatre
the order of the distribution of the sensible
Opis:
The article presents selected issues related to the collective management of the Volksbühne initiated by René Pollesch together with six representatives of the theatre company. The crisis caused by the non-renewal of Frank Castorf’s managerial contract and the disclosure of the sexist practices of one of his successors, Klaus Dörr, provoked a broad debate around the preferred management style in this Berlin theatre. Drawing on numerous articles and conversations published in professional magazines (Theater heute, Theater der Zeit) and the opinion-forming all-German press, the author illuminates the heuristic, intuitive character of the new collective management at the Volksbühne against the background of the growing debate in Germany about the need to empower social groups excluded in terms of class, race or gender. The calls for dismantling the central position of the theatre manager (Intendant) and employing a post-heroic management model are confronted with the analysis of the Volksbühne case in terms of ‘politicised’ theatre. According to Jacques Rancière, the political nature of art manifests itself in establishing an open space in which voiceless groups or communities can articulate their political aspirations and attempt to redefine the order of the ‘distribution of the sensible.’ On the one hand, it is worth noting that the newest collective management of the Volksbühne seeks to go beyond the centralised pattern of leadership performed by Frank Castorf and his group of ‘old revolutionaries’ towards the emancipation of women and non-heteronormative groups. On the other hand, the problem of empowerment of Eastern Europeans regained its importance after the outbreak of the war in Ukraine. It means the restitution of a key challenge of Castorf’s theatre that was proclaimed after the reunification of Germany.
Źródło:
Didaskalia. Gazeta Teatralna; 2022, 169-170; 312-335
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Cambodge, me voici : trauma, post-mémoire et construction d’un espace culturel féminin dans le théâtre parlé de Jean-Baptiste Phou
Cambodge, me voici: trauma, postmemory, and the construction of feminine space in the spoken theater of Jean-Baptiste Phou
Autorzy:
Do, Tess
Zhang, Darren
Powiązania:
https://bibliotekanauki.pl/articles/24201219.pdf
Data publikacji:
2022-12-30
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
Tematy:
Jean-Baptiste Phou
Cambodia
Khmer theater
postmemory
cultural transmission
Cambodge
théâtre khmer
post-mémoire
transmission culturelle
Opis:
Plus de quarante ans après la fin du régime Khmer rouge, le poids du génocide pèse encore sur la diaspora franco-cambodgienne. Confronté au silence des aînés qui refusent de parler du passé génocidaire, Jean-Baptiste Phou recourt au théâtre parlé khmer pour donner la parole à quatre femmes cambodgiennes et mettre en scène leur parcours. Dans cet essai nous proposons de lire Cambodge, me voici à la lumière de la post-mémoire de Marianne Hirsch. Le croisement des axes de désir des protagonistes et la création d’un espace familial, féminin et maternel nous permettront d'analyser la formation de la mémoire diasporique des femmes et les modalités de sa transmission intra- et intergénérationnelle à travers deux couples, sororal et mère-fille. Nous postulons que le choix du casting et la mise en scène des deux versions française et khmère de la pièce transforment l’espace scénique en un lieu de partage mémoriel dans lequel se révèle le rôle de réparatrice et de passeuse culturelle attribué aux femmes.
More than forty years after the end of the Khmer Rouge regime, the trauma of genocide still weighs heavily on the French-Cambodian diaspora. Confronted with the silence of the previous generation who refuses to talk about the genocidal past, Jean-Baptiste Phou uses Khmer spoken theatre to give voice to four Cambodian women and to portray their lives on stage. In this essay we propose a reading of Cambodge, me voici in the light of Marianne Hirsch’s postmemory. The intersection of the axes of the protagonists’ desire and the creation of a familial, feminine and maternal space will allow us to analyse the formation of this diasporic memory and its intra- and intergenerational transmission through two sororal and mother-daughter pairs. We postulate that the choice of casting and the staging of the two, French and Khmer, versions of the play transform the stage into a site of shared memory in which the role played by women in the reparation and transmission of Cambodian cultural heritage is revealed.
Źródło:
Quêtes littéraires; 2022, 12; 223-233
2084-8099
2657-487X
Pojawia się w:
Quêtes littéraires
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan
Autorzy:
Eglinton, Mika
Powiązania:
https://bibliotekanauki.pl/articles/648162.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
translation
adaptation
translingual theatre
Fukushima
earth-quake
Post-March 11
Hideki Noda
Satoshi Miyagi
Shakespeare in Japan
Opis:
Ever since the first introduction of Shakespeare to a Japanese audience in the nineteenth century, his plays have functioned as “contact zones,” which are translingual interfaces between communities and their cultures; points of negotiation, misunderstanding and mutual transformation. In the context of what is ostensibly a monolingual society, Japanese Shakespeare has produced a limited number of performances that have attempted to be multilingual. Most of them, however, turn out to be translingual, blurring the borders of linguistic specificity. As an example of this, I read A Midsummer Night’s Dream as adapted by Hideki Noda originally in 1992 and then directed by Miyagi Satoshi for the Shizuoka Performing Arts Centre in 2011. Drawing on my experience as the surtitle translator of Noda’s Japanese adaptation “back” into English, I discuss the linguistic and cultural metamorphosis of Noda’s reworking and the effects of its mediation in Miyagi’s rendition, and ask to what extent the production, adapted in post-March 2011 Japan, can be read as a “contact zone” for a translingual Japanese Shakespeare. In what way did Miyagi’s reading of the post-March 11 events inflect Noda’s adaption along socio-political lines? What is lost and gained in processes of adaptation in the wake of an environmental catastrophe?
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 51-72
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 16

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