Przeglądanie według Temat "theatre"

Aktualnie wyświetlane 1 - 9 z 9

Antoni Godziemba Wysocki in anecdotes and in the light of his own work (a reconnaissance study)
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-12) Samborska-Kukuć, Dorota
Antoni Godziemba Wysocki was known in the literary circles of Lviv in the early 20th century as a friend of Zapolska, the prototype of the hero of two of her controversial novels depicting life in the Lviv underworld. He published short prose forms, social and historical novels, essays, and literary reviews in Galician publications. He was the founder of the Independent Theater, where he staged highly ambitious plays. Today, he is a nearly forgotten author as no researcher has devoted much attention to him. However, it should be emphasized that reviews of his works were favorable, sometimes even enthusiastic (as in the case of Zabawy mędrców [Games of the Sages]). It is worth recalling this writer and reintroducing him to the history of Polish literature, even in a brief outline.
Esej, który nie powinien mieć końca
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Fąfara, Jerzy Janusz
Józef Szajna: artist, thinker, art theoretician. The concentration camp experience is one part of his life; the other is what happened to artist and man in camp conditions. His works are not only art, they are first of all a cry. Szajna’s cry is not merely theatre, it is a specific attitude to world literature from which he would draw his themes throughout his artistic life; it is visual arts in theatre and theatre in visual arts. In Józef Szajna’s plays visual arts played a major role, being a basis, a literary vector of director’s work. This paper is an attempt to present, at least to some extent, a look at the sources and secrets of Szajna’s avant-garde.
Janina Korolewicz-Waydowa, debut and first stage experiences
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2024-12) Wąsacz-Krztoń, Jolanta
This article is dedicated to the debut and early stage career of Janina Korolewicz-Wayda. The artist made her debut at the Lviv Opera as Hanna in Moniuszko’s “The Haunted Manor” (1894), and she first appeared on the stage of the Warsaw Grand Theatre as Amina in Bellini’s “La sonnambula” (1897). During the opening of the Lviv Grand Theatre, she performed the role of Bronka in Żeleński’s “Jontek” (1900), and it was also on this stage that she first sang the role of Halka in Moniuszko’s opera, a role she cherished throughout her life. Initially, she sang coloratura parts, then lyrical and dramatic ones. The initial reviews of her performances were varied, but with each season, critics increasingly appreciated her vocal and acting talent, and in later years, they only wrote about Janina Korolewicz-Wayda’s great artistry
Pożytki z teatru. Na przykładzie realizacji teatralnych Artura Żmijewskiego i Zorki Wollny
(Wydział Sztuki UR, 2018-12) Sawicka, Jadwiga
The article discusses using theatre in the practice of visual artists based on the cases of two artists. It presents different goals with which that medium has been used: in the staging of a Catholic Mass in theatre by Artur Żmijewski, and in playing the role of Ophelia by eleven actresses of different ages in a performance directed by Zorka Wollny. Considering the previous work of the two artists, one may say that theatre-related projects have been part of the interests and practice of both of them. They are both interested in working with people, yet the aim of Żmijewski’s experiment was affecting the audience and Wollny’s one – emancipation of the actresses and the text.
Primadonna opery warszawskiej Bronisława Dowiakowska na gościnnych występach w Galicji
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022-12) Wąsacz-Krztoń, Jolanta
Bronisława Dowiakowska (1840–1910) była jedną z cenionych śpiewaczek opery warszawskiej. W ciągu ponad trzydziestu lat wykonywała olbrzymi repertuar, śpiewała ponad sto partii. Występowała też w operetkach. Posiadała doskonałą technikę wokalną i pamięć muzyczną oraz talent aktorski. Uznawano ją za jedną z najwybitniejszych polskich śpiewaczek operowych i operetkowych. W latach 70. i 80. XIX stulecia występowała gościnnie we Lwowie i w Krakowie, stając się podporą tych scen. Jej wizyty odbijały się szerokim echem w prasie lokalnej. Nazwisko primadonny warszawskiej wpisało się trwale w rozwój galicyjskiej kultury muzycznej, a w szczególności sceny operowej Galicji XIX stulecia.
Teatr czasu wojny 1939–1945 w świetle zadań i wartości
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2020) Zawistowska, Monika
The publication describes the activity of Polish theater during the Second World War. It is an attempt to look at theater from the perspective of the tasks and values it presented in this particularly difficult period. The article describes the functioning of open and underground theaters and theaters operating in concentration camps. The above-mentioned activities cannot be reduced to one formula or a specific species. In these conditions, the artistic level and innovation of many performances amaze. Paradoxically, this most dramatic theater achieved its greatest autonomy during the occupation. It has become a useful tool for restoring human dignity and art.
Teatr i muzyka dla najnajmłodszych. Doświadczenia poznańskie w badaniach własnych
(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2021-12) Wieczorek, Maria
When should we start introducing children into the world of culture? For the past few years the boundary has been shifting and now it applies to the youngestest, in the first months of their lives. For them both performances and concerts are organized. In this article I describe the role theatre and music play in the development of the youngest, the origins of theatre and first musical forms for children; I also discuss the institutions in Poznań which organize events for babies.
Teatralizacja: pogranicze życia i teatru
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2017) Braun, Kazimierz
“Theatricality” is a term describing the use of theatrical means of expression in various domains of life. It is an added, spectacular, visual, performative, and dramatic element of different social events and activities. Theatricality it is an area where two entities—life and art—meet, which results either in conflict or in unification. Life transforms into theatre and theatre transforms into life. Theatricality is, thus, a transient region between life and art. Consequently, it is a model example of a border zone. From centuries theatricality was used as a means in the process of interhuman communication. It served to amplify and facilitate interhuman communication and gave it a specific meaning. Theatricality was also employed as a powerful instrument of manipulating and falsifying messages. In contemporary theatre artistic creation is the primary goal and aesthetics takes primacy over all other objectives and values motivating and permeating theatre work. In theatricality the reasons and goals of using theatrical and theatre-like means of expression are practical—such as, for example, religious, social, political, or commercial. Theatre aspires (not always successfully) to situating its works in the realm of art, on the universal and transhistorical level, while theatricality is practically oriented.
The Concept of Ritual in Sociology and other Social Sciences
(Fundacja Rzeszowskiego Ośrodka Archeologicznego, 2011) Jestal, Jerzy
This article constitutes a critical review of the knowledge and theories regarding ritual and ceremony which have emerged in the social sciences. The impetus for this undertaking is the conviction that the issue of ritual has been paid insufficient attention – particularly in sociology. The text opens with deliberation on the subject of defining ritual and ceremony. Subsequently, the theories of ritual which explain existing ceremonies by looking at the conditions under which these observances arose are examined. This article comprises also ponderings on the place of ritual in sociological theory.