Wyniki wyszukiwania - Biblioteka Nauki

1

On the Multiplied Spectacle in Tyrtej–Za Kulisami by Cyprian Norwid

100%

Kryś M.

Studia Norwidiana

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2020

|

tom 38 English Version

35-53

EN

The main object of analysis in this article is the doubly understood category of theatricality, which organizes Norwid’s reflections in the dramatic diptych titled Tyrtej–Za kulisami, and to demonstrate the influence of Norwid’s experiences with theatre on the development of the category of theatricality in these dramatic works. The poet recorded his remarks about theatre in critical writings and art. This article proposes two ways of reading his plays. The first assumes that the described events are realistically motivated because they take place in the space of nineteenth-century theatres in Warsaw and other European countries. The second involves interpreting the metaphorical and parabolic senses in the diptych, with special emphasis on passages from Dedykacja.

2

The Theology of Performance and the Vedic Rituals Rethinking Theatricality and Performativity as a Discourse

100%

Ferrara M.

Cracow Indological Studies

|

2017

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tom 19

|

nr 1

25-58

EN

While the debate on the relationship between ritual and theatre goes back decades, the most recent speculation can be fully understood in the framework of the mutual influences between the social sciences and performance studies. In retrospect, the spreading of structuralism to anthropology, sociology, and history (among other fields) and the absorption of theory-oriented terms in theatre studies’ terminology have facilitated a linguistic and conceptual ambiguity (or simply a confusion). Such ambiguity arises especially from the attempt to outline the borders between the religious and the aesthetic. In this paper, I will focus on the crucial role of conventional terms such as ‘performance’ and ‘performative’, the increased use of which in different fields has given rise to new dichotomies, such as performativity vs theatricality, self vs role. I will discuss some theoretical issues that allow us to define a ritual text as ‘religious’ instead of ‘theatrical’, focusing on the performative effect of recitation, more specifically on the Vedic texts on ritual prescriptions and their aim to display the officiants’ skills and authoritativeness.

3

Sztuka, teatralność, ponowoczesność: O książce Agnieszki Sosnowskiej

100%

Salwa M.

Pamiętnik Teatralny

|

2021

|

nr 2(278)

113-122

EN

This article presents Agnieszka Sosnowska’s book Sztuka znikania: Teatralność w czasach ponowoczesnych [The Art of Disappearance: Theatricality in Postmodern Times] (Krakow 2019) devoted to the theatrical character of postmodern cultural and social reality. According to Sosnowska, the categories of theater, theatricality and theatricalization can serve as useful tools for analyzing and interpreting the postmodern human condition. At the same time, she argues that it is the non-theatrical reality that constitutes the most appropriate area of reflection on theatricality. She analyzes selected works and artistic phenomena in which she sees an indication of theatricalized postmodern reality, namely the disappearance of various convictions determining the modern attitude towards the ideas of the subject, the world and art: American minimalism, the work of the Brazilian artist Hélio Oiticica, Andy Warhol’s Factory and Krystian Lupa’s theater production Factory 2, Tadeusz Kantor’s emballages and Christian Boltanski’s project The Life of C. B. The review raises questions provoked by Sosnowska’s book, concerning, among other things, the author’s approach to her topic, which, according to the reviewer, is based on an under-defined concept of theatricality, a very specific understanding of postmodernity, and a not-quite-thought-out combination of the historical and philosophical perspectives.

4

The Revolution Will Be Performed. Cameras and Mass Protests in the Perspective of Contemporary Art

100%

Ruchel-Stockmans K.

Acta Universitatis Sapientiae, Film and Media Studies

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2015

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tom 10

|

nr 1

7-23

EN

This article offers an analysis of Videograms of a Revolution (1992) by Harun Farocki and Andrej Ujica and The Pixelated Revolution (2011) by Rabih Mroue, which both reflect on the role of amateur recordings in a revolution. While the first deals with the abundant footage of the mass protests in 1989 Romania, revealing how images became operative in the unfolding of the revolution, the second shows that mobile phone videos disseminated by the Syrian protesters in 2011 respond to the desire of immediacy with the blurry, fragmentary images taken in the heart of the events. One of the most significant results of this new situation is the way image production steers the comportment of people involved in the events. Ordinary participants become actors performing certain roles, while the events themselves are being seen as cinematic. This increased theatricality of mass protests can thus be seen as an instance of blurring the lines between video and photography on the one hand and performance, theatre and cinema on the other.

5

Lalka i nieobecność. Kilka uwag o bohaterach Wampira Władysława Stanisława Reymonta

100%

Kucab M.

Dydaktyka Polonistyczna

|

2019

|

nr 5 (14)

88-100

EN

The article attempts to determine in synthetic way the most relevant spaces of choice as well as activities of the characters of The Vampire by Władysław Stanisław Reymont. Disputing with other researchers, we try to portray the characters as thespians who are subordinate to the mechanism of theatre (theatricality) as well as enmeshed with relations of dominance and exploitation (vampiric situation). Having compared the novel with selected dramas by Henrik Ibsen, we demonstrate parallels in subjects and issues that were drawn out by the dramaturgy of the epoch: illusoriness of life, lies of convention, prevalence in family as well as manipulation.

6

«Una beffa [...] fatta da una donna a uno solenne religioso»: l’arte della manipolazione verbale ed emotiva nel Decameron III 3

99%

Maślanka-Soro M.

Studia Romanica Posnaniensia

|

2018

|

tom 45

|

nr 1

31-43

EN

Boccaccio’s Decameron is, as we know, the supreme achievement of the medieval narratio brevis. The art of speaking and, in general, of the proficient use of words, is what distinguishes the “gentile brigata” of ten young men and women who articulate and advance the new ars narrandi. Its role is crucial in many of the novellas in The Decameron: thanks to their capacity to persuade, or rather to manipulate their listeners verbally, many of its male and female protagonists manage to avoid dangers and unpleasant situations, or to get what they want: love, money, or other advantages. Particularly two of the male protagonists, ser Ciappelletto and frate Cipolla, excel others in verbal fraud and mockery. The anonymous protagonist of the third novella of the Third Day is neither as famous nor as examined by critics, even though she is very clever in her rhetorical and theatrical skills. The purpose of this essay is to analyse the strategies of verbal and emotional manipulation which lead her to seduce a “valoroso uomo di mezza età” with the involuntary help of the simple-minded and credulous friar.

7

Gerechtigkeit und deren intertextuelle und intermediale Beziehungen im Werk des Magisters Vincentius

86%

Bering P.

Symbolae Philologorum Posnaniensium Graecae et Latinae

|

2021

|

tom 31

|

nr 1

35-42

EN

The aim of present paper is a closer analyze of some textual construction which are imitating a legal action at court. The scene of imagined court were popular in medieval dramaturgy, they are often used as a plot for scenic action. A particular case was created by Master Vincentius (12th Cent.): a passage from chronicle which presents a possible staging of court action.

8

Проблема сценичности российской „новой драмы”

86%

Шевченко Е. Н. , Казанский федеральный университет Ф. ф.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

|

2013

|

tom Zeszyt specjalny 2013

EN

The essay addresses the notion as ‘theatricality’ as such, its historically changing character and its specific qualities concerning the texts of Russian „new drama”. Following M. Lipovetsky, B. Boymers and others the author points out its performative quality, which creates a new type of communication with spectators similar to a ritual act. The author comes to the conclusion that new theatricality of the modern drama asks for reevaluation of traditional approaches to the scenic adaptation of literary material and gives examples proving the possibility of various solutions of this creative task.

9

Gra w uwodzenie: między romantyczną świadomością a pragmatycznym działaniem

72%

Tomczyk J.

Tematy z Szewskiej

|

2015

|

nr Errotyzm 1(15)/2015

67-78

PL

Artykuł dotyczy związku pomiędzy uwodzeniem a grą. Oba mechanizmy mają wiele wspólnego, ponieważ opierają się na podobnej strategii, formie i treści. Uwodzenie jest tu interpretowane (na podstawie teorii Jeana Baudrillarda) jako siła odpychania i przyciągania, która wykracza nie tylko poza seksualność, lecz także poza rzeczywistość. Uwodzenie jest kontinuum gry, w której wcześniejszy ruch determinuje następne, a pokusa wzmaga żądanie gracza.

EN

The article deals with the relationship between seduction and play. Both mechanisms have much in common, because they are based on a similar strategy, form, and content. Seduction in this article is interpreted (based on theory of J. Baudrillard) as the force of repulsion and attraction that goes not only beyond sexuality, but also outside of reality. Seduction is a continuum of game where the earlier motion determines the next, and the temptation determines the player’s request.

10

Soudní proces jako rituál?

72%

Langhans M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2018

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tom 21

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nr 1

33-52

EN

The paper ventures into the common characteristics of the Law and Theatre. The aim of the author is to show how a court session employs and makes use of the principles of theatricality, and to defend the hypothesis that a criminal court trial, in particular, bears manifold similarities to a ritual. Thus, a criminal court session can be explored by similar methodologic tools as the latter, which understand theatre in broader, socio-anthropologic sense as a cultural model.

CS

Studie se zabývá styčnými body práva a teatrologie. Jeho cílem je poukázat na to, že soudní jednání pracuje s principy performativity, a obhájit tezi, že zejména soudní jednání v trestních věcech je svým původem a mechanismem působení příbuzné s rituálem a lze je tedy zkoumat za pomoci obdobné metodologie, založené na širším sociologicko-teatrologickém pojetí divadla jako kulturního modelu.

11

Teatralita veřejných událostí - uvedení do problematiky

72%

Musilová M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2014

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tom 17

|

nr 1

9-24

EN

The present paper introduces definitions of the key concepts that frame the research on the theatricality of public events held at the Department of Theatre Studies, Faculty of Arts, Masaryk University, since 2010. The overview presents concepts such as theatricality, performance, and symbolic aspects of acting as well as the concept of "theatre as a cultural model" (i.e. theatre in the broad sense of meaning). Present research allows for the symbolic acts to be perceived as spontaneous; it also concentrates on the way in which acting in everyday life, and during public events is being made prominent by theatrical means (e.g. set, costumes, expressivity). More generally, exploring the limits of theatricality enables theatre scholars to open up their field for impulses from anthropology, sociology, and culturology, hence approach their subject of inquiry in a more interdisciplinary way.

12

“Though This Be Madness, Yet There Is Method In't”. The motif of feigned madness in William Shakespeare's Hamlet and Luigi Pirandello’s Henry IV

72%

Koman A.

Świat i Słowo

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2020

|

tom 35(2)

195-212

EN

Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed to them, they choose their roles, and – most importantly – they are aware that they are playing.

13

Teatr i Kosmos (w) teorii (literaturoznawczej)

71%

Wądolny-Tatar K.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2019

|

tom 7

3-15

EN

The introductory text discusses the contents of the yearbook and points to the directions of analysis and interpretation undertaken in the sketches and studies contained therein. The articles combine meanings of great imaginational metaphors of THEATRE and COSMOS as certain universes. Developing the idea of Hans Blumenberg, one can say that the realism of metaphors (including theatrical and cosmological studies) is the realism of rhetoricality – times, artistic trends, creators. (Re)definitions of the terms: rhetoric, rhetoricality – constitute the second thematic circle touched upon in texts, alongside categories such as performativity or transmediality. These phenomena do not function outside the genres of literary, scientific and para-scientific statements, therefore the third area of investigation in the articles concerns genological reflection (especially in relation to: academic mystery novel, theater novel, lyric cycle, anthology, “private” genology of Stanisław Barańczak).

PL

Tekst wstępny omawia zawartość rocznika oraz wskazuje na podjęte, w szkicach i studiach w nim zawartych, kierunki analiz i interpretacji. W artykułach konweniują sensy wielkich metafor wyobrażeniowych TEATRU i KOSMOSU jako pewnych uniwersów. Rozwijając myśl Hansa Blumenberga można powiedzieć, że realizmem metafor (w tym metaforyki teatrologicznej i kosmologicznej) jest realizm retoryczności – czasów, nurtów artystycznych, twórców. (Re)definicje pojęć: retoryka, retoryczność – stanowią drugi krąg tematyczny poruszany w tekstach, obok takich kategorii jak performatywność czy transmedialność. Zjawiska te nie funkcjonują poza gatunkami wypowiedzi literackiej, naukowej i paranaukowej, dlatego trzeci krąg rozważań w artykułach dotyczy refleksji genologicznej (szczególnie w odniesieniu do: akademickiej powieści kryminalnej, powieści teatralnej, cyklu lirycznego, antologii, „prywatnej” genologii Stanisława Barańczaka).

14

O zwielokrotnionym spektaklu w Tyrteju-Za kulisami Cypriana Norwida

58%

Kryś M.

Studia Norwidiana

|

2020

|

tom 38

37-57

EN

The main object of analysis in this article is the doubly understood category of theatricality that organizes Norwid’s reflection in a dramatic diptych called Tyrtej–Za kulisami. The present study study shows the influence of Norwid’s contacts with the scene on the shaping of theatricality in the examined plays. The poet recorded his theatrical experience in his critical writings and artistic pieces he conveyed it in his paintings and designs. The article presents two proposals of reading theatrical plays. The first assumes that the described events are realistically motivated because they take place in the space of the 19th century theatres of Warsaw and other European countries. The second proposal involves interpretation of metaphorical and parabolic senses inscribed in the diptych, with special emphasis on the extracts of Dedykacja.

PL

Przedmiot analizy w niniejszym artykule stanowi podwójnie rozumiana kategoria teatralności, która organizuje Norwidowską refleksję w dyptyku dramatycznym Tyrtej-Za kulisami. W tekście wskazano wpływ kontaktów Norwida ze sceną na kształtowanie teatralności w analizowanych dramatach. Swoje doświadczenia teatralne zapisywał poeta w tekstach krytycznych, utworach artystycznych, a także transponował je na obrazy i szkice. Artykuł przedstawia dwie propozycje lektury Tyrteja i Za kulisami. Pierwsza opiera się na założeniu, że przedstawione zdarzenia mają realistyczną motywację, ponieważ rozgrywają się w przestrzeniach dziewiętnastowiecznych teatrów warszawskich oraz europejskich. Druga polega na interpretacji metaforycznych i parabolicznych sensów wpisanych w dyptyk, ze szczególnym uwzględnieniem fragmentów Dedykacji.

15

Svět je symbolická interakce : symbolický interakcionismus jako východisko výzkumu teatrality veřejných událostí

58%

Kubina L. , Musilová M.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2018

|

tom 21

|

nr 1

9-32

EN

The paper presents the concept of symbolical interactionism, its theoretical background, adjoining methodologic tools, and its relation to the issue of theatricality of public events. The symbolic interactionism, a sociology-based concept stating a symbolical nature of empirical knowledge, influenced a great number of strands of thinking both in social sciences and humanities. At the same time, the concept gained recognition also in Theatre and Performance Studies for its ability to grasp the symbolic nature of human interaction, its processuality, and temporal-spatial aspect. First part of the study is devoted to the philosophy of pragmatism and George Herbert Mead's social psychology that deeply influenced Blumer's definition of the symbolic interactionism. The second part comprises the basic theoretical and methodologic background of symbolic interactionism demonstrated on the example of filed research carried out by the authors, citizen meeting with Czech President in Brno in 2013.

CS

Studie představuje teorii a metodologii symbolického interakcionismu a její vztah k výzkumu teatrality veřejných událostí. Sociologický směr symbolický interakcionismus ovlivnil celou řadu metodologických přístupů, největší vliv měl logicky v sociálně-vědních oborech, které pracují se symbolickou povahou empirie. Zároveň se ale tento směr uplatnil i v uměnovědných oborech, a to díky schopnosti interpretovat symbolickou povahu jednání, jeho procesuálnost a časoprostorový charakter. Symbolický interakcionismus tak, jak ho definoval H. Blumer, byl zásadně ovlivněn filozofií pragmatismu a sociální psychologií G. H. Meada, proto je jim věnována první část studie. V druhé části textu jsou představena základní teoretická a metodologická východiska symbolického interakcionismus, která jsou demonstrována na příkladu veřejné události (setkání občanů s prezidentem ČR v Brně v roce 2013), které se autoři studie účastnili v rámci terénního výzkumu.

16

Několik poznámek k teatralitě

58%

Poláčková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2018

|

tom 21

|

nr 1

53-70

EN

The aim of the study is to argue that, while researching into medieval theatre, one need not to overlook the non-theatrical situations as well, such as royal entry, liturgy, etc. As the majority was, even at the peak of the Middle Ages, illiterate, performance was a convenient medium to deliver meanings, ideologies and policies. The success of those institutions as the Church or the King, thus, highly depended on them mastering such theatrical devices as acting, stage design, scripting the event, etc. Concrete examples of these strategies are illustrated on the description of Good Friday liturgy and royal coronation.

CS

Studie ukazuje, že při výzkumu středověkého divadla je třeba se zabývat i situacemi, jež jsou primárně nedivadelní (např. panovnický vjezd, liturgie nebo univerzitní výuka). Protože převážná většina obyvatel středověké Evropy byla ještě ve vrcholném středověku negramotná, performance – tedy zdivadelněná situace – představuje důležité komunikační médium. Úspěšnost komunikačních strategií církve, panovnické moci ad. tak do velké míry závisela na úspěšném ovládnutí divadelních prvků, jako je herecké jednání, výprava, scénář události atd. Na příkladu velkopáteční liturgie a části korunovačního rituálu jsou ukázány konkrétní způsoby využití divadelních prvků ve středověkých kulturních performancích.

17

The theatrical world of Flannery O’Connor’s “A Late Encounter with the Enemy”

58%

Dębiec Ł.

Roczniki Humanistyczne

|

2015

|

tom 63

|

nr 11: Anglica

181-201

EN

Attempting a scrutiny of Flannery O’Connor’s short story entitled “A Late Encounter with the Enemy,” the reader is by no means left in a quandary as to the experience of death, pain, and suffering percolating through the very foundations of southern culture since antebellum times. Also, the phenomenon in question appears to be deeply embedded in the aesthetics of historical baroque, which allows one to notice a striking resemblance between the nature of southern experience of the 1950’s and the essence of baroque sensibility. Such an observation assumes extraordinary importance if considered in the context of modern theatricality. Grounded upon a comparison between the seventeenth-century France of Louis XIV and the contemporary South of O’Connor’s protagonist, George Poker Sash, the article explores the transplantation of a multitude of cultural traits characterizing the baroque onto the realm of modern experience(impelled to confront southern history by the author) through the prism of such notions as the play of appearances, miseen abime, and the spaces of theatricality. These concepts, predominantly associated with the theater, are delineated in the course of William Egginton’s How the World Became a Stage: Presence, Theatricality, and the Question of Modernity and The Theater of Truth: Ideology of Neo-Baroque Aesthetics, which two works comprise the theoretical background of the discussion concerning the relationship between the contemporary South and its historical experience. The argument is supported by Guy Debord’s conceptualization of the spectacle adumbrated in The Society of the Spectacle, which presents the culture of the commodity as endowed with theatrical attributes. Bearing in mind that fact that, as Christine Buci-Glucksmann argues in her Baroque Reason, the representation of a historical subject in necessarily connected with theatricality, O’Connor reader is enabled, with the assistance of the works mentioned above, to locate the tragedy ensconced in the core of southern culture enveloped in an intricately woven web of modern appearances.

PL

Próbując przeprowadzić analizę opowiadania Flannery O’Connor pt. “A Late Encounter with the Enemy”, czytelnik nie podaje w wątpliwość doświadczenia śmierci, bólu i cierpienia, które to aspekty przesiąkają przez fundamenty kultury amerykańskiego Południa jeszcze od czasów poprzedzających Wojnę Secesyjną. Zjawisko, o którym mowa, wydaje się głęboko zakorzenione w estetyce baroku, co pozwala na dostrzeżenie uderzającego podobieństwa między kulturą Południa amerykańskiego kontynentu z lat 50. XX wieku i esencją barokowej wrażliwości. Powyższa obserwacja nabiera szczególnego znaczenia, jeśli rozważyć ją w kontekście współczesnej teatralności. Oparty na porównaniu między XVII-wieczną Francją Ludwika XIV oraz współczesnym Południem, artykuł bada przeszczepienie szerokiego wachlarza cech charakteryzujących barok na grunt współczesnego doświadczenia kulturowego (ukierunkowanego na konfrontację historii Południa przez autora) przez pryzmat takich pojęć, jak: gra pozorów, mise en abime oraz przestrzenie teatralności. Te pojęcia, w głównej mierze kojarzone z teatrem, są nakreślone w publikacji Williama Eggintona How the World Became a Stage: Presence, Theatricality, and the Question of Modernity oraz The Theater of Truth: Ideology of Neo-Baroque Aesthetics, które stanowią teoretyczne tło dyskusji dotyczącej związku między współczesnym Południem i jego doświadczeniem historycznym. Argumentacja wsparta jest konceptualizacją zjawiska spektaklu zaprezentowaną w książce Guya Deborde’a The Society of the Spectacle, która przedstawia kulturę wymiany towarowej jako zjawisko obdarzone cechami teatralnymi. Mając na uwadze fakt, że – jak twierdzi Christine Buci-Glucksmann w Baroque Reason – reprezentacja podmiotu historycznego jest koniecznie związana z teatralnością, czytelnik, za pomocą dzieł wyszczególnionych powyżej, ma możliwość umiejscowienia tragedii usytuowanej w jądrze południowego doświadczenia spowitego zawikłaną siecią pozorów kultury nowoczesnej.

18

Kolonizacja i chrystianizacja a teatr – spojrzenie z perspektywy XX i XXI wieku

51%

Delimata M.

Ogrody Nauk i Sztuk

|

2011

|

nr 1

PL

Artykuł porusza temat procesu kolonizacji i chrystianizacji, prowadzonej przez europejskich misjonarzy od czasu tzw. „wielkich odkryć geograficznych”. Celem nie jest jednak opisanie historii kolonizacji, lecz spojrzenie na dzisiejsze oblicze artystyczno-sakralnych działań, obecnych w postkolonialnym świecie. Opisane zostały przykłady współczesnych widowisk i performansów sakralnych w Iztapalapie (Meksyk), na Filipinach (prowincje: Aklan, Pampanga, Rizal) oraz jawajski teatr cieni wayang wahyu. Ich charakter należy odczytywać jako hybrydyczny, a zatem taki, który nigdy nie powstałby bez prekolonialnych korzeni, kolonizacyjno-chrystianizacyjnej działalności misjonarzy oraz postkolonialnego Nowego Porządku.

EN

The article discusses the issue of colonization and Christianization processes conducted by European missionaries from the time of so-called “Age of Discovery”. However, the aim of the article is not creating a description of colonization history, but taking a look at today’s vision of artistic and religious activities present in postcolonial world. In the article there were described examples of religious shows and performances in Iztapalapa (Mexico) and Philippines (provinces: Aklan, Pampanga, Rizal) as well as Java shadow play called wayang wahyu. Character of these forms of art should be defined as hybrid – they would not exist without pre-colonial origins, colonization- and Christianization-related activities of missionaries and postcolonial New World Order.

19

Body suspension : performativita bolesti

51%

Kubart T.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2018

|

tom 21

|

nr 1

113-132

EN

In the study the author strives to present the topic of body suspension to wide professional Czech public, to which it has been practically unknown, with regard to methodology of theatre and performance studies (Erika Fischer-Lichte, Judith Butler). The phenomenon bears a number of features interesting especially from the perspective of Theatre and Performance Studies, Anthropology, Ethnology, and Culturology. The study is supposed to attract interest of professional public to this complex phenomenon, presenting it with help of foreign secondary sources and the author's own research of Czech and Slovak body suspension communities.

CS

Ve studii "Body suspension: performativita bolesti" se pokouším téma tělesného zavěšování (body suspension) předestřít v nepříliš problematizované podobě co nejširší odborné čtenářské obci, s ohledem na vlastní východiska, jež pramení především v teatrologii a dílčích otázkách teatrality a performativity (Fischer-Lichte, Judith Butler). V českém prostředí dosud odborně nereflektované téma vykazuje velmi zajímavé znaky, jež by měly upoutat každého divadelního vědce, antropologa, etnologa či kulturologa. Kontext a vzájemné souvislosti jednotlivostí fenoménu body suspension jsou natolik komplexní, že si jistě zasluhují první akademické texty. Má studie je kompilátem základních informačních zdrojů a vlastního výzkumu v českých a slovenských komunitách zabývajících se body suspension.

20

Oslavy "Prvního máje" v roce 1948 : interpretativní analýza

44%

Kubina L.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2014

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tom 17

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nr 1

90-116

EN

The study presents an interpretative analysis of the theatrical aspects of the First May celebrations in the Czechoslovakia in 1948, mass event with crucial importance for the Communist regime, which was then only taking over political power in the country. First step of the analysis is an historical overview of the First may celebrations in the world, followed by a description and characterization of the particular elements of the event using poetic tools borrowed from sociology and sociocultural anthropology, especially the methodology of Jeffrey Alexander. The aim of the analysis is to prove the (un)successfulness of the cultural performance, as far as the interests of the Communist regime are concerned.