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Focusing on omissions and erasures, the author discusses the Benedict Anderson's idea of nation as an imagined community in the context of history of Poland and its Eastern neighbors. Many critics argue that common memory, which constitutes an imagined community, comprises historical facts, stories and narrations. However, members of this community share also a tendency to remove or omit the same facts, stories and narrations - thus the community is formed by both common memory and common forgetting. Two historical plays by Marian Pankowski - Śmierć białej pończochy and Zygmunt August - provide the author of this text with examples that help to discuss the omissions and erasures which are specific for the Polish culture.
tom 42
nr 2
The material analyzes the Neo-Renaissance building of the theatre and ridotto in Spišská Nová Ves/Zipser Neudorf/Iglo (after 1902) by architect Koloman Gerster (1850-1927). It describes results of the competition from 1899, consequent planning and construction process and connections with other Gerster's works and work of his contemporaries. Alongside similar buildings in Bratislava and Košice, the analyzed building belongs to the most cited ones from former Upper Hungary, today's Slovakia.
Sartre wrote eight dramas which make a rich commentary on the human predicament and human characters. Although he used the convention of realistic and naturalistic presentation, he was not tempted to discuss timeless problems and situations. On the contrary, he strived to show an individual that laboriously creates her own existence and seeks authenticity in this endeavor. Consequently the inner sphere of thought and feeling is presented as something unique for every individual by Sartre. He deliberately neglected the principle of the unity of time and place. His dramas often present several existential times that run parallel to one another in order to show similarities and/or differences across time and space. He used symbols that were uncommon in theater - colors, smells, light. To convey his ideas more easily, he often user strong language, or even vulgar speech. His plays are based on good dialogues, but stage conversations are primarily directed to, and intended for, the audience. Sartre does not only entertain, when he speaks from the stage he often preaches or discusses philosophicak issues. He is never tired of repeating his basic message that the human condition is replete with paradoxes. His theater was no less suitable for this task than his philosophy. He seemed eager to use every form of expression to prove that the world was deprived of absolute, traditional values, and our main preoccupation should have been to make good use of our freedom and to establish nurturing relations with others.
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