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ARIANE MNOUCHKINE: THE ORIENTAL STAGE FOR SHAKESPEARE

100%

Hasiuk M.

Kultura i Społeczeństwo

2005

tom 49

nr 4

107-128

Ariane Mnouchkine, in preparing a series of Shakespearan productions at the Théâtre du Soleil in the early 1980's (Richard II, Twelfth Night and Henry IV), used traditional theatrical forms from Japanese Noh, Kabuki and Bunraku; Indian Kathakali and Bharata-natyam, Balinese Topeng and Beijing Opera. The Shakespearan series, an example of transcultural experimentation, represented a breakthrough for the group from Cartoucherie, and was the director's first decisive step towards searching for her own sources. Asian theatrical forms that served above all as inspirations and 'traces of imagination', not just as models to be copied, 'refresh'Shakespeare's works and allow us to take a step back from them, as well as express the universal dimension of his dramaturgy. Mnouchkine used the traditional methods of the Asian theatre also as a means of amplifying Western stage conventions, thus creating the opportunity to pose new questions about the tasks that stand before theatre as an art form.

Przerzut, rozmieszczenie i działania sił koalicji w trakcie operacji "Iracka Wolność"

100%

Hasiuk M.

Zeszyty Naukowe AON

2004

tom nr 3(56)A Numer specjalny

262-272

The article deals with an important and interesting issue from the methodological and practical point of view, i.e. the art of operations of preparing and conduct the last war campaign “Iraqi Freedom”. The article presents briefly characteristic features of Iraq and Iraqi armed forces. The author describes the location and transfer of the Coalition forces to the Gulf, presents the plan of conducting the operation and its course. He raises issu connected with the genesis, basic aims and assumptions of the operation “Iraqi Freedom".

'THE FOUNDERS OF TRADITION' IN ARIANE MNOUCHKINE'S LABORATORY

100%

Hasiuk M.

Przegląd Humanistyczny

2005

tom 39

nr 2(389)

87-100

Théâtre du Soleil belongs to the European tradition of theatres-labs with its connections with various traditions and not only theatrical conventions, both in the poetics of the shows, their preparations, and in the way the group of actors functions. Jacques Copeau and his followers: Charles Dullin, Jacques Lecoq and Jean Vilar provide inspiration for her. Like them, she uses oriental tradition, open air theatre, the clown figure, classical tragedy, but also the 'no' theatre, kabuki, kathakali and Beijing opera. She matches Elizabethan theatre with Orient, contemporary subjects with commedia dell'arte and Greek tragedy, each of them naturally belonging to separate aesthetics. She does not identify with any of them in particular. However, transforming all of them, she creates her own identity. Like Jerzy Grotowski and Eugenio Barba, she is a founder of tradition for future artists in search of lands of imagination and the meaning of theatricality.