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1
Content available Kościół, partia, cenzura. „Ostatnie kuszenie Chrystusa” i zapomniane transakcje polskiej transformacji
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Mrozek W.
Didaskalia. Gazeta Teatralna
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2023
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nr 174
99-118
EN
In 1988 Polish Catholic bishops tried to convince leaders of the Polish United Workers’ Party to ban The Last Temptation of Christ, a film by Martin Scorsese in Poland. In November 1989, during the first months of the new government, led by the non-communist Prime Minister Tadeusz Mazowiecki, the Diocesan Curia of Olsztyn forced a local cinema to ban a screening of Scorsese’s film by referring to decisions allegedly made by the former communist government. These events, a kind of exchange of favours between the party and the church, are presented in context of Polish People’s Republic foreign policy, its approach to the Catholic Church and the dissemination of Western auter cinema in late 1980s Poland.
2
Content available Co widać za krawędzią?
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Mrozek W.
Didaskalia. Gazeta Teatralna
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2021
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nr 165
506-511
PL
Damaged Goods "Cascade" choreografia: Meg Stuart, kreacja i wykonanie: Pieter Ampe, Jayson Batut, Mor Demer, Davis Freeman, Márcio Kerber Canabarro, Renan Martins de Oliveira, Isabela Fernandes Santana, scenografia i światło: Philippe Quesne, dramaturgia: Igor Dobricic, muzyka: Brendan Dougherty, kostiumy: Aino Laberenz, tekst: Tim Etchells / Damaged Goods premiera: 17 lipca 2021 na festiwalu Impulstanz w Wiedniu (premiera miała odbyć się w ramach Ruhrtriennale w PACT Zollverein w Essen 16 września 2020).
3
Content available Pani Ula i pani prezydent Cenzura jako mechanizm lokalnego życia teatralnego, przypadek „Nieskończonej historii” Uli Kijak w Teatrze Nowym w Zabrzu
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Mrozek W.
Didaskalia. Gazeta Teatralna
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2021
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nr 166
6-36
EN
Madam Ula and Madam President. Censorship as a mechanism of local theatrical life; the case of Ula Kijak’s Unfinished Story at the Teatr Nowy in Zabrze The article highlights an attempt at modifying the performance Unfished Story by Ula Kijak at the Teatr Nowy (New Theatre) in Zabrze in 2012 – after a protest by some local Catholic and right-wing activists, and also by the sponsors of the theatre. Jerzy Makselon, the managing director of the theatre, tried to organize a special non-public performance of the play with the Mayor of the City as an expert in order to decide on the future of the performance. The author of the play, Artur Pałyga, declared that the Zabrze case is just the tip of the iceberg because the problem of censorship is very present in Polish theatre, and often generates conflicts between managers and local politicians on the one side and artists on the other side. However, the strategies of censorship and mechanism of power are usually not as apparent as in Zabrze. The research approach applied in the article combines institutional analysis, legal aspects and reflection upon the social significance of the artistic phenomena described.
4
Content available Teatr erzaców, czyli śmierć w ludzkiej skali
100%
Mrozek W.
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nr 183
253-259
PL
Recenzja spektaklu: Teatr Polski im. Hieronima Konieczki w Bydgoszczy Olga Tokarczuk ahat ilī. Siostra bogów reżyseria: Anna Augustynowicz, scenografia: Marek Braun, kostiumy: Tomasz Armada, muzyka: Jan Marek Kamiński, wideoart, światło: Wojciech Kapela, choreografia: Magdalena Marcinkowska „Madlen Revlon” premiera: 31 sierpnia 2024
5
Content available Siła głosu
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Mrozek W.
Didaskalia. Gazeta Teatralna
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2022
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nr 171
350-356
PL
Festiwal Santarcangelo dei Teatri, 8-17 lipca 2022
6
Content available „Pragniemy, żeby nic nie ruszać”. „Teren badań: Jeżycjada” Weroniki Szczawińskiej, status przedstawienia teatralnego a cenzura sądowa
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Mrozek W.
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nr 180
167-190
EN
The article describes the case of the only theatre play in modern Poland that has been banned by a court decision: Teren badań: Jeżycjada by Weronika Szczawińska and Agnieszka Jakimiak. It contains a detailed analysis of different legal aspects from the perspective of the play’s producers – Komuna Warszawa and Cultural Center Zamek w Poznaniu – with the writer Małgorzata Musierowicz. The stage ban is presented in the context of the modern censorship theories and the reaction of the theatre community. The article also contains the analysis of potential consequence of defying the court’s ban.
7
Content available Koryfeusze dansingu
100%
Mrozek W.
Didaskalia. Gazeta Teatralna
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2023
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nr 175-176
390-401
EN
Witold Mrozek in conversation with Michał Buszewicz, Katarzyna Sikora
PL
Z Katarzyną Sikorą i Michałem Buszewiczem rozmawia Witold Mrozek
8
Content available Ms Ula and Ms President. Censorship as a Mechanism of Local Theatrical Life; the Case of Ula Kijak’s ‘Nieskończona historia’ at Teatr Nowy in Zabrze
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Mrozek W. , Schreiber P.
Didaskalia. Gazeta Teatralna
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2022
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nr English Issue 2022
197-228
EN
The article highlights an attempt at modifying the performance Nieskończona historia (Unfished Story) by Ula Kijak at the Teatr Nowy in Zabrze in 2012 – after a protest by some local Catholic and right-wing activists, and also by the sponsors of the theatre. Jerzy Makselon, the managing director of the theatre, tried to organize a special non-public performance of the play with the Mayor of the City as an expert in order to decide on the future of the performance. The author of the play, Artur Pałyga, declared that the Zabrze case is just the tip of the iceberg because the problem of censorship is very present in Polish theatre, and often generates conflicts between managers and local politicians on the one side and artists on the other side. However, the strategies of censorship and mechanism of power are usually not as apparent as in Zabrze. The research approach applied in the article combines institutional analysis, legal aspects and reflection upon the social significance of the artistic phenomena described.
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