Wyniki wyszukiwania - Biblioteka Nauki

1

O festiwalu w kontekście turystyki kulturowej, czyli turystyka eventowa raz jeszcze

100%

Ratkowska P.

Turystyka Kulturowa

|

2010

|

nr 6

26-46

EN

The article is an analysis of a festival as a unique form of tourist event and tourist activity aimed at participating in festivals. The first part organizes the scientific terminology regarding ultural events and tourist trips destined at them. After that (in part two), the author positions and broadly describes the phenomenon of the festival, with the cultural events classification in the background. In part three, the most important Polish festivals are presented in six thematic groups, while the closing part briefly describes typical behaviors of festival participants.

2

RESIDENT’S PERCEPTION OF FESTIVALS – A CASE STUDY OF ŁÓDŹ

100%

Cudny W. , Korec P. , Rouba R.

Sociológia (Sociology)

|

2012

|

tom 44

|

nr 6

704 – 728

EN

Festivals are presently among the fastest growing types of events in the world. Recent years have brought many scientific studies, which include an analysis of the economic and social functions of festivals, as well as their organization and management. Particularly intensive research is carried out in the field of social interactions. The scope of study includes the analysis of the local community’s perception of festivals. The authors of this article decided to contribute to this stream of research and analyse the perception of the festivals held in Łódź – one of the largest Polish cities. For this purpose, the authors conducted over 1200 interviews with Łódź inhabitants in order to examine how they perceive these events. The main objects of the study were the inhabitants’ evaluation of festivals and their importance for them, the assessment of festival organization, the impact of the events on the image of the city and the residents’ participation in festivals.

3

BÁBKARSKÁ BYSTRICA 2014

100%

Čujová F.

Slovenské divadlo (Slovak Theatre)

|

2015

|

tom 63

|

nr 1

62 – 71

EN

This text deals with the 19th year of the international festival of puppet theatre Bábkarská Bystrica 2014. It situates it in the broader context of how the festival has received its current form. The oldest puppet theatre festival in Slovakia currently focuses on contemporary theatre works as well as authorial theatre. It continues to have the ambition to bring a wide range of genres and themes to as many different audiences and age groups as possible. As the repertoires of theatres in Slovakia and the neighbouring V4 countries reveal, Bábkarská Bystrica is successful in spreading the tradition that it has created. It can be seen in the wide and inspiring range of puppet theatre productions aimed at adults which present an alternative to dramatic theatre.

4

DIVADLO PRE VŠETKÝCH A JEHO SVIATKY (AVIGNON, WIESBADEN)

88%

Mistrík M.

Slovenské divadlo (Slovak Theatre)

|

2012

|

tom 60

|

nr 3

322 - 342

EN

Theatre festival is a typical social act that creates space for the wider social debate on the performing arts and a platform for labelling trends. The French festival in Avignon is the successor of the Jean Vilar’s idea about the popular theatre for everyone. The study looks at how this year's Festival d'Avignon 2012 has reflected and manifested these theoretical concepts in the individual events. In the same manner, the study reports on a New European Drama festival in Wiesbaden, on its direction and on the position of Slovak theatre within this context. The study is not a description of the details but explores how the contemporary theatre responds to the social, political and psychological problems of today and thus, how methodically close or distant is from reality, practical truth and veracity of artistic image.

5

OBRAZ RELATÍVNEJ SLOBODY MLADÝCH TVORCOV TVORIŤ A O TVORBE DISKUTOVAŤ. DIVADELNÉ FESTIVALY ČINOHERNÉHO DIVADLA V 70. A 80. ROKOCH 20 STOROČIA

88%

Podmaková D.

Slovenské divadlo (Slovak Theatre)

|

2012

|

tom 60

|

nr 2

142 – 149

EN

The authoress elucidates the state and condition of prominent theatre festivals in the given period, in both the Slovak and federal (Czechoslovak) contexts. She bases herself on the current situation which is noted for limited space for a meaningful discourse about the theatre. She brings to attention the young theatre professionals of the 1930s and their eagerness to reflect on their work, their willingness to ponder over new theatre trends and a change in the paradigm and to discuss the stereotypes in the theatre due to a stagnating society. She maps out the emergence, characteristics and purpose of these events across the individual drama art streams: the production of formal traditional theatres, alternative theatre art streams (theatre ensembles within the institutions of higher education and ensembles of small theatre forms, irregular production of the so-called “sub theatres“ in theatres within the framework of the activity of youth organizations) and amateur theatre production. The authoress gives an account of the nationwide festival of main stage theatres entitled Divadlo dnešku (The Theatre of Today) which was regularly and alternately held in Ostrava and in Košice. Divadelná mladosť (Young Theatre) festival, focussing on more recent impulses of theatre production of largely young theatre professionals, was also alternately hosted by České Budějovice and Prešov. The authoress would not discount the role of Akademický Prešov, a nationwide festival of amateur college and university theatre ensembles. She also brings to attention imprecise information contained in encyclopaedia headings, i.e. information on other nationwide events. Excerpts from discussion held at Divadelná mladosť workshop in 1977 and devoted to alternative theatres, various forms of their work, aspirations and opportunities testify to the proficiency of young theatre professionals and their desire to open up to the public on a broader scale.

6

WORLD NEW MUSIC DAYS – FESTIVAL OTVÁRANIA BRÁN DO SVETA

88%

Kopilcová J.

ESPES

|

2013

|

tom 2

|

nr 2

61 – 67

EN

The authoress deals with the Festival of the present music in the proposed essay. She also brings the information about his origin and tries to write down the summary of historical events. In thees say there are mentioned concrete grouping which presented on the Festival works of well-known composers or their own outputs. Besides her own exploration she also uses the professional literature grounded on some works e.g. from A. Rossa and journals about music. She confronts experiences of her own reflexion with opinions of pedagogues and theorists. In conclusion she brings her own impressions from performance on which she was present.

7

PUNCH AND JUDY: WHOSE SHOW IS IT ANYWAY?

75%

Reeve M.

Slovenský národopis (Slovak Ethnology)

|

2013

|

tom 61

|

nr 5

507 – 514

EN

Towards the end of the 20th century performers of the traditional British glove puppet show, Punch and Judy, began to document, to organize and to celebrate their own tradition in response to a number of perceived threats to it. In doing so, they produced tangible and intangible artefacts (texts and films) and experiences (festivals and meetings). These tangible and intangible products stand in contrast to the much of the documentation about the tradition which has been produced by non-performers. Taking the recent making of a DVD of Punch and Judy performers as its starting point, this paper considers this trend and suggests that Punch and Judy performers have regained control of their tradition through the production of these artefacts. The paper also points to the problems of terms such as ‘tangible’ and ‘intangible’. This paper is a slightly amended version of the paper given at the Anderle Radvan conference and puppet festival in Banská Bystrica, Slovakia, held on the 6th September 2013.

8

'AŁTARGANA'. STUDIUM KULTURY FESTIWALOWEJ

75%

Nowicka E.

Studia Migracyjne - Przegląd Polonijny

|

2013

|

tom 39

|

nr 1(147)

147-164

EN

In the contemporary world we observe rising importance of festivals and other public events in the process of transmitting ethnic identity and forming a contemporary form of a nation. They gain an especially significant meaning in case of nations the development of which has been disturbed by external political circumstances and a colonial hierarchical order. This paper concerns an all-Buryatic festival "Altagrana", the tenth anniversary of which took place in July 2012. On one hand, the analysis discusses the contents of the on-line program of the festival, and on the other hand, all that has happened in Aginsk on July 21 and 22. The article shows the process of building and strengthening the Buryatic canon of culture, i.e. the standardisation of the culture's elements which constitute the core and emblem of Buryatness: images, symbols, and historical references. In the context of intensive globalization Buryatic cultural identity has to be built by modern means, understandable for all generations. Under such circumstances festivals and similar public events organized and designed by Buryatic elites appear to be an extremely effective tool for forming and strengthening ethnic identity. Thus I have used the term "festival culture" in the title of the text.

9

ÚVAHY O VÝZNAME NIEKTORÝCH BUDHISTICKÝCH DEDINSKÝCH SLÁVNOSTÍ V OBLASTIACH HORNÝ KINNAUR A ZÁPADNÝ TIBET

63%

Jahoda C.

Slovenský národopis (Slovak Ethnology)

|

2011

|

tom 59

|

nr 4

385 – 400

EN

This paper deals with the question of meaning in the case of two Buddhist villages’ festivals or communal ritual performances in Upper Kinnaur and Western Tibet. For this purpose, the model of ´script´, ´ritual stage´ and the dynamic or constrained (re-) production of meaning (s) as they were employed by Joanna Pfaff-Czarnecka and Andre Gingrich in recent contributions to the debate on ritual theory in social and cultural anthropology are discussed. A particular focus is thereby on the emic aspects in the notion of ´script(s) ´. On the basis of two ethnographic case studies, including also relevant textual sources and local Buddhist concepts, it is suggested that what is termed ´script´ should be conceptualized in a wider sense that also includes visual and material aspects as well as music and dance. With regard to methodology and the assessment of the dynamics of the ritual process, the inclusion of a diachronically perspective and a greater variety of sources and aspects emerges as expedient for studies of this kind in village communities of Western Tibet and adjacent Tibetan-speaking areas in north western India.