Wyniki wyszukiwania - Biblioteka Nauki

1

REŻYSER POLSKI W TEATRZE ANGIELSKIM I POLSKIM

100%

Kaut-Howson H.

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nr 5

293-306

EN

Helena Kaut-Howson, internationally acclaimed theatre director, resident in UK since 1995, describes her career and experiences as a theatre maker, looking on it from the point of view of her contribution as a Polish artist to the cultural scene of Great Britain. Born and educated in Poland, having gained her degrees and diplomas both in Poland and UK, Helena Kaut-Howson has a strong afiliation with her Polish background and cultural if not necessarily national heritage. Her views on the role of foreign artists in the largely insular theatre scene in Britain have been shaped by extensive experience of working in most major theatres in this country, from regional repertory companies to London West End and the Royal Shakespeare Company. She describes her struggles over the years to establish her position and evolve an individual style of expression, overcoming considerable resistance both as a woman and a foreigner. It was mainly as an artistic director of eatre Clwyd (Wales) a regional theatre which she raised to international prominence, that she gained reputation for enriching British theatre with her vision. Since then and for many years aer her work has been appreciated for innovatory approach and for investing her in terpretation of English classics with a new refreshing quality, oen associated with the director’s Polish background. The article points out key diverences between the theatre culture in England and in Poland both bound up intrinsically with tradition and history. Helena Kaut-Howson’s experience outside of the United Kingdom confirmed her view of a theatre as an expression of national identity, this being true of all theatres including the marginally more outward looking Polish theatre. at’s why she looks upon her role as an Artistic Caretaker of the Polish Stage Company, UK which she founded in 2004 as essentially separate and based on diverent principles (though still on the highest artistic criteria) from her work as a British and international theatre director. If the former serves to maintain and strengthen the cultural identity of Poles abroad, the latter has to play to the interests and expectations of the British, only occasionally provoking them to broaden their perspective.

2

Ocena możliwości łączenia mandatu posła z funkcją dyrektora SP ZOZ Sanatorium Uzdrowiskowego MSWiA

100%

Galińska-Rączy I.

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nr 1(65)

194-209

EN

The author of the opinion states that in order to avoid the consequences of violating the substantive incompatibility of a Deputy’s mandate, it is advisable to take an unpaid leave by the director of the Health Resort Sanatorium of the Ministry of Internal Affairs and Administration, as he manages an entity being a state legal person conducting a business activity with the use of state property, what is contrary to the provisions of the Act on the Exercise of the Mandate of a Deputy or Senator.

3

Ocena możliwości łączenia mandatu posła z zatrudnieniem na stanowisku dyrektora Centrum Kultury i Bibliotek

100%

Karczmarek A. , Kościelny P.

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nr 1(65)

210-215

EN

In the opinion of the authors, employment as the director of the Centre for Culture and Libraries is not covered by the principle of incompatibility, the violation of which results in the expiry of the Deputy’s mandate. However, it is not permissible to combine a Deputy’s mandate with employment on such a post due to a prohibition resulting from the provisions of the Act on the Exercise of the Mandate of a Deputy and Senator. In the event of not resigning from that post, the Deputy will lose it by law three months after taking the Deputy’s oath.

4

Opowieść reżysera, który chce być reżyserowany

88%

Pławuszewski P.

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nr 19

174-177

EN

The review A Tale of a Director Who Wants to Be Directed concerns a book written by Jacek Bławut (A Character in a Documentary). Notable Polish filmmaker sums up some of his artistic achievements (not without mentioning the future plans), trying to explain his view on a co-operation with a movie character (especially due to a documentary genre), but also on a directing itself. The review follows the vital points of the book, placing them under two general categories: “author” and “character”. It also recalls (with no abbreviation) something that’s been called as “Dogmas or what’s important for me” – these are ten “rules” that Jacek Bławut (as a director) tries to adapt to all of his film doings.

PL

A Tale of a Director Who Wants to Be Directed The review A Tale of a Director Who Wants to Be Directed concerns a book written by Jacek Bławut (A Character in a Documentary). Notable Polish filmmaker sums up some of his artistic achievements (not without mentioning the future plans), trying to explain his view on a co-operation with a movie character (especially due to a documentary genre), but also on a directing itself. The review follows the vital points of the book, placing them under two general categories: “author” and “character”. It also recalls (with no abbreviation) something that’s been called as “Dogmas or what’s important for me” – these are ten “rules” that Jacek Bławut (as a director) tries to adapt to all of his film doings.

5

Авторство в кіно: проблема самореалізації

88%

Pogrebniak G.

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2015

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tom 2

261-267

EN

The article deals with the phenomenon of authorship in Ukrainian cinema, its ideological principles, creative guidelines. The researcher examines young Ukrainian film directors, their relevance, figurative composition, expressive means. In this article the authors analyze the modern interpretation of essential traits of such notions, as “outlook”, “harmony”, “person”, “self-realization”, “spirituality”. While working on the subject, author used the methods of scientific analysis, synthesis, comparison.The researcher concludes that Ukrainian artists who position themselves as writers sometimes substitute possession craft, complicating cinematic language, while only simulating experiment as a sign of creative authorship. The article expresses the belief that the modern Ukrainian cinema is a significant creative potential realization of the author’s identity.

6

Appointing the director of a cultural institution

75%

Czuryk M.

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nr 1

220-231

EN

The act on organizing and conducting cultural activity of October 25, 1991, distinguishes state and local government cultural institutions. A special place in these institutions is held by the director who is the governing body. This article outlines the rules for appointing directors and undertakes to analyze the provisions constituting the basis for an employment relationship with them. Doubts have been raised about the legal nature of the act of appointing the director of a cultural institution. The article points out the differences in the appointment of the director depending on the type of cultural institution, i.e. depending on whether it is a state or local government institution. It has been indicated that a candidate for the position of a director may be selected through a competitive process. The article presents the basic principles of its conduct.

7

PROFESSOR JANUSZ DURKO (1915–2017)

75%

Sołtan A.

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tom 59

63-67

EN

Janusz Durko, Prof. Dr with habilitation, was a historian, an archivist, and a distinguished museologist. Born in Warsaw, he graduated from Warsaw University, history faculty (1938); then spent a whole WWII here. After the liberation from German occupation, he worked in the Capital City Reconstruction Office (Biuro Odbudowy Stolicy), then in the Institute of National Remembrance (Instytut Pamięci Narodowej) founded to conduct research on contemporary history. His doctorate degree he obtained in 1948, habilitation in 1955, professorship in 1964. In 1951, he was appointed to the post of a director of the Main Historical Museum, which two years later was changed into the Historical Museum of Warsaw. The permanent exhibition he opened in 1955 was the first, exhaustive and complete, attempt to give the synthetic presentation of Warsaw past; the museum itself – as an institution of the greatest importance in the field of historical museums in Poland at the time – was inspiring a development of historical exhibitions also in museums of other countries. This helped Janusz Durko to establish his highly regarded professional position: he had been invited to be a member of many committees, councils (including museum ones) and associations, as well as editorial boards of magazines, inter alia, “Museology”. In the years 1951–2003, when Janusz Durko was the head of the Historical Museum of Warsaw, it was one of the main institutions for research on Warsaw history, the venue of numerous conferences, sessions and temporary exhibitions. It was maintaining good relations with many other countries, creating intensely its own collection, and offering an attractive educational programme. The number of its branches was steadily growing. Among Professor’s publications (ca. 140) of various kind there is one of an undoubtedly monumental character: eight volumes of the Bibliografia Warszawy (1958–2006) edited by him, where he registered everything, or nearly everything, that was being published on Warsaw in the years 1795–1970. In recognition of Professor’s achievements he had been awarded a number of times with, inter alia: the Minister of Culture and Arts Award of 1st degree for protection of cultural heritage, the Award of Capital City of Warsaw (twice), title of “Homo Varsoviensis”, the Order of Polonia Restituta First Class – the Grand Cross with Star, the Gold Medal for Merit to Culture “Gloria Artis”. After getting retired in 2003, Professor Durko still maintained close relation with museum by being a member of the Museum Council (2004–2008). In 2015, the institution he had been running for 52 years had an honour of hosting him for the last time during the celebration of his 100th birthday. He died a year after and was buried in the Powązki Military Cemetery.

8

Prof. dr Rainer Marutzky przeszedl na emeryture

63%

W O.

Biuletyn Informacyjny Ośrodka Badawczo-Rozwojowego Przemysłu Płyt Drewnopochodnych w Czarnej Wodzie

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2010

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tom 50

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nr 1-2

67

9

Zmiana na stanowisku dyrektora Instytutu Technologii Drewna w Poznaniu

63%

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2002

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tom 43

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nr 1-2

77

10

Między kulturą wysoką a kulturą popularną. O muzyce George'a Gershwina w „Manhattanie” Woody'ego Allena

55%

Pomostowski P.

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tom 12

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nr 21

243-255

EN

The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.

PL

Between high culture and popular culture. The music of George Gershwin in Manhattan by Woody Allen The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.

11

Animacyjne wartości działań Teatru Plastycznego Niesłyszących "Sen" z Kielc

51%

Świeca M.

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nr 1-2

107-114

EN

Socio-cultural animation is one of the trends of pedagogical influence. Its aim is to change the attitudes of individuals and interpersonal relationships through direct interaction. Such influence takes place in the work of the theater, including the amateur theater. A concrete example of such an impact is provided in the text below. It describes the activities of the SEN theater animator from WDK Kielce - Tomasz Irski. The theater is made up of deaf people, hence reflections on the therapeutic impact on participants.

PL

Animacja społecznokulturalna to jeden z nurtów oddziaływań pedagogicznych. Jej cel to zmiana postaw jednostek i stosunków interpersonalnych przez bezpośrednie oddziaływanie. Takie oddziaływanie ma miejsce w pracy teatru, w tym teatru amatorskiego. Konkretny przykład takiego oddziaływania zawiera poniższy tekst. Opisuje działalność animatora teatru SEN z WDK Kielce - Tomasza Irskiego. Teatr tworzą osoby niesłyszące, stąd refleksje o terapeutycznym oddziaływaniu na uczestników.

12

Cechy osobowościowe dyrektora warunkujące kulturę organizacyjną przedszkola – propozycja metodologii badań

51%

PIETRZYCKA M.

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tom 10

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nr 1

35-41

PL

W artykule skupiono się na opracowaniu propozycji do badań na temat „Cechy osobowościowe dyrektora warunkujące kulturę organizacyjną przedszkola”. Określono główny cel prowadzonych badań oraz cel poznawczy, metodologiczny i praktyczny.

EN

The article focuses on the development of proposals for research on the topic of „Headmaster’s personality traits that determine the organizational culture of a kindergarten”. The main, as well as cognitive, methodological and practical goals were determined.

13

Historia zespołów filmowych z dzisiejszej perspektywy

51%

Hendrykowski M.

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tom 12

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nr 21

341-351

EN

Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.

PL

A History of Polish Film Units from a present-day perspective Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.

14

Dyrektor

51%

Trela M.

Araby

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2008

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nr 4(12)

15

Lucjan Rydel i teatr

32%

Kowalska A.

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tom 19

21-34

PL

In my article I make an assumption that theatre was a crucial part of Lucjan Rydel artistic work. He worked in the theatre and for the theatre as a playwright, theatre critic, director, literary director, lecturer in theatre school, member of theatre committee, theatre producer and director of a city theatre. It is almost impossible to describe the whole range of Rydel’s professions. However, a deep analysis would reveal his different faces of this talented man. In this article I focus on the work of Rydel as a theatre practitioner, mainly on staging his own dramatic works. I claim that he had a deep knowledge of actors’ craft and skills, of staging methods and styles. I hope that thesis included in the article will encourage theatre historians to further research

16

Scenariusz filmowy jako inspiracja

32%

Hendrykowski M.

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nr 23

211-218

EN

Screenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling.

PL

Screenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling.