Wyniki wyszukiwania - Biblioteka Nauki

1

Literatura i literaci w życiu i twórczości Stanisława Moniuszki

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WYPYCH-GAWROŃSKA A.

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nr 14

77-126

EN

The present article concerns the place and significance of literature in the life and works of Stanisław Moniuszko, a composer who created different musico-literary genres, songs, operas, can- tatas as well as stage music for dramas. Moniuszko’s correspondence, which often featured litera- ture-related topics, constitutes the basis for the analysis of literary contexts of his works. The com- poser wrote about his favourite books, poets and writers as well as the lyrics to songs and librettos. Above all, however, his letters contain evidence of his search for new librettos in the existing liter- ary texts and numerous traces of his attempts to invite contemporary writers, poets and playwrights to collaborate on musico-dramatic works. The letters written to several eminent representatives of mid-century Polish literature are a testament to Moniuszko’s ambitious intentions. The contents of those letters also confirm that it was difficult for the composer to find a writer who would collabo- rate with him as the author of the lyrics to a musico-dramatic piece. The article also presents a collection of Moniuszko’s librettists, which includes the best writers and playwrights of the time. The most remarkable of Moniuszko’s works are well-written in terms of lyrics, which is a proof of the effectiveness of the composer’s efforts and, in the context of the popularity of his works, also of the significance of his achievements, not only for music, but also for the literature and literary culture of the nineteenth century.

PL

Artykuł dotyczy miejsca i znaczenia literatury w życiu i twórczości Stanisława Moniuszki, kompozytora tworzącego różne gatunki literacko-muzyczne – pieśni, opery, kantaty, oraz piszącego muzykę sceniczną do dramatów. Podstawą do analizy kontekstów literackich twórczości Moniuszki jest jego korespondencja, w której pojawiały się tematy literackie. Kompozytor pisał o ulubionych lekturach, poetach i pisarzach, o tekstach pieśni i librettach. Przede wszystkim pozostały w listach dowody na poszukiwanie librett wśród istniejących tekstów literackich oraz liczne ślady prób zaproszenia do współpracy przy dziełach dramatyczno-muzycznych pisarzy, poetów i dramatopisarzy współczesnych Moniuszce. Listy pisane do kilku wybitnych przedstawicieli literatury polskiej połowy XIX wieku świadczą o ambitnych zamiarach Moniuszki. Treść tych listów potwierdza również, jak trudno było kompozytorowi pozyskać do współpracy pisarzy w roli autora tekstu do utworu dramatyczno-muzycznego. W artykule przedstawiona została galeria librecistów Moniuszki, wśród których znaleźli się najlepsi pisarze i dramatopisarze epoki. Najwybitniejsze dzieła Moniuszki są utworami z udaną warstwą literacką, co jest dowodem na skuteczność zabiegów kompozytora, a w kontekście popularności jego twórczości – także na znaczenie dorobku Moniuszki nie tylko dla muzyki, ale również dla literatury i kultury literackiej.

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O warstwie treściowej spektakli baletowych – wokół problemu recepcji i transformacji kulturowych tematów libretta

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Reglińska-Jemioł A.

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tom 26: ERRARE HUMANUM EST. BŁĘDY W BADANIACH HUMANISTYCZNYCH, ICH RODZAJE I KONSEKWENCJE

314-328

EN

The connection between dance and the written word (literature) in classical ballet performances seems particularly close. The starting point for the production of such events could be a literary idea. This is because it is the written libretto which constitutes the dramatic foundation of ballet. The development of the art of ballet saw the emergence of a dominating tendency to shorten and simplify action, so that it captures the attention of the viewer and keeps tension up until the end, thus maintaining a continual interest in the meaning of the dance. Over time, the libretto itself would turn out to be a certain form of inspiration for free choreographic interpretations. The complexity and evolution of ballet themes become apparent in the context of cultural shifts, social attitudes and the aesthetics of a given era. In theatre criticism, it is notable that the status of libretto is inadequately specified, as its reviews seem to be based on ambiguous criteria. This is why, from a scholarly perspective, it is interesting to explore loose adaptations and distant reminiscences of these topics. Such an exploration provokes questions relating to possible ‘fortunate errors’, and the effects thereof, in the context of interpretation.

3

Libretto jako (u)twór. Zagadnienia genologiczne i metodologiczne – zarys problematyki

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Walczak J.

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nr 22

89-100

EN

This article deals with issues connected with defining the libretto in the light of genre classification and the function that libretti perform as part of musical compositions. Libretti, which are marginalized by both literary theory and musicological research, are considered to be dependent texts even though most libretti are compositionally complete and can be analyzed by using the concepts of literary theory. At the same time, although the libretto is not an independent genre, it has its own subgenres which are identified based on the subject matter, function and structural properties (e.g. tragedy, comedy and farce).

4

Integrating Music with Fiction: Ian McEwan’s Libretto for Michael Berkeley’s Opera For You

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Popiel M.

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nr 22/1

45-56

EN

The article undertakes to prove that Ian McEwan is an ambitious and versatile writer who is not afraid of experimenting with forms which are on the borderline of literature and other arts. It presents McEwan as a literary artist having a wide professional knowledge of music. The analysis focuses on McEwan’s opera libretto For You which is a problematic work for any literary analysis as, being a multimedia narrative text type, it stands on the borderland between literature and music. The article analyses the interdependence of these two spheres considering the libretto as a complex artistic text – which refers to music at various interpretation levels: the language, style, plot and construction – and sheds new light on the narrative complexities of the text/music interaction.

5

O możliwościach czytania dzieła operowego

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Wypych-Gawrońska A.

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nr 24

377-389

PL

Elżbieta Nowicka’s book Zapisane w operze. Studia z historii i estetyki opery (Wydawnictwo Poznańskie 2012) [Written in opera. The studies from history and aesthetics of opera] is an attempt to read the ideas, myths and idioms of culture enshrined in works of opera from the 17th to the 20th century. This process of registering takes place on several levels of operatic works: in the librettos, the music and in their staging. It is thanks to these that operas often prove to be the most interesting expression of the presence of myths and ideas in culture, and Elżbieta Nowicka’s book encourages the reader to return to such works.

6

Od postaci do głosu. O librettyzacji współczesnego dramatu

85%

Karasińska M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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nr 42

77-96

EN

The analyses presented in the article reverse the traditional course of studies which assume that the poetics of a dramatic text is instrumentally superior to that of the libretto. In order to adapt the hypothesis that contemporary drama is increasingly libretto-like, inserted into its structure is, excerpted by opera theatre researchers, the libretto poetics treated as a genealogical directive specific to the genre which differentiates it from the “third kind” in its classical expressions. The breakup of the basic categories constituting a drama ( character, dialogue and plot ) brings it visibly closer to the traditional operatic libretto with features characterised by Albert Gier, among others. The post-dramatic aesthetics adapted by contemporary opera and drama, which removes the character or reduces it to a voice treated merely as a medium, absolutising the way a word sounds and the poetics of a transsystemic remix all result in the emergence of a common aesthetics of the stage chimaera genre.

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Inojezična kazališna radionica: prednosti trivijalnoga žanra u dramsko-kazališnom pristupu

85%

Kodrić Gagro A.

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2018

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tom 18

EN

Theatre workshop as a foreign language teaching tool: advantages of “trivial literature” in the dramatic-theatrical approach The aim of this paper is to demonstrate the advantages of dramatic-theatrical approach to foreign language teaching as exemplified by the use of popular culture, namely an adapted television format (soap opera). In order to achieve this aim, the paper presents the characteristics of the genre that render it useful in foreign language education. The genre’s usability in practical work is exemplified by two successfully implemented theatre workshops. The first one was organized in the Croaticum Centre for Croatian as a Second Language at the Faculty of Humanities and Social Studies, University of Zagreb, in 2006, for students of Croatian as a foreign language. The second workshop was held in 2010 at the Institute of Western and Southern Slavic Studies at the University of Warsaw for students of Bulgarian as a foreign language. Both workshops achieved excellent results in raising language competencies of foreign language speakers. Considering the continued presence of the mentioned genre in popular culture, its use in teaching does not lose its relevance. Warsztat teatralny w nauczaniu języka obcego: zalety literatury popularnej w podejściu dramatyczno-teatralnym Celem artykułu jest wykazanie zalet dramatyczno-teatralnego podejścia do nauki języków obcych na przykładzie kultury popularnej, czyli adaptowanej formy telewizyjnej – telenoweli. Aby osiągnąć ten cel, przedstawiono cechy gatunku przydatne w nauce języków obcych. Przykładami użyteczności podejścia w praktycznej pracy są dwa pomyślnie zrealizowane warsztaty teatralne. Pierwszy z nich został zorganizowany w Centrum języka chorwackiego jako obcego „Croaticum” na Wydziale Nauk Humanistycznych i Społecznych w Zagrzebiu w 2006 roku dla studentów języka chorwackiego jako obcego, a drugi w Instytucie Slawistyki Zachodniej i Południowej Uniwersytetu Warszawskiego dla studentów języka bułgarskiego jako obcego w 2010 roku. Oba warsztaty osiągnęły doskonałe wyniki w podnoszeniu kompetencji językowych osób posługujących się językami obcymi. Biorąc pod uwagę stałą obecność wspomnianego gatunku w kulturze popularnej, jego użycie w nauczaniu nie traci znaczenia.

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Vater einer Tochter? Zur Figur Kühleborns im Opernlibretto "Undine" von Albert Lortzing

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Kosacka M.

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2022

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tom 16

31-44

EN

Recognizing the libretto as a “fully literary problem”, the author analyzes the text of Albert Lortzing’s opera Undine. The subject of the analysis is the father of the title character – the water spirit Kühleborn. His image is constructed with reference to the image of the father of the first half of the nineteenth century and according to Lortzing’s opera convention. The analysis of the libretto aims at proving the thesis that the central character of the opera is Kühleborn, not the title character Undine.

PL

Uznając libretto za „w pełni literaturoznawczy problem”, poddaję analizie tekst opery Ondyna (Undine) Alberta Lortzinga. Przedmiotem analizy jest postać ojca tytułowej bohaterki – ducha wodnego Kühleborna, postaci skonstruowanej w odniesieniu do obrazu ojca w pierwszej połowie XIX wieku oraz w konwencji operowej Lortzinga. Analiza libretta jest ukierunkowana na udowodnienie tezy, że centralną postacią opery jest Kühleborn, nie tytułowa bohaterka Ondyna.

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Cyganie sentymentalni i romantyczni (Kniaźnin – Moniuszko)

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Seweryn A.

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2016

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tom 22: Warunkiem trwałości jest przemiana. Parafrazy, kontynuacje i aluzje literackie

70-86

EN

The paper focuses on the libretto "Jawnuta" by Stanisław Moniuszko, interpreting it in the context of theory of intertextuality as a type of hypertext created primarily from "Cyganie" [Gypsies] by Franciszek Dionizy Kniaźnin, as well as from pieces by Józef Korzeniowski, Kazimierz Brodziński, Jan Nepomucen Jaśkowski, Edmund Wasilewski, Władysław Syrokomla and Jan Czeczot. The author is particularly interested in the mechanisms of romantic reinterpretation of a drama of an 18th century sentimentalist. Therefore, first she analyses the works by Kniaźnin, indicating his pionieering character in Poland and how deep-rooted he was in the ideology of the European Enlightenment. Thenshe confronts her observations with the work by Moniuszko, extracting the conventions of romantic exoticism and individualism characteristic to substantial parts of the libretto "Jawnuta" and thus presents how romantic stereotypes of a Gypsy and the Gypsy culture modified the meanings inscribed in the Enlightenment’s text.

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Motyw podróży jako element narracji tanecznej – próba rekonesansu zjawiska w świetle wybranych tematów spektakli baletowych XVIII wieku

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Reglińska-Jemioł A.

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nr 2

97-109

EN

The art of ballet in the Enlightenment era was a perfect tool of socio-cultural communication. It has fulfilled the curiosity of knowledge of “new worlds”, also referring to images preserved in the audience’s memory thanks to earlier readings (thepopular topic was the theme of Telemachus’ voyage). Moreover, introducing exoticelements, foreshadowed the upcoming changes in the form of stage presentation. Theliterary record of ballet landscapes, remained on the pages of the librettos, exists asan important source for research into the history of theater, as well as a testimonyto the culture and aesthetics of the age of lights.

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Chrystus na Górze Oliwnej op.85 Ludwiga van Beethovena. Próba introspekcji (część II)

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Dudek M.

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nr 3

149-168

EN

Ludvig van Beethoven, well-known in music circles mainly due to his instrumental achievements, was indeed vividly interested in vocal-instrumental field. The focal point of his studies of the works of his predecessors , baroque and classicism masters, was the interrelation between the text and the score. The first Klangrede study was the oratorio entitled Christ on the Mount of Olives Op.85, the libretto by F.X. Huber. However, neither the Vienna audience nor the composer himself were contented with it. Thorough changes (in 1804 and 1811) resulted in implementing numerous elements from the Fidelio opera but the work still remained unsatisfying.

PL

Ludwig van Beethoven, znany w kręgach muzycznych głównie z dorobku instrumentalnego, żywo interesował się twórczością wokalno-instrumentalną. Studiując dokonania swoich poprzedników, mistrzów baroku i klasycyzmu, starał się zrozumieć relację między tekstem a muzyką. Pierwszym studium Klangrede okazało się oratorium Chrystus na Górze Oliwnej op.85 do libretta F.X. Hubera. Wiedeńscy melomani, podobnie jak sam kompozytor, nie byli z utworu zadowoleni. Po gruntownych przeróbkach w 1804 i 1811 roku, w trakcie których Beethoven przeszczepił wiele elementów z opery Fidelio, ostatecznie dzieło nie okazało się zadowalające.