Wyniki wyszukiwania - Biblioteka Nauki

1

Cross-border Cultural Tourism in Europe: Drivers for Cross-border Travels for the Performing Arts

100%

Tajtáková M. , Kopaničová J. , Francová Z.

|

tom 3

|

nr 9

118-126

EN

The aim of this paper is to examine the drivers for cross-border tourist exchanges between the two closest capitals in Europe - Bratislava (Slovakia) and Vienna (Austria). We focus on the field of cultural tourism in view of the cross-border visits to two major performing arts institutions - the Slovak National Theatre in Bratislava and the Staatsoper in Vienna. The basic question raised by the study is: What makes tourists travel for the performing arts? The paper presents partial results of a bigger research analyzing intercultural differences in perception of cultural products among different audiences.

2

I am a Child. Hypothesis on Spectator Pedagogy

88%

Kirkkopelto E.

Ethics in Progress

|

2011

|

tom 2

|

nr 2

EN

The paper consists of series of suggestions and historical references on the basis of which it would become possible to think and practice „spectator pedagogy” in performing arts. Contemporary performance practices can claim for new kind of political relevance by focusing on the way spectator´s corporeal experience changes during and through theatrical situation. Naive body produced by a performance is also most susceptible for thoroughgoing political and ecological change. This is the first outline by its author on this topic.

3

Taniec w pedagogice przygody. Rekonesans w literaturze

88%

Palamer-Kabacińska E.

Kwartalnik Pedagogiczny

|

2017

|

tom 62(2 (244))

204-220

PL

Outdoor and adventure education is an increasingly popular trend in education in Poland – nowadays it is manifested mainly in practical forms and only in non-formal education. In Western Europe and the USA, with developed research methodology and a long tradition, this trend can be called science. Outdoor and adventure education is a heterogeneous sphere, but it has several elements that are at the heart of the adventure education method. One of its main assumptions is working with a specific “adventure medium” through which the intended goals are achieved. The most popular are outdoor sports and tourism, but more and more often new means are used, for example those derived from the arts. It is manifested mostly in practical activities (which is natural, as this field developed out of practice, and its theoretical and research background was created later). The use of arts is two-dimensional. The first dimension is based on visual arts (handicraft, painting), most often linked to outdoor education, and their main goal is to build relationships with nature. The second, less popular dimension, focuses on the use of body expression (theatre, dance, movement). In Poland, this trend is not yet known, whereas in Western countries there have appeared some articles showing the value of using arts in this area of education. The purpose of this article is to show how arts, and body expression in particular, may be used in outdoor and adventure education activities.

4

Self-Censorship Between Self-Ridicule and Self-Reflection

88%

Jakimiak A.

|

2022

|

nr 168

200-232

EN

This essay investigates the notion of humour as a tool used to highlight the acts of self-censorship in theatre and performing arts and its subversive potential. By referring to the examples from the process of working on the Imaginary Europe performance directed by Oliver Frljić, the essay problematizes the acts of self-prevention committed by artists who decide to withdraw a certain figure of speech in order not to cause harm towards minorities or underprivileged groups. I revisit theories that tackle humour and reveal its complexity (Billig, McGowan and Zupančič), and I refer to the work of artists who combine humour with self-reflection in the process of undermining and questioning theatrical hierarchies and mechanisms of power.

5

Ekonomiczno-społeczne uwarunkowania popytu na dobra i usługi kultury oraz ich konsumpcji

88%

Malinowska I.

|

2013

|

nr 2(95)

175-199

EN

The paper contains the demand side of the market for cultural goods and services, with a focus on performing arts especially the analysis of their consumption from the demand theory, which attempts to explain the motives and consequences of consumers’ decisions. The consumption of cultural goods and services is determined by many factors, and their identification is the purpose of this study. Among them there are social determinants, including education and age of consumers and economic, such as price and income. The starting point for the analysis is fact that cultural goods and services in the economy are normal goods, so the demand for them increases with increasing consumer income and decreases with the demand decrease. They are also luxury goods, which means they are purchased only when the amount of income will satisfy customers’ basic needs. The paper contains also review of results of research conducted by foreign authors to demand determinants for cultural goods and services. Selected determinants are presented using statistical data on participation in culture of citizens of the European Union. However it was not possible to present an insightful analyzed of determinants and their dynamics because of limited availability of data.

6

Rozruchy badawczo-artystyczne w sztukach performatywnych: zbliżenie na taniec, ruch i choreografię

88%

Reznik Z. , Brelińska-Garsztka P. , Małkowicz-Daszkowska Z.

|

2021

|

nr 165

123-160

EN

The article addresses the issue of artistic research in the field of performing arts with a particular emphasis on movement, dance, and choreographic practices, set in the Polish context. The authors aim to identify and describe examples of artistic-research processes in the field defined above; to explore the specificity of AR practices and the contexts in which they are realised; to share tools, methods, and knowledge about them at the level of AR practices themselves and studies on AR. The paper is divided into 5 parts: 1) a definition of artistic research; 2) an auto-choreo-ethnographic reflection; 3) a spider-map of AR practices; 4) an in-depth analysis of three research-artistic processes (I: Przyszłość Materii (The Future of Matter) by Magdalena Ptasznik; II: Badanie/Produkcja (Research/Production) curated by Maria Stokłosa; III: a continuum of practices by Ania Nowak); 5) “interlacing” – a cross-sectional reflection. The structure of the narrative is based on two orders: a) a textual order – the main axis of the article; b) a graphic-mapping order – a complementary collection of visual-textual materials presented on the Research Catalogue platform.

7

Orgie et abstinence comme manifestations de l’excès dans Je suis sang de Jan Fabre

88%

Lăpădat B.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

|

2019

|

tom 11

221-244

EN

This research examines the manifestations of excess as a means oftransgression of societal and ecclesiastical rules in Je suis sang/ I Am Blood,conceived by Jan Fabre in 2001 for the Avignon Festival. The medieval set inwhich Fabre frames the theatrical performance causes the spectator to beconfronted with violence and radical corporeal images, making ecstaticexperience and torture impossible to separate. By surpassing all the limitsabusively imposed on their bodies, the characters in the show submitthemselves to transgression by exploring both debauchery and abstinence asrituals. In each of these cases, the bodies are always pushed to the limits inorder to avoid the boundaries externally imposed on them and thus gain theirdesired freedom. In this manner, we are witnessing the emergence of severaltypes of bodies, always in connection with blood: tortured bodies, erotic bodies,ascetic bodies, saintly bodies or demonic bodies. Our approach throughout theanalysis of excess and its corporeal manifestations is based on the concept oforgiasm as theorised by sociologist Michel Maffesoli [2010]. Our maintheoretical concern focuses on the distinction between hyper and hypo orgiasm,two extreme manifestations of the same phenomenon. We argue that orgiasm isnot only a form of liberation for the medieval body represented in Je suis sang,but also a ritual that solidifies the bonds within the group in view, leaving spacefor a form of communion otherwise impossible to achieve.

8

Quality attributes in the non-market stated-preference based valuation of cultural goods

88%

Wiśniewska A.

Central European Economic Journal

|

2019

|

tom 6

|

nr 53

EN

Evidence-based policies require well-established research and reliable data. One of the major difficulties in delivering such data for cultural policies lies in measuring culture, expressing its ephemeral nature in numbers and indicators, as research used to do in other sectors. Stated-preference based non-market valuation is one of the few tools able to reveal the benefits that cultural goods deliver to the society for cost–benefit analysis. The prevalent problem in this kind of studies is poorly defined, ambiguous goods. When attempting to define them, we cannot forget that the essence of art and culture, which is in itself worth measuring, is quality. The goal of the article was to review previous uses of quality measurements of arts and culture in stated-preference based non-market valuation research, most of which are dedicated to performing arts and cultural heritage.

9

Riots in Performing Arts Research: a Close-up of Dance, Movement and Choreography

75%

Brelińska-Garsztka P. , Małkowicz-Daszkowska Z. , Reznik Z. , Hoogslag M. , Brombley T.

|

2022

|

nr English Issue 2022

58-94

EN

The article addresses the issue of badania artystyczne (BA; literal translation: artistic research) in the field of performing arts, with a particular emphasis on movement, dance, and choreographic practices, and set in the Polish context. The authors aim to identify and describe examples of artistic research processes in the field defined above; to explore the specificity of BA practices and the contexts in which they are realized; to share tools, methods, and knowledge about them at the level of the BA practices themselves and of studies on BA. The paper is divided into five parts: 1) a definition of artistic research; 2) an auto-choreo-ethnographic reflection; 3) a spider-map of BA practices; 4) an in-depth analysis of three artistic research processes (I: Przyszłość Materii (The Future of Matter) by Magdalena Ptasznik; II: Badanie/Produkcja (Research/Production) curated by Maria Stokłosa; III: a continuum of practices by Ania Nowak); 5) ‘interlacing’ – a cross-sectional reflection. The structure of the narrative is based on two orders: a) a textual order – the main axis of the article; b) a graphics-mapping order – a complementary collection of visual-textual materials presented on the Research Catalogue platform.

10

The eightfold gymnastics of mind: a preliminary report on the idea and tradition of astāvadhāna

75%

Sudyka L. , Galewicz C.

Cracow Indological Studies

|

2012

|

tom 14

169-192

XX

The present paper stems from a field study initiated in 2006-2008 in Karnataka and Andhra Pradesh. It aims at drawing a preliminary image of the hitherto unstudied art of avadhāna (Skt.: ‘attentivness, concentration’) of which aṣṭāvadhāna (literally: eightfold concentration) seems to be a better known variety. The paper presents a selection of epigraphic and literary evidence thereof and sketches a historical and social background of avadhāna to go with a report on the present position of its tradition of performance as well as prevailing set of rules

11

Fenomen dialogu w sztuce widowiskowej i jego implikacje edukacyjne

75%

Żardecki W.

Studia z Teorii Wychowania

|

2018

|

nr 2 (23)

115-133

PL

Prezentowany tekst jest opracowaniem kulturoznawczo-pedagogicznym z nawiązaniem do wątków klasycznego kulturoznawstwa, pedagogiki dialogu i nauki o sztuce. Został zogniskowany wokół czterech tematycznych obszarów, tj. dialogu sztuki z rzeczywistością; dialogu sztuki z odbiorcą; dialogu sztuki ze sztuką; dialogu sztuki z praktykami życia społecznego. Ważnym przesłaniem analizowanej problematyki jest uchwycenie kontekstu życia sztuki oraz wyprowadzenie implikacji edukacyjnych.

EN

This paper seeks to demonstrate the cultural and educational aspects of dialogue drawing on classical culture studies, pedagogy of dialogue and the science of the arts. It focuses on four thematic areas: the dialogue of the arts with reality, the dialogue of the arts with the viewer, the dialogue of the arts with the arts itself, the dialogue of the arts with the aspects of social life. The underlying purpose of this paper is to contextualise the life of the arts and its educational ramifications.

12

Could a robot become a successful actor? The case of Geminoid F

63%

Fuoco E.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2022

|

tom 65

|

nr 2

203-219

PL

Czy robot może być dobrym aktorem? Czy może zbudować relację opartą na zrozumieniu i empatii z innymi aktorami lub widzami? Niniejszy artykuł oferuje zaledwie przebłysk, pierwszy ślad badań nad ważnym obecnie zjawiskiem, które ma wpływ na sztuki widowiskowe, a mianowicie integrację sztucznych agentów zarówno w procesie twórczym, jak i w przedstawieniu teatralnym. Problem zostanie przedstawiony na przykładzie androida Geminoid F, bohatera sztuki Sayonara (2010) japońskiego reżysera Orizy Hiraty. Jego twórcą jest ekspert robotyki z Uniwersytetu w Osace, profesor Hiroshi Ishiguro, który uczył anroida przez naśladowanie gestów profesjonalnej aktorki. Oglądanie androida jest specyficznym doświadczeniem estetycznym: z pozycji widza granica między człowiekiem a robotem jest niejasna. Geminoid F stał się bohaterką filmu o tym samym tytule, nakręconym w 2015 roku przez uznanego na całym świecie japońskiego reżysera Koji Fukadę.

EN

Could a robot be a good actor? Could it build an effective relationship of understanding and empathy with other actors or spectators? This paper offers just a glimpse, a first trace of research of a now important phenomenon that affects the Performing Arts, namely the integration of artificial agents both in the creative process and in the theatrical performance. It will be treated for this purpose by the example of the android Geminoid F, protagonist of the play Sayonara (2010) by Japanese director Oriza Hirata, created by Osaka University’s robotics expert Professor Hiroshi Ishiguro, whose gestures have been learned by imitating those of a real professional actress. Watching this android act is an alienating aesthetic experience: from the position of the audience, the boundary between human and robot is unclear. Geminoid F was chosen as co-star in the film of the same name, shot in 2015 by the internationally acclaimed Japanese director Koji Fukada, precisely because of her expressive qualities, as effective as those of a human actor, capable of arousing an empathic reaction in the viewer.

13

New Forms of Communities? The Constitution and Performance of Audiences in Digital Theater during the COVID-19 Pandemic

51%

Padberg K.

|

nr 3

145-163

PL

Pandemia COVID-19 pogrążyła wiele teatrów na świecie w okresowym kryzysie, równocześnie sprzyjając rozwojowi cyfrowych form teatralnych. Przedmiotem artykułu są zmiany w odbiorze teatru w przestrzeni cyfrowej, a przede wszystkim konieczność odrębnego ukonstytuowania się tam publiczności, rozumianej jako społeczny aspekt przedstawień teatralnych. Analiza performatywna dwóch cyfrowych produkcji teatralnych z Niemiec, Homecoming i Sterben, jest podstawą refleksji nad znaczeniem infrastruktury cyfrowej dla możliwych form gromadzenia się, doświadczeń i działań tego rodzaju publiczności teatralnej. Autor bada, jak publiczność może tworzyć różne tymczasowe wspólnoty w przestrzeni cyfrowej. Wspólnoty te odznaczają się hybrydycznością i umożliwiają intensywne spotkania teatralne pomimo fizycznego dystansu.

EN

The Covid-19 pandemic plunged many theaters around the world into a temporary crisis and favored the rise of digital theater forms. This article investigates how the reception of theater changes in the digital space and, above all, how audiences as a social dimension of theatrical performances must first be constituted separately there. Based on performance analysis of the digital theater productions Homecoming and Sterben from Germany, the significance of the digital infrastructure for the assembly, performance, and action repertoires of these theater audiences is discussed. The author examines how audiences can be formed into different temporal communities in the digital space. These temporal communities are characterized by hybridity and have the potential to enable intense theatrical encounters across spatial boundaries.