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Co poza „muzycznością”? Kilka uwag o możliwych kierunkach rozwoju polskich studiów nad dźwiękiem teatralnym

100%

Guzy M.

nr 181-182

289-320

In the article, the author revisits the concept of the ‘musicality of theatre’, which, in his view, has dominated analyses of sonic phenomena in Polish contemporary theatre over the past two decades. His objective is to reconstruct the theoretical foundations of this term and to indicate possible directions for its expansion. Three areas are distinguished where new research fields concerning the audibility of Polish theatre can be identified, i.e. the materialistic understanding of performativity, the context of sound studies, and the multisensory nature of the theatrical experience. The author also raises questions about the possibility or necessity of introducing alternative concepts to ‘musicality’, pointing to some new phenomena and artistic practices while also addressing the issue of contrasting studies on theatrical sound with post-humanist perspectives.

Głos poety odzyskuje głos. O książce The Sound of Polish Modern Poetry: Performance and Recording after World War II Aleksandry Kremer

86%

Kucia-Kuśmierska K.

nr 1

58-73

The article summarizes the most important theses and interpretations contained in the book The Sound of Polish Modern Poetry: Performance and Recording after World War II by Aleksandra Kremer. First of all, it places the research achievements of the Polish-American literary scholar on the map of reflection related to sound studies and “philology of the ear”. Then, it points out what is particularly new and revealing in Kremer’s proposal for voice-oriented literary research and the audiosphere in Polish poetry of the second half of the 20th century. The following parts of the article are a recapitulation of individual chapters devoted to the author’s “vocal performance” (Kremer coined the term to describe an author’s reading of their own poetry) of works from the post-war period: Miron Białoszewski, Zbigniew Herbert, Czesław Miłosz, Tadeusz Różewicz, Julian Tuwim, Aleksander Wat, as well as poetesses: Anna Kamieńska, Krystyna Miłobędzka, Halina Poświatowska, Wisława Szymborska and Anna Świrszczyńska. Kremer uses excellent literary and linguistic skills, supplying traditional humanistic methods with conclusions from the calculations of the Praat program, which analyzes pronunciation parameters. The author of The Sound of Polish Modern Poetry: Performance and Recording after World War II reveals to the reader the hitherto unrecognized world of sounds of Polish poetry of the second half of the 20th century. The poet’s physical voice is treated here as an element revealing the poetic “I” and illustrating the attitude towards his own poetry in general.

Rozporuplná interakce: o vztahu zvukových studií a literární vědy

58%

Filipowicz M.

nr 5

640-656

The aim of this article is to map out the mutual relations between literary studies and sound studies, which has rapidly developed as part of humanities worldwide over the last two decades. Sound studies are of an interdisciplinary nature, drawing on the achievements of various scientific disciplines, whereas literary studies definitely do not rank among the most influential kind. It should be noted that the relationship between the two disciplines is complicated, to say the least, if not downright aporetic. The question arises whether the perspective of sound studies is actually compatible with literary studies, or if it is not just another theoretical turn, which, apart from a few novel terms, will not actually bring anything new to literary studies that we did not already know.