Teatr
Teatry Danuty Michałowskiej. Od Króla-Ducha do Tryptyku rzymskiego
Jacek Popiel
Książka Jacka Popielą poświęcona jest bogatej biografii osobistej i artystycznej Danuty Michałowskiej aktorki, reżysera, profesora zwyczajnego PWST im. Ludwika Solskiego w Krakowie, byłego rektora tej uczelni, autorki podręczników, tomiku poezji, znakomitych scenariuszy teatralnych, a także Honorowego Obywatela Stołecznego Królewskiego Miasta Krakowa, artystki, której sztuka interpretacji słowa została doprowadzona do granic doskonałości. Kreacje Michałowskiej w Teatrze Rapsodycznym i w Teatrze Jednego Aktora należą już do historii polskiej sceny.
Aristophanes
This is the comedy of the ancient Greek comedian Aristophanes, the earliest of his plays that have survived to this day. Together with Mir and Lysistrata refers to the anti-war comedies of the author. It refers to a citizen who was so tormented by the constant wars waged by his state that he made peace on his own behalf with all his neighbors, and while the rest fought and endured hardships and poverty, he lived calmly, profitably traded in general, everything to envy.
Aristophanes
Pisfeter manages to convince the birds that their mission is to rule the world. According to his idea, the bird city of Tucekukuyshchyna is being built between heaven and earth; birds give wings to Pisfeter and Evelpid, Pisfeter becomes the ruler of the new city and puts into effect a plan whose goal is to take power from the Olympic gods. Birds intercept the smoke from the sacrifices that the gods feed on, persuade people to honor the birds as new gods and promise them protection for this.
Aristophanes
The old farmer Strepsiad is in debt because of his son Fidippida, squandering money for equestrian sports. Strepsiad seeks help from a neighbor the sage of Socrates; Having come to the thought room, where Socrates teaches young people, Strepsiad asks to teach him tricky speeches and evasions, which would allow not to repay debts. But Strepsiad turns out to be unsuitable for science, and then Fidippid goes to study instead
Aristophanes
The game begins with Praxagora leaving the house on the Athenian street before dawn. She wears a fake beard and mens clothes, and she carries a cane and a lit lamp. A chorus of Athenian women enter one on one, all dressed in a similar costume. In order to be more convincingly courageous, some women developed tans and stopped shaving armpits. One woman brings a full basket of yarn in order to get the job done, as the assembly replenishes, to which Praxagora reports to her for this decision, as this will ruin their cover.
Aristophanes
Aristophanes is revered as the father of comedy. He wrote over forty works, of which eleven reached us. Centuries have passed, but the comedies of Aristophanes continue to live. The political events that Aristophanes criticized in his works have long faded into the past, but the author enjoys the inexhaustible comic ingenuity of the author, his wit and ingenious courage with which he derives the funny from everything that he touches.
Nikolai Vasilievich Gogol
The play is about a petty official Khlestakov, who does not stand out for anything special. He is traveling from St. Petersburg on business with his servant, they stop in one county town, where there was a rumor that the inspector will visit the city soon. Khlestakov, by chance and human imprudence, is mistaken for an auditor who decided to remain incognito. From that moment, all city officials are looking for an opportunity to stay in good standing, give him a bribe so that nothing bad happens.
Aristophanes
Knighs are not just equestrians: the whole estate was called in Athens those who had enough money to keep a war horse. These were wealthy people, had small estates outside the city, lived on their income, and wanted Athens to be a peaceful, closed agricultural state. The poet Aristophanes wanted peace; therefore, he made the riders the chorus of his comedy.
Maxim Gorky
Like Byrons passionate sayings sounding on the tones of a wild and completely unsophisticated melody, this is Gorkys crazy, unbridled, powerful voice when he sings about the madness of the brave, barefoot dreamers who are proud of their idleness, who have nothing and fear nothing who is cheerful in his suffering, but unhappy in his joy.
Anton Pavlovich Chekhov
The story of a boy Egor, who goes from his home to a gymnasium located in another city. This trip is the last event before the start of a new life away from mother and familiar places. Nothing unexpected happens on the way, but at the same time, there is a constant change of landscapes and moons of Egor, meetings with new people, both ordinary and of noble origin. The boy is a witness to the life of people whose path also lies through the steppe.
Aristophanes
This bold statement by Euripides is an absurd premise on which the whole game depends. Women are outraged by the image of the female as crazy, murderous and sexually depraved, and they use the Thesmophoria festival as an opportunity to discuss a suitable choice of revenge, Fearing their abilities, Euripides seeks out his tragic friend Agathon in the hope of convincing him to spy on him and become his protector at the festival a role that, of course, would require him to disguise himself as a woman.
Aristophanes
Old Philokleon was so addicted to attending court hearings that his son Bdelikleon locked him in the house and stretched a net around the house. He wants to ensure a quiet life for his father, but Philokleon does not at all want peace. Hes a cocky, like a choir made up of his old friends, judges, and he likes to convict. The choir appears on the stage in wasp costumes and tries to help Philokleon slip away, but Bdelikleon prevents this.
Anton Pavlovich Chekhov
A short story about an unhappy involuntary marriage. Family quarrels, like bad weather in the Russian wilderness: there is nothing worse than becoming an involuntary captive of a blizzard of someone elses spousal abuse. The main character of the story is an ordinary woman with an unfortunate fate. All its features consist only in youth and attractive appearance, and in the still alive soul, which writhes under the weight of the cargo that has landed on it and stubbornly does not want to die, does not want to give up, and everything continues to wait for someone or something. Her husband, a miserable man, considers his wife a witch.
Maxim Gorky
The stories, united under the name Through Russia, were originally printed by M. Gorky in various periodicals and collections. In the series of short stories In Russia. M. Gorky refers to the image of the past in order to illuminate the paths to the future. The writer reflected the harsh truth of the life of little great people, life-giving and decorating the earth with their labor.
Tian Han. U źródeł nowego teatru chińskiego
Lidia Kasarełło
Udając się dzisiaj do teatru w Chinach, mamy do wyboru różne style, gatunki i sztuki różnych autorów. Możemy poddać się urokowi opery pekińskiej, kantońskiej lub jeszcze innej tradycyjnej formie widowiska muzycznego. Możemy jednak wybrać się do teatru, w którym nic oprócz języka nas nie zdziwi, do teatru nowoczesnego zarówno pod względem dramatopisarskim jak i inscenizacyjnym. Proces przejmowania i twórczego adaptowania na gruncie chińskim nowych wzorów teatralnych wiąże się bezpośrednio z Tian Hanem, którego powszechnie, w Chinach i za granicą, uważa się za "ojca nowoczesnego teatru chińskiego". Dlatego też on właśnie jest główną postacią w tej książce.
Tort Marcello. Kultury fanowskie w teatrze XIX wieku
Agata Łuksza
Opis książki: Mocno czekoladowy tort Marcello, który na specjalne okazje pojawia się na polskich stołach, powstał jako hołd dla warszawskiej aktorki, Heleny Marcello, związanej z Teatrami Warszawskimi przez ponad czterdzieści lat - od 1879 do 1923 roku. Choć nie sposób dziś ustalić oryginalnej receptury tego odświętnego ciasta, w jego nazwie zachowało się uwielbienie, którym obdarzano artystkę, przetrwała fascynacja i entuzjazm, jakie budziła - ona sama i jej gra sceniczna. Tort Marcello to zatem jeden z historycznych śladów po teatralnych kulturach fanowskich, które wyłaniały się na ziemiach polskich w XIX i na początku XX wieku. Książka Tort Marcello odzyskuje wczesne doświadczenia i praktyki fanowskie - pomimo że stanowiły one ważny element polskiego życia teatralnego, zostały uznane za zbyt błahe, by o nich pamiętać. Jest opowieścią o dziewiętnastowiecznych teatromanach i teatromankach, miłośnikach i miłośniczkach gwiazd scenicznych i przedstawień teatralnych, ujawniającą sploty między historią teatru i historią fanostwa. Kim byli dziewiętnastowieczni fani i fanki? Jak przedstawiały ich ówczesne media? Jak okazywali swoją pasję? To podstawowe pytania, które padają w Torcie Marcello. Agata Łuksza Agata Łuksza - kulturoznawczyni z zacięciem historycznym. Pracuje w Instytucie Kultury Polskiej Uniwersytetu Warszawskiego. Autorka Glamour, kobiecość, widowisko. Aktorka jako obiekt pożądania (Warszawa 2016) i artykułów publikowanych m.in. w "Didaskaliach", "Pamiętniku Teatralnym" oraz "Theatre Journal".