The article reconstructs the final three years of film censorship activities in the Polish People’s Republic. The author understands the term “censorship” not only as the activities of the Main Office for the Control of the Press, Publications and Performances but also of state cinema institutions. Therefore, the subject is both censorship interference in films and the programming policy of Polish People’s Republic-era cinema in relation to politically controversial films (documentaries and live-action films). The author situates his analysis in the political context (10th Congress of the Polish United Workers’ Party in 1986), institutional context (Cinema Act issued in 1987), and social context (the first elections in the Eastern Bloc that resulted in the communist government losing power, June 4, 1989).
O texto examina o ato de caminhar como prática inventiva e sua provável experimentação na festa de São Marçal em São Luís, Maranhão. Para isso, a pesquisa mira nas poéticas moventes, produzidas pelos grupos de Bumba Meu Boi, que apresentam as ocorrências sensíveis e especificidades estéticas da Festa de São Marçal, no que tange às demais festividades juninas ocorridas no estado. Além disso, aborda o corpo brincante, considera sua expressividade festiva e caminhante como estado de criação possível e evidencia uma poética inventiva, viva e vivida na temporalidade espiralar que produz trocas coletivas e experimentações caminhantes no acontecimento investigado.
Dans l’histoire de la musique occidentale, le statut de l’atelier – comme lieu du faire et lieu de transmission – semble inexistant. À première vue, il n’y a pas d’équivalent en musique des ateliers de sculpture et de peinture de la Renaissance, du baroque ou du XIXe siècle qui, progressivement, deviendront à la fois des lieux d’exposition et de fabrique de l’oeuvre. Cette histoire des ateliers d’artistes ne traverse pas de façon aussi visible celle de la fabrique des oeuvres musicales. Notre hypothèse est que cette histoire invisible de l’atelier musical est en partie due à la nature même de la musique, éclatée en plusieurs lieux et points d’écoute.
This article discusses the interactions between body and sound in the creative process characterized by the relation between dance, music and sonic experiments. Based on the production Peças Fáceis, by Pró-Posição Group, and Z, by Alejandro Ahmed, this study presents theoretical approaches between Dance Studies and Embodied Music Cognition fields. It also intends to discuss what happens to the bodily perception and mediation process in artists who dance, play musical instruments and produce vocal sounds. The analyzed plays, each one in its way, defend the idea that sound and movement are no-concluded processes crossed constantly by mutual and biocultural interactions with the environment.
This article covers the artistic achievements of Aleksandra Śląska (1925–1989), a Polish theatre and film actress remembered mainly for her portrayals of German women and aristocrats.The author focuses on the emergence of this typecasting of Śląska and counters it with a discussion of her less known professional image. The article offers an analysis of a wide array of Śląska’s diverse roles, from a part in Leon Kruczkowski’s drama Niemcy (Germans), through the title role in Henry de Montherlant’s La Reine morte and Blanche in A Streetcar Named Desire, to successful appearances in comedies, such as Elwira in Aleksander Fredro’s Mąż i żona (Man and Wife). The author shows that Śląska’s generation shaped Polish culture under the People’s Republic and contributed to the development of new media. Śląska co-created the Polish school of radio play, Polish school of dubbing, and Television Theatre. The article juxtaposes the myth of a cold, unapproachable actress with the image of a multi-talented interpreter exploring the complexity of human nature, a woman of the theatre active in a number of different areas.
Dramatic representation. The theater, The performing arts. Show business
In Meknes over the last decade a couple consisting of a man possessed by a female spirit and a woman possessed by a male spirit has established themselves in the context of spirit possession. The events comprising their individual life stories and marital relationship are extraordinarily closely integrated with their experiences with the world of the invisible. The alliance with the spirits provides a picture of their personal drama, which unfolds around their daily lives and ritual activities, and is also proposed to the wider community of adepts in possession cults as proof of their expertise as rites officiants. Hamid is possessed by a female spirit, Lalla Malika, which makes him a specially qualified officiant of female possession rites. Iman is possessed by David, a Jewish spirit, which gives her a double otherness, of both gender and religious affiliation
Anthropology, Dramatic representation. The theater
The author of the article aims at revising traditional approaches to the definition of classicism, viewing it as an intrinsically mobile and heterogeneous semantic system. On the example of the tragedy as a dominant genre, it reveals that the French theater of the 17th century may be seen from two perspectives: as a social and cultural phenomenon and as а system that functions and transforms itself through the author’s efforts. The mobility of this dramatic practice relates to the paradigmatical relationship between the “power” and the “author”. The power is understood both in the narrow political and in the wider textual sense (e.g. violence that reveals itself on the textual level). The author is seen as a writing agent who consistently develops her own principles of dramatic writing and discloses herself in the text through the figures of the drama’s personas and the structure as a whole. The article seeks to show how Corneille the playwright simultaneously succumbed to the prevailing classical tendencies of his time and tried to distance from them. With this purpose in view, the article examines in detail how the rhetorical structure of the tragedy Horace was built; in particular, this concerns interaction, via attracrion and repulsion, of two different discursive positions represented by Horace and Sabina.
Andrzej Pronaszko’s text in the current issue of Pamiętnik Teatralny is a previously unpublished account of the artist participation in the defence of Lvov in 1918. It is a part of the memoirs written by the artist in the 1950s, the manuscript of which is being kept in the collection of the Theatre Museum in Warsaw. Among other things, Pronaszko recalls how he fought for the Citadel and Main Post Office, how he helped to stop a military’s drinking bout in a villa in Sykstuska Street, and how, in recognition of his merits, he was sent to the critical Bem Sector with the mission to establish order and discipline among the soldiers. He also claims that he took command of the left wing and managed to regain possession of the Wolność (Freedom) Street. Andrzej Pronaszko’s notes are a valuable source for his biography and an addition to historical studies and literature devoted to the Defence of Lvov. They require, however, critical reading and careful comparison with other historical sources.
Dramatic representation. The theater, The performing arts. Show business
The article is constituted through the drift lines of a dance research group in Morro da Conceição, located in the port area of Rio de Janeiro. The drift and the affective occupation in-with the space are affirmed as gestures-fissure in the space-time of the city. It is proposed a research in dance that weaves the edge with other knowledge and practices, in the transit zones of the body with the world, and that affectively occupies some spaces of the city, creating new body-city graphs.
O artigo faz uma reflexão sobre a relevância da voz entendida como corpo em movimento. Este entendimento é, primeiramente, pensado à luz dos pressupostos de autores das artes cênicas, teatro e dança. Em seguida, foi lançada uma proposta de processo criador em dança que considerou a colaboração dos performers em seu percurso. A obra de dança foi desenvolvida com atores e teve a voz como principal elemento propulsor. Este trabalho buscou discutir um possível encaminhamento voltado para a pedagogia vocal de performers da cena.
Filipa Malva (Universidade de Coimbra – Coimbra, Portugal)
Um objeto do quoti- diano pode ser usado em performance como mediador entre a realidade do palco e a ficção da narrativa. Pode movimentar-se entre estes dois universos, permitindo aos performers percorrer a fronteira entre os espaços de representação e de ficção, tal como são definidos por Gay McAuley em Space in Performance – reposicionando mental e espacialmente a narrativa. O modo através do qual os performers conseguem esta modificação é através da manipulação da nossa percepção da função, escala, som e estética do objeto. O performer usa as características originais do objeto, como a cor, textura, forma e função, como pis- tas, reenquadrando-as, para estabelecer novas relações dentro da narrativa principal. Este processo de transformação cria uma relação fluída entre a dramaturgia e a cenografia, permitindo aos performers, cenógrafo, encenador e, claro, espectadores, partilhar uma criação teatral em emergência.
Ce texte envisage l’étude du théâtre comme une relation intersubjective entre les êtres humains et propose, dans cette perspective, un dialogue avec les recherches récentes en neurosciences cognitives. Il met en place une comparaison entre ces deux champs disciplinaires. Cette analyse comparative est guidée par la question: si l’acteur sur scène organise son propre système corps-esprit de manière différente, est-il possible d’étudier cette différence d’un point de vue neuroscientifique ? Pour tenter d’y répondre, l’auteur formule quelques hypothèses théoriques qui préparent et qui conduisent aux expérimentations : l’intention dilatée, l’ambigüité de l’acteur, la co-constitution de l’espace scénique et l’expérience performative du spectateur.
Estudo que se refere à influência que o pensamento de François Delsarte exerceu sobre os pioneiros da modernidade da dança. Tendo rejeitado os manuais da retórica gestual de sua época para realizar um estudo rigoroso do comportamento humano em situações de limite emocional, Delsarte estabeleceu princípios e sistematizou exercícios que permitiram aos pioneiros da dança moderna um método alternativo de interpretação e criação, mais centrado no sujeito e em sua relação com o ambiente, do que na cópia de um gesto autorizado pela tradição artística. De posse dos princípios de Delsarte os criadores modernos tomaram o corpo como matéria-prima de uma pesquisa que não mais se definia pelo vocabulário tradicional, mas sim pela busca de uma corporeidade subjetiva.