scholarly journals „Nie ptak, nie samolot, a dziewczyna”. Wizje kobiecej dorosłości w Lekkiej księżniczce George’a MacDonalda i jej adaptacji na musical Tori Amos i Samuela Adamsona

2019 ◽  
Vol 1 (2) ◽  
pp. 209-227
Author(s):  
Natalia Kuc
Keyword(s):  
National Theatre ◽  
Tori Amos

W artykule poddano analizie baśń George’a MacDonalda Lekka księżniczka (1864) i jej musicalową adaptację wystawioną w 2013 roku na deskach Royal National Theatre w Londynie. Autorami libretta są dramatopisarz Samuel Adamson i pio­senkarka Tori Amos, która napisała również muzykę na potrzeby spektaklu. Jed­nym z głównych tematów baśni jest dojrzewanie księżniczki pozbawionej ciężaru i zdolności odczuwania smutku, a także jej proces stawania się w pełni ukształto­waną dorosłą kobietą. Autorka artykułu wykazuje podobieństwa i różnice między oryginałem powstałym pod koniec XIX wieku a jego adaptacją z początku XXI wieku i ich związki ze schematami baśni ludowej. Analiza pozwala nie tylko zba­dać wizję dorosłości, którą przedstawia w swoim dziele MacDonald, lecz także wy­kazać, w jaki sposób mogły się zmienić definicje dorosłości i kobiecości na prze­strzeni stu lat znaczących dynamiczny rozwój praw kobiet. Jak dowodzi autorka, w przeciwieństwie do MacDonalda, który świadomie przetwarza wiele baśniowych wątków, Adamson i Amos wprowadzają do tekstu współczesne elementy, nie inte­grując ich z adaptowaną baśnią literacką czy też jej ludowymi inspiracjami. Jed­nocześnie, chcąc stworzyć nowoczesną, feministyczną wersję XIX-wiecznej baśni, Adamson i Amos nierzadko osiągają skutek odwrotny do zamierzonego.

Theatrology, the New Cultural Management School in Romania

2018 ◽  
Vol 8 (2) ◽  
pp. 255-273
Author(s):  
Ivona Tătar-Vîstraş
Keyword(s):  
Higher Education ◽  
Secondary School ◽  
Labour Market ◽  
Paradigm Shift ◽  
Cultural Management ◽  
National Theatre ◽  
New Directions ◽  
Management School

Abstract We are witnessing a paradigm shift regarding the theatrologist’s position in the Romanian theatre environment. While, until recently, theatrology meant cultural journalism, this definition is no longer sufficient or attractive for secondary school graduates. Romania’s higher education offer has changed increasingly in the last years, in the attempt to keep up with the requirements of the labour market; the solution was provided by the area of cultural management. Every last faculty in this sector covers the new direction of study and research. This article seeks to investigate the existing educational offers, which should allow an understanding and a new complete image of the theatrologist in Romania; in our opinion, this image will have an increasing impact on the national theatre community, shaped, of course, by the new directions of study.

scholarly journals The Development of the National Theatre in Chile to 1842

Hispania ◽  
1959 ◽  
Vol 42 (1) ◽  
pp. 141
Author(s):  
Frank Dauster ◽  
Margaret V. Campbell
Keyword(s):  
National Theatre

scholarly journals Ninety-Five Years of National Theatre in Sofia

2000 ◽  
Vol 25 (2) ◽  
pp. 129-132
Author(s):  
Vassil Stefanov
Keyword(s):  
National Theatre

Costume at the National Theatre, with introductions by Dr Aoife Monks, Foreword by Rufus Norris (2019)

2020 ◽  
Vol 5 (2) ◽  
pp. 273-275
Author(s):  
Patricia Lennox
Keyword(s):  
National Theatre

Review of: Costume at the National Theatre, with introductions by Dr Aoife Monks, Foreword by Rufus Norris (2019) London: National Theatre in association with Oberon Books Ltd, 207 pp., ISBN 978-1-78682-975-7, p/bk, £25/$29.95

‘Communal Hellenism’ and ancient tragedy performances in Greece (1975–95): The ritual quest

2021 ◽  
Vol 7 (1) ◽  
pp. 69-103 ◽  
Author(s):  
Efthymios Kaltsounas ◽  
Tonia Karaoglou ◽  
Natalie Minioti ◽  
Eleni Papazoglou
Keyword(s):  
Audience Reception ◽  
Collective Consciousness ◽  
National Theatre ◽  
Modern Greek ◽  
The Press ◽  
Cultural Movements ◽  
Definition Of ◽  
Folk Ritual ◽  
Ancient Drama ◽  
Of Greece

For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled – and as such: ritualized – in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past. Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective – consciousness – a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.

Which Fiddler Calls the Tune? The Playboy Riots and the Politics of Nationalist Theatre Spectatorship

1998 ◽  
Vol 39 (2) ◽  
pp. 39-52 ◽  
Author(s):  
Mary Trotter
Keyword(s):  
William Butler Yeats ◽  
Nationalist Movement ◽  
National Theatre ◽  
Irish Drama

In October of 1903, The United Irishman, a leading newspaper of the Irish nationalist movement, published an essay by William Butler Yeats entitled “The Irish National Theatre and Three Sorts of Ignorance.” Yeats wrote this essay after an infuriated nationalist community protested the Irish National Theatre Society's production of John Millington Synge's play, In the Shadow of the Glen. In response to Yeats's admonishment of the nationalist movement for putting politics over aesthetics in their creation and judgment of Irish drama, Arthur Griffith, the editor of the newspaper, added some remarks of his own:Mr. Yeats does not give any reason why if the Irish National Theatre has no propaganda save that of good art it should continue to call itself either Irish or National. If the Theatre be solely an Art Theatre, then its plays can be fairly criticized from the standpoint of art. But whilst it calls itself Irish National its productions must be considered and criticised as Irish National productions.

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