El teatro del Siglo de Oro en el fondo Orsi de la Biblioteca Estense de Módena

This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.

Availability of public theaters for persons with disabilities

Accessibility is a prerequisite for participation in social life. The possibilities of a person with disability and environmental barriers determine the level of accessibility in various areas of cultural life. The degree of infrastructure adaptations and less visible symbolic interactions have a significant impact on the possibility of social participation and access to cultural artifacts by people from groups at risk of social exclusion. Theater is an area of art, an inseparable element of which is a meeting, and thus openness to what is different, conditions for establishing dialogue and performative interaction. In the Polish theater of recent years, the context of disability is more and more often perceived as a subject of artistic creation. The article discusses institutional theaters constituting significant culture-forming centers in individual regions and taking part in international festivals. The formal infrastructural availability of theatrical spaces to the needs of people with disabilities and the adaptation of the cultural offer to perceptive capabilities of people with different disabilities were analyzed. Other activities related to the social phenomenon of disability were also indicated, if it was possible.

Polityka teatralna w Polsce po transformacji ustrojowej

<p>Artykuł dotyczy organizacji życia teatralnego w Polsce po roku 1989. W okresie transformacji ustrojowej nastąpiły zmiany w zakresie funkcjonowania instytucji kultury, w tym i teatrów. Polityka państwa określana jest przez pojęcia decentralizacji czy dewolucji (odejście od monopolu państwowego, przekazywanie instytucji kultury władzom gminnym i samorządom wojewódzkim) i deregulacji (proces odchodzenia od kontroli państwa, ideologiczna niezależność instytucji kultury). Publiczne teatry w Polsce reprezentują model teatru repertuarowego, którego podstawą jest stały zespół aktorski. Wzrasta jednak liczba teatrów niepublicznych (teatry <em>non-profit</em>, zarejestrowane jako stowarzyszenia lub fundacje, nie nastawione na zysk i teatry komercyjne).</p><strong>Theater Policy in Poland after the Political-System Transformation</strong><p>SUMMARY</p><p>The article discusses the organization of theatrical life in Poland after 1989. During the political-system transformation there were changes in the operation of cultural institutions, including theaters The State policy is defined by the concepts of decentralization or devolution (departure from State monopoly, handing over of cultural institutions to gmina [commune] authorities or provincial self-governments) and deregulation (the process of departing from State control, ideological independence of cultural institutions ). Public theaters in Poland represent the model of repertory theater based on a permanent team of actors. However, the number of non-public theaters is growing (non-profit theaters registered as associations or foundations, and commercial theaters).</p>

Introduction

This book examines the role of marriage in the formation, maintenance, and disintegration of a premodern European diplomatic society. The argument develops in dialogue with the so-called English school of international relations theory, with its emphasis on the contemporary international system as a society of states sharing certain values, norms, and common interests rather than as an anarchy driven solely by power struggles. In studying the place of marriage diplomacy in questions of monarchical and national sovereignty, the book draws on interdisciplinary methodologies that have long characterized academic studies of queenship and, more recently, European diplomatic culture. It begins with Virgil, whose epic tells the story of Aeneas's marriage to Lavinia—the paradigmatic interdynastic marriage. It also considers the inseparability of marriage diplomacy from literary production. Finally, it discusses the factors that precipitated the disintegration of marriage diplomacy, including new technologies of print and the large public theaters for promoting diplomatic literacy.