Wrocławski teatr niezależny:
Literaturangaben
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawn. Uniwersytetu Wrocławskiego
2007
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
2999 Studia i materialy do historii teatru we Wrocławiu i na Dolnym Śląsku 1 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Zusammenfassung: | Literaturangaben |
| Beschreibung: | 253 S. Ill. |
| ISBN: | 9788322928769 |
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|---|---|
| adam_text | Independent
Theatre in
Wrocław
Summary
Today, we are witnessing the blossoming of independent and alternative theatre in
Wroclaw. Founders of several theatrical companies, who have started their activities
a decade ago, have gone through an interesting artistic evolution, specified the direction
of their artistic quest, worked out a recognisable theatrical language, and have achieved
recognition in Poland and abroad. The activities of directors and actors in Wroclaw is rep¬
resentative of the tendencies within Polish and European independent theatre. At the same
time, these artists are able to develop fully original projects, reflecting issues that are typi¬
cal of their city and region.
The present book focuses on the description and popularisation of the latest achieve¬
ments of independent Wroclaw companies and festivals. The book is targeted both at the¬
atre professionals and spectatores. As a description of current reality, the book deals with
the leading companies that contribute to the varied artistic landscape of the city.
In the Introduction, I offer a general description of contemporary alternative theatre
in Wroclaw, and briefly address the terminology of this current. In Part
1,
1 dedicate sepa¬
rate chapters to five theatre companies:
Maciej
Masztalski s Ad Spectatores Artistic Group,
Szymon Turkiewicz
Tailor s Shop Theatre, Sebastian Majewski s
Witkacy
Scene,
Grzegorz
Bral s Song of the Goat Theatre, and
Józef
Markocki s Form Theatre. The three former
groups represent a type of theatre close to drama theatre, whereas the latter two focus on
variously understood movement. In these chapters, I discuss the evolution of each group
chronologically, including the group structure (composition and seat) and selected perfor¬
mances, and list all premieres to date.
Ad Spectatores Artistic Group
(Grupa Artystyczna
Ad Spectatores, Chapter
1)
spe¬
cialises in the intensive exploration of new theatrical locations and environmental theatre,
based on a close actor-audience relationship. It mostly uses its own structured dramat¬
urgy, and a numerous, talented professional actor staff. Tailor s Shop Theatre
(Teatr Za¬
kład Krawiecki,
Chapter
2)
has become the company that most engages in current social
issues in Poland. In its repertoire, it often makes use of contemporary texts, as is the case
with institutional theatres. Director
Szymon
Turkiewicz also sets musical shows, and light¬
er, more popular forms. In its performances and animation projects, the
Witkacy
Scene
(Scena Witkacego,
Chapter
3)
addresses issues of the local community (the past and pres¬
ent of
Wrocław
residents), and looks for a new space for the community, performing site-
specific theatre. The Song of the Goat Theatre
(Teatr Pieśń Kozła,
Chapter
4)
is a labora¬
tory theatre in which work on a performance is a far-ranging experiment, preceded by tra¬
velling to exotic countries and meeting with tribal cultures. The company is the most wide¬
ly known internationally among
Wrocław
theatres, and functions as an important centre
Summary
235
for alternative culture as the organiser of the Brave Festival against cultural exile. The
Form Theatre
(Teatr Formy,
Chapter
5),
gathering actors, sports people and dancers, contin¬
ues the tradition of Polish mime theatre created by
Henryk
Tomaszewski, as well as that of
drama theatre and performance art.
Chapter
6
discusses other companies that have distinguished themselves through their
activities targeted not only at audiences but also practitioners
(ZAR
Theatre, which organ¬
ises workshops and concerts), or address the needs of narrow social groups
(Arka
Theatre),
as well as less active companies or centres, including those that have terminated or sus¬
pended their activities
(Kalambur
Theatre). Here, I list also companies that are only insti¬
tutionally independent, but do not create an artistic alternative. Chapter
7
discusses the
leading theatre reviews and festivals that feature alternative theatre or oppose it to other
phenomena from the world of theatre or other areas of the arts. This chapter also discus¬
ses the long-term activities of the Grotowski Centre, and presents the last works of
Jerzy
Grotowski. The venue has become a centre for young laboratory theatre, and Grotowski s
work remains an important reference for independent directors. Part
1
of the present book
(Chapters
1-7)
encompass a period starting in the early
1990s
up to the end of
2006.
Part
2
includes interviews with theatre artists. As contemporary theatre is doubtlessly
a director s theatre, I have interviewed the leaders of the five companies discussed in the
previous chapters, as well as
Krzysztof Kopka,
collaborator of two of the groups and direc¬
tor at subsided theatres. Room has also been given to women actively co-creating theatrical
companies, including set designer
Ewa Beata Wodecka,
and actresses Anna Zubrzycki and
Magdalena Engelmajer-Turkiewicz.
Interviews have focused both on strictly artistic and
organisational, economic and venue difficulties linked to the functioning of theatres.
The book is richly illustrated with pictures of theatrical performances, venues and the¬
atre posters.
In the Conclusion, I summarise the activities of theatres, showing the specific tenden¬
cies in the performances and the process of their preparation. I also list notes on persons
interviewed, focusing on their relationships with
Wrocław.
Translated by
Wojciech Bońkowski
Spis treści
Wstęp
......................................... 9
Część pierwsza
·
Teatry, festiwale, ośrodki
Rozdział I
·
Nowe przestrzenie teatralne
-
o Grupie Artystycznej Ad Spectatores pod
wezwaniem Calderona
.............................. 19
Rozdział
II
·
„Tu i teraz
-
spektakle Teatru Zakład Krawiecki
.......... 44
Rozdział III
·
Breslauerzy i wrocławianie
-
działania twórcze Sceny Witkacego
... 69
Rozdział
IV
·
Śpiew i ruch
-
o Teatrze Pieśń Kozła
................. 93
Rozdział
V
·
Pantomima współczesna, czyli Teatr Formy
.............. 113
Rozdział
VI
·
Inne zespoły i przedsięwzięcia niezależne
.............. 126
Rozdział
VII
·
Od Teatru Otwartego do Wrocławia
Non Stop.
Festiwale, przeglądy,
ośrodki
...................................... 147
Część druga
·
Rozmowy
„
Teatr
e
i
genius loci.
Rozmowa z Maciejem Masztalskim, liderem Grupy Arty¬
stycznej Ad Spectatores
............................. 173
Prostowanie gwoździ. Rozmowa z Krzysztofem Kopką, reżyserem i współpracow¬
nikiem Grupy Artystycznej Ad Spectatores, oraz Ewą Beatą Wodecką, sceno-
grafką
....................................... 177
Teatr miody dla młodych. Rozmowa z Szymonem Turkiewiczem, liderem Teatru
Zakład Krawiecki, i Magdaleną Engelmajer-Turkiewicz, aktorką
........ 185
„
Wrocław jest moim centrum świata
.
Rozmowa z Sebastianem Majewskim, twórcą
Sceny Witkacego, reżyserem, dramaturgiem, aktorem
............. 193
„
Teatr metafory poetyckiej . Rozmowa z założycielami Teatru Pieśń Kozła Grzego¬
rzem Brałem, reżyserem i dyrektorem artystycznym zespołu, oraz Anną Zubrzy-
cki, aktorką i pedagogiem
............................. 201
Nie tylko „pokazywactwo
.
Rozmowa z Józefem Markockim, założycielem Teatru
Formy, reżyserem, aktorem, mimem i choreografem
.............. 211
Zakończenie
...................................... 219
Noty biograficzne uczestników rozmów
....................... 226
Bibliografia (wybór)
.................................. 230
Summary
........................................ 234
Spis
tresei
Spis
ilustracji
..................................... 236
Indeks
nazwisk
..................................... 239
Indeks
teatrów, zespołów i ośrodków
......................... 246
Indeks spektakli i projektów teatralnych
....................... 249
Indeks festiwali i przeglądów
............................. 252
Nota edytorska
..................................... 254
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