Browsing by Author "Firlej, Agata"
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Item In matters of taste, there can be no disputes. Elements of Camp in Fráňa Šrámek’s play »Léto«(Komisja Slawistyczna PAN, Oddział w Poznaniu, IFS UAM, Wydawnictwo PRO, 2013) Firlej, AgataIn this sketch I am going to focus on the presence of elements of Camp aesthetics in the Fráňa Šrámek’s drama Léto, written and staged in 1915. Dandyism became popular at the turn of the 19th and 20th century in Czech culture and it would be the most crucial reference point to the Campy attitude. As a „local text” of the Czech decadentism, it took a place of bohemianism. In this sketch I understand Camp as a type of aesthetic avant-garde sensu largo, based on democratic tendency and on a fight against the given taste, analogues in many regards to the phenomenon it is against.Item Kwestia niesmaku. Czeski kamp(Komisja Slawistyczna PAN, Oddział w Poznaniu, IFS UAM, Wydawnictwo PRO, 2015) Firlej, AgataIn this essay I propose to consider ‘kamp’ style – on the example of chosen phenomena from the Czech culture – understood as a universal act of rebellion against the dictatorship of the so-called „good taste“ and as a pressure of „Dionysians“ on exclusive company of „aristocrats of the spirit“. If the history of art is actually the history of changing taste, the ‘kamp’ current must be the perpetual and protean phenomenon. I propose to treat kamp as a type of avant-garde gesture in the broad sense, based on the trend of democratization, in many respects analogous to the phenomenon against which it acts (this is characteristic for each revolution and for her brother: carnival). Ostentation, mocking rejection of the canon and dismantling of the dominant determinants of taste become the methods of fight. Artistic kitsch, mannerism, parody or subversive practices are the most frequent expressions of kamp. In the essay I present the work of artists from Czechoslovakia and the Czech Republic after World War II: photographer Jan Saudek, film duo Oldrich Lipský and Jiří Brdečka, playwright David Drábek and showman Daniel Nekonečný, considering it as a socially committed acts carried out in the framework of the „revolution of disgust “.Item Mácha w awangardowym teatrze E. F. Buriana(Wydawnictwo Rys (nr 1), 2011) Firlej, AgataThis essay is devoted to the Czech avant-garde stage-adapter from the 1930's and 1940's, Emil František Burian and his theatre D34 (also called “Dečko”). Burian adapted the output of the romantic poet, Karel Hynek Mácha, for the stage, using it to explore and express his conception of avant-garde theatre. In the words of Burian, Mácha was the “Czech Shakespeare”, far from any realism, so the meaning of his output, staged in the traditional, realistic theatre, was distorted. Trying to find the right way of staging Mácha, Burian finds his own idea of the new theatre, inspired by the conceptions of the Russian stageadapters Vakhtangov and Tairov. The most important categories in the Burian’s theatre were: motion, light and music. Burian was looking for a way to translate the language of unrealistic, romantic literature into the modern language of theatre. In cooperation with M. Kouřil and J. Lehovec he created what was known as Theatergraph, which began the era of “multimedia” performances. Burian’s modern conceptions of actor’s play also inspired others.Item Nieobecność. Ujęcia Szoa w czeskiej dramaturgii(Wydawnictwo Naukowe UAM, 2016) Firlej, AgataThe book offers an attempt of the deepened review and analysis of Shoah representation in the Czech drama and theatre. The main body of the work is devoted to Arnošt Lustig’s, Arnošt Goldflam’s and Jiří Kolář’s output as well as to Hanuš Hachenburg’s, Felix Porges’, Zdeněk Eliáš’s and Jiří Stein’s dramas written in Theresienstadt during the war. The author discusses the selected thea-tre performances and presents other recent, Czech, Slovak and Polish theatrical projects about the Holocaust. The authors of dramas that are the subject of interest in the main body of the book are derived from three different, yet representative environments in the Czech social landscape of the early years after the Shoah. Lustig is a survivor; Goldflam belongs to the ‘second generation’ as a descendant of survivors; Kolář is a Czech bystander. The history of the Shoah is myth-creating and also fits in with the existing myth. The titles of the chapters in this study refer to the structure of a Greek tragedy, so to the theatre and to the myth: the story of immutable roles and migratory mo-tives. In the tragedy of the Shoah representation eternal themes return: fate, anagnorismos, catharsis, however it becomes clear that after the Shoah these categories are reinterpreted. This book shows the process of its reinterpretation using tools derived from lacanism.Item O „ukrytym” w prozie Michala Ajvaza i Piotra Pazińskiego(Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, 2013) Firlej, AgataIn this essay I juxtapose the output of Michal Ajvaz and Piotr Paziński, analyzing it as a similar literary strategy of metaphorising the concept of "re-start" in the history of culture. The starting point is a similar phenomenon in North American literature, described by Eliot Weinberger, who uses a (not explicitly declared) psychoanalytic methodology. Key references, in addition to the modernist inspiration, are also: the urban text, the Talmudic imaging, the phenomenon of memory / palimpsest and the (im)possibility of artistic representation of the Holocaust.Item Poznań–Prague–Giessen research cooperation in the area of representation and reception of Shoah in Central European literatures and cultures(Komisja Slawistyczna PAN, Oddział w Poznaniu, IFS UAM, Wydawnictwo PRO, 2015) Firlej, AgataItem Życie po wybuchu. Refleksy transformacji w czeskiej dramaturgii po 1989 roku(Komisja Slawistyczna PAN, Oddział w Poznaniu, IFS UAM, Wydawnictwo PRO, 2012) Firlej, AgataNiniejszy esej poświęcony jest analizie czeskich, teatralnych refleksji na temat rzeczywistości po transformacji politycznej. Przegląd wybranych sztuk, powstałych w latach 1994-2006, zawiera krótkie literaturoznawcze opracowania tekstów M. Bambuška, L. Baláka i J. Topola, dopełnione uwagami na temat dzieł D. Drábka i M. Urbana. Skatalogowano powtarzające się w sztukach wymienionych autorów motywy: czekania na barbarzyńców, poczucia epistemologicznego i społecznego chaosu, neotrybalizmu i spustoszenia w dziedzinie międzyludzkiej komunikacji (kryzys języka). Pomocną kategorią, wywodzącą się z amerykańskiej socjologii, jest backlash: stan po wybuchu. Backlash jest stanem psychologicznym (również w sensie psycho- logii społecznej), który skłania do podejmowania decyzji nieracjonalnych i niebezpiecznych, służących wyłącznie zniesieniu poczucia niepewności i tęsknoty. Ten stan obserwują i komentują wymienieni autorzy sztuk teatralnych.