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Субъектность персонажа как система приёмов и материя для дискурсивного пространства в «Сжигателе трупов» Юрая Герца, 2024
The purpose of the article is to offer an imagery analysis of Juraj Herz’s film The Cremator (196... more The purpose of the article is to offer an imagery analysis of Juraj Herz’s film The Cremator (1969) based on Ladislav Fuks’s novel (1967). Whereas filmic space organization follows the method of subjective narration and is mediated by the perverse structure of the protagonist, the study is primarily focused on the character and the methods of his filmic representation. However, an imagery of the filmic space in The Cremator overall is inseparably incorporated with protagonist’s characterization and therefore all arguments and conclusions about narrative structure and filmic manner and techniques refer equally to both.
The study approaches essential for the film issues of protagonist’s agency and structure with the methods delivered by psychoanalytic film theory, which besides allows a conceptualization of the film as a horror together with defining its features.
The key statement of the study is that the paradoxical imagery space of the film, which integrate incompatible with one another shocking and humorous registers, is based on the protagonist’s world perception and determined by his agency and structure with the core patterns, namely Biedermeier man moral, aptitude for mysticism and necrophilia.
«Санаторий под клепсидрой» Войчеха Ежи Хаса. Бытие и время в киноадаптации поэтической прозы Бруно Шульца, 2024
The article reviews the discursive filmic space of The Hourglass Sanatorium (1973), directed by W... more The article reviews the discursive filmic space of The Hourglass Sanatorium (1973), directed by Wojciech Jerzy Has as an act of comprehension of the concept of time through the medium of the memory phenomenon. The film brings up the question of capacity of an individual to have the power to determine their own past and thus the present. Special attention in the article is given to the matter of complex kaleidoscopic composition of the film. It is arranged as an assemblage of the key elements of its artistic space – which are defined here as the memory-images – layered one upon the other. From the perspective of the main character, they perform as almost material objects of apperception and thereby embody an idea of temporality itself. They invite to the self-reflection on matters of the world perception, agency, consciousness and the unconscious.
Романтизм и Конструктивизм в польском театре 1920–1930-х годов, 2024
In the 1920–1930s, Polish theatre was experiencing a turn to new comprehension of the practice of... more In the 1920–1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920–1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.
Художник и сценическое пространство в польском межвоенном театре. Спектакли «Стойкий принц» (1918) и «Небожественная комедия (1920), 2023
Due to the current circumstances of strong tendency to the perceptual forms of expression in thea... more Due to the current circumstances of strong tendency to the perceptual forms of expression in theatrical art, today, when a dramatic image and performative space in theatre often become a dominant idea for the whole production concept solution, an example of experience of stage designers, who stood at the origins of the spatial approach to a production, acquires importance.
The article reviews the phenomenon of development of the modern scenography in Polish theatre illustrated by work of one of the most remarkable artists of the XX century first decades, Wincenty Drabik. Two productions – The Constant Prince (1918, directed by Juliusz Osterwa) and The Un-Divine Comedy (1920, directed by Arnold Szyfman) – are chosen for the analysis of his practice, which embraced the significant for that time process of reinterpretation of stage setting art. Both spectacles were staged in Polski Theatre, which was created by Arnold Szyfman as the first Warsaw stage to meet the latest achievements of architecture, stage engineering, directing and scenography. The directorial concept of each play was based on a general artistic form of space, developed by stage designer.
A historical-theoretical analysis drawn from exploring printed (reviews, theoretical articles of the artist) and iconographic (production sketches) sources reveals the Drabik’s method. He understood a stage designer’s task dialectically and architectonically, first of all – as a process, which includes interdependent phases of project elaboration on paper and its realization on stage. Designing an audio-visual form of the play, making sketches, the artist aimed to the certain stage space, taking into consideration its capacity, potential and the material availability. While planning and developing the project, Drabik were designing an actor’s movements, an action dynamics, an interaction of the character with space according to the musical composition of the spectacle, developing a kind of directorial production script of the show.
Субъектность персонажа как система приёмов и материя для дискурсивного пространства в «Сжигателе трупов» Юрая Герца, 2024
The purpose of the article is to offer an imagery analysis of Juraj Herz’s film The Cremator (196... more The purpose of the article is to offer an imagery analysis of Juraj Herz’s film The Cremator (1969) based on Ladislav Fuks’s novel (1967). Whereas filmic space organization follows the method of subjective narration and is mediated by the perverse structure of the protagonist, the study is primarily focused on the character and the methods of his filmic representation. However, an imagery of the filmic space in The Cremator overall is inseparably incorporated with protagonist’s characterization and therefore all arguments and conclusions about narrative structure and filmic manner and techniques refer equally to both.
The study approaches essential for the film issues of protagonist’s agency and structure with the methods delivered by psychoanalytic film theory, which besides allows a conceptualization of the film as a horror together with defining its features.
The key statement of the study is that the paradoxical imagery space of the film, which integrate incompatible with one another shocking and humorous registers, is based on the protagonist’s world perception and determined by his agency and structure with the core patterns, namely Biedermeier man moral, aptitude for mysticism and necrophilia.
«Санаторий под клепсидрой» Войчеха Ежи Хаса. Бытие и время в киноадаптации поэтической прозы Бруно Шульца, 2024
The article reviews the discursive filmic space of The Hourglass Sanatorium (1973), directed by W... more The article reviews the discursive filmic space of The Hourglass Sanatorium (1973), directed by Wojciech Jerzy Has as an act of comprehension of the concept of time through the medium of the memory phenomenon. The film brings up the question of capacity of an individual to have the power to determine their own past and thus the present. Special attention in the article is given to the matter of complex kaleidoscopic composition of the film. It is arranged as an assemblage of the key elements of its artistic space – which are defined here as the memory-images – layered one upon the other. From the perspective of the main character, they perform as almost material objects of apperception and thereby embody an idea of temporality itself. They invite to the self-reflection on matters of the world perception, agency, consciousness and the unconscious.
Романтизм и Конструктивизм в польском театре 1920–1930-х годов, 2024
In the 1920–1930s, Polish theatre was experiencing a turn to new comprehension of the practice of... more In the 1920–1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920–1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.
Художник и сценическое пространство в польском межвоенном театре. Спектакли «Стойкий принц» (1918) и «Небожественная комедия (1920), 2023
Due to the current circumstances of strong tendency to the perceptual forms of expression in thea... more Due to the current circumstances of strong tendency to the perceptual forms of expression in theatrical art, today, when a dramatic image and performative space in theatre often become a dominant idea for the whole production concept solution, an example of experience of stage designers, who stood at the origins of the spatial approach to a production, acquires importance.
The article reviews the phenomenon of development of the modern scenography in Polish theatre illustrated by work of one of the most remarkable artists of the XX century first decades, Wincenty Drabik. Two productions – The Constant Prince (1918, directed by Juliusz Osterwa) and The Un-Divine Comedy (1920, directed by Arnold Szyfman) – are chosen for the analysis of his practice, which embraced the significant for that time process of reinterpretation of stage setting art. Both spectacles were staged in Polski Theatre, which was created by Arnold Szyfman as the first Warsaw stage to meet the latest achievements of architecture, stage engineering, directing and scenography. The directorial concept of each play was based on a general artistic form of space, developed by stage designer.
A historical-theoretical analysis drawn from exploring printed (reviews, theoretical articles of the artist) and iconographic (production sketches) sources reveals the Drabik’s method. He understood a stage designer’s task dialectically and architectonically, first of all – as a process, which includes interdependent phases of project elaboration on paper and its realization on stage. Designing an audio-visual form of the play, making sketches, the artist aimed to the certain stage space, taking into consideration its capacity, potential and the material availability. While planning and developing the project, Drabik were designing an actor’s movements, an action dynamics, an interaction of the character with space according to the musical composition of the spectacle, developing a kind of directorial production script of the show.