- Polish-Japanese Academy
of Information Technology
Koszykowa 86 st.
02-008 Warsaw
www.pja.edu.pl - 0048 604981760
- Dr Jakub Karpoluk – culture expert, japanologist, art historian and curator, a graduate of Warsaw University (M.A.) and Polish Academy of Sciences (PhD), associate prof. at the New Media Arts Department, and the Japanese Culture Faculty of the Polish - Japanese Academy of IT, a lecturer at the In... moreDr Jakub Karpoluk – culture expert, japanologist, art historian and curator, a graduate of Warsaw University (M.A.) and Polish Academy of Sciences (PhD), associate prof. at the New Media Arts Department, and the Japanese Culture Faculty of the Polish - Japanese Academy of IT, a lecturer at the Institute of Art, Polish Academy of Sciences. Majoring in Japanese performing and visual arts, The Japan Foundation fellow at the Waseda University, a fellow of the Polish Academy of Sciences. He has studied traditional, Japanese nō theatre in the Kanze, Kita and Shimogakari Hōshō schools, co-directed, produced and performed in nō performances, in Poland, Japan, Germany, Austria and France including Tessenkai Nō Theatre in Tokyo, National Theatre in Warsaw and Odeon Theater in Vienna. Curated artistic projects at the Manggha Museum of Japanese Art and Technology, The Royal Łazienki Museum, The Fryderyk Chopin Institute and the National Film Archive, among others.edit
- Prof. Ewa Satalecka, Dean of the New Media Arts Dept. PJAITedit
Within the nō theatre repertoire, there exists a significant number of dramas concerning the nature and deeds of animals. Most of the nonhuman heroes are supernatural beings, the representative example might be the mythological lion... more
Within the nō theatre repertoire, there exists a significant number of dramas concerning the nature and deeds of animals. Most of the nonhuman heroes are supernatural beings, the representative example might be the mythological lion shishi – the hero of the play
"Shakkyō" (The Stone Bridge) by an unknown author. While the shishi has some realistic counterpart in the body of an actual lion, some other beasts seem to be purely fantastic, the example might be the chimaera like a fearsome, creature called nue – the hero of the play "Nue" (Monster Nue) by Zeami (1363?-1443?). The author of the paper shall examine the anthrozoological discourse that exists within the nō theatre. A close look will be taken at the acting techniques (kata), costumes, masks and wigs used by the shite actors in the process of creating the animal heroes onstage. Part of the author’s insights into nō is his own performing activities and fieldwork conducted in cooperation with no actors and troupes, including Tessenkai Nō Theater.
Key words: nō theater, real animals, supernatural animals, anthrozoology, kata
論文概要
「能における実在のそして超自然の動物」
能において、自然や動物の行為を扱う曲目は非常に多く見られる。非人間のヒーロー達のほとんどは超自然的な存在であり、その代表的な例としては作者不詳の『石橋』の主人公である神話的な獅子が挙げられるだろう。獅子が実際のライオンの体を写実的に模倣している要素がある一方で、完全に空想上の動物のような、例えばキメラのような恐ろし
い姿の鵺 – 世阿弥(1363?-1443?) による『鵺』の主人公なども現れる。
筆者は能に見られる人類動物学的側面を調査する。特に役者の演ずる技術（型）やシテ方によって用いられる装束、能面、冠り物など、舞台上に動物のヒーロー達を創り出すプロセスに着目する。筆者の考察の一部は、実際に彼自身の上演活動や、能役者や銕仙会をはじめとする団体との協力による実地調査に基づいている。
キーワード：能、実在する動物、超自然的な動物、人類動物学、型
"Shakkyō" (The Stone Bridge) by an unknown author. While the shishi has some realistic counterpart in the body of an actual lion, some other beasts seem to be purely fantastic, the example might be the chimaera like a fearsome, creature called nue – the hero of the play "Nue" (Monster Nue) by Zeami (1363?-1443?). The author of the paper shall examine the anthrozoological discourse that exists within the nō theatre. A close look will be taken at the acting techniques (kata), costumes, masks and wigs used by the shite actors in the process of creating the animal heroes onstage. Part of the author’s insights into nō is his own performing activities and fieldwork conducted in cooperation with no actors and troupes, including Tessenkai Nō Theater.
Key words: nō theater, real animals, supernatural animals, anthrozoology, kata
論文概要
「能における実在のそして超自然の動物」
能において、自然や動物の行為を扱う曲目は非常に多く見られる。非人間のヒーロー達のほとんどは超自然的な存在であり、その代表的な例としては作者不詳の『石橋』の主人公である神話的な獅子が挙げられるだろう。獅子が実際のライオンの体を写実的に模倣している要素がある一方で、完全に空想上の動物のような、例えばキメラのような恐ろし
い姿の鵺 – 世阿弥(1363?-1443?) による『鵺』の主人公なども現れる。
筆者は能に見られる人類動物学的側面を調査する。特に役者の演ずる技術（型）やシテ方によって用いられる装束、能面、冠り物など、舞台上に動物のヒーロー達を創り出すプロセスに着目する。筆者の考察の一部は、実際に彼自身の上演活動や、能役者や銕仙会をはじめとする団体との協力による実地調査に基づいている。
キーワード：能、実在する動物、超自然的な動物、人類動物学、型
Research Interests:
The International Cross-Cultural Art and Design Festival is devoted to visual communication, design, new technologies, and fine arts. At our academy, we do believe that the integration of global education is essential for students to... more
The International Cross-Cultural Art and Design Festival is devoted to visual communication, design, new technologies, and fine arts. At our academy, we do believe that the integration of global education is essential for students to develop the skills, knowledge, and dispositions needed for responsible participation in a civil society. The second year of the COVID-19 pandemic appeared to be causing difficulties within the academic community, but we do hope to recover soon and meet in person in Warsaw, at PJAIT, during the next edition of our festival.
Research Interests:
The cross-cultural workshops in arts and design, at PJAIT NEMA, provides a unique academic opportunity for students to learn from the professionals representing the European Union, Japan and the USA. The topics of 2020 edition include... more
The cross-cultural workshops in arts and design, at PJAIT NEMA, provides a unique academic opportunity for students to learn from the professionals representing the European Union, Japan and the USA. The topics of 2020 edition include visual identification, editorial illustration, design, fine arts, graphic novels and all kinds of sequential art.
The opening lecture, titled Design Including Information Support Features for the Children with Hearing Disability, will be delivered by prof. Fusako Kusunoki of the Tama Art University (Tokyo). The second keynote speaker is prof. Warren Lehrer of the School of Visual Arts (New York) who will present the lecture titled: COVID 19! THERE GOES MY CAREER—Not: Writing and Designing in the Face of Hard Times.
The Cross-Cultural Workshop Week is designed to promote positive interactions between professors and students that will facilitate future, students’ intercultural relations that occur in their daily lives and most likely, in their future careers. We also wish to integrate fine arts with design, IT technologies and liberal arts. This approach is a trademark of the New Media Arts Department of Polish-Japanese Academy of IT. The human experience is an increasingly globalized phenomenon in which people are continually being influenced by transnational, cross-cultural, multi-cultural and multi-ethnic interactions, including the exchange of visual symbols, representing different pictorial traditions. We do believe that the integration of global education is essential for students to develop the skills, knowledge, and dispositions needed for responsible participation in a democratic society and a twenty-first-century global community.
Facing the coronavirus pandemic, we have decided to perform all the lectures and workshops online.
The opening lecture, titled Design Including Information Support Features for the Children with Hearing Disability, will be delivered by prof. Fusako Kusunoki of the Tama Art University (Tokyo). The second keynote speaker is prof. Warren Lehrer of the School of Visual Arts (New York) who will present the lecture titled: COVID 19! THERE GOES MY CAREER—Not: Writing and Designing in the Face of Hard Times.
The Cross-Cultural Workshop Week is designed to promote positive interactions between professors and students that will facilitate future, students’ intercultural relations that occur in their daily lives and most likely, in their future careers. We also wish to integrate fine arts with design, IT technologies and liberal arts. This approach is a trademark of the New Media Arts Department of Polish-Japanese Academy of IT. The human experience is an increasingly globalized phenomenon in which people are continually being influenced by transnational, cross-cultural, multi-cultural and multi-ethnic interactions, including the exchange of visual symbols, representing different pictorial traditions. We do believe that the integration of global education is essential for students to develop the skills, knowledge, and dispositions needed for responsible participation in a democratic society and a twenty-first-century global community.
Facing the coronavirus pandemic, we have decided to perform all the lectures and workshops online.
Research Interests: Illustrations, Design, Illustration, Japanese Art, Cross-Cultural Collaborations, and 10 moreCross-Cultural Studies, Cross-cultural studies (Culture), Visual Arts, Comics and Graphic Novels, Cross-Cultural Communicaiton, Cross-Cultural Communication, Visual Systems for Information and Identification, Nihonga, Cross-cultural artistic relations, and Cross-Cultural Art Education
On October 20, 2007, in the historic Gakushi Kaikan building in Tokyo's Kanda district, I attended the gala screening of a restored copy of Kenji Mizoguchi's (1898-1956) Tōkyō kōshinkyoku (Tokyo March, 1929). On that day, the screening... more
On October 20, 2007, in the historic Gakushi Kaikan building in Tokyo's Kanda district, I attended the gala screening of a restored copy of Kenji Mizoguchi's (1898-1956) Tōkyō kōshinkyoku (Tokyo March, 1929). On that day, the screening room was in an elevated mood. The film's screening was the first part of the 35th anniversary of the creative work of Midori Sawato, the most outstanding artist, from the group of contemporary benshi - cinema narrators. Mizoguchi's film screening also marked the inauguration of the Talking Silents series, a DVD collection of early, silent, or partially sound Japanese films, accompanied by vocal narration by benshi - cinema narrators, and music once played in the screening rooms. The first two albums from the collection contained films by Kenji Mizoguchi, still considered in Japan as a master of cinema. These were, apart from the Tokyo March: Tojin Okichi (Geisha Okichi) from 1930, Taki no shiraito (White thread of a waterfall) from 1933, and Orizuru Osen (Osen - paper crane) from 1935. The last two of the aforementioned films are adaptations of short stories by Kyōki Izumi (1873-1939), a prose writer and playwright whose works entered the canon of Japanese literature 19th and the first half of the 20th century. The alliance of Izumi and Mizoguchi's creative forces created an image of the modern, urban existence of Japan in the Meiji period (1868-1912) and the decades after. In the case of all four films, their main characters are women, which I find noteworthy given Japanese society's patriarchal nature in the 1930s. In many of his works, the Japanese director focused on female characters, their moral choices, feelings, and social roles. Women play a prominent role in Kenji Mizoguchi's films.
Dwudziestego października 2007 roku, w zabytkowym budynku Gakushi Kaikan, w tokijskiej dzielnicy Kanda, uczestniczyłem w uroczystym pokazie odrestaurowanej kopii filmu Kenjiego Mizoguchiego (1898-1956) Tōkyō kōshinkyoku (Marsz tokijski), z 1929 roku. Na sali projekcyjnej panował tego dnia podniosły nastrój, pokaz filmu stanowił pierwszą część jubileuszu trzydziestopięciolecia pracy twórczej Midori Sawato, najwybitniejszej artystki, z grona współczesnych benshi – narratorów kinowych. Seans filmu Mizoguchiego znaczył także inaugurację serii Talking Silents, będącej kolekcją, wydaną na płytach DVD, wczesnych, niemych bądź częściowo dźwiękowych filmów japońskich, z towarzyszącą im narracją wokalną benshi – narratorów kinowych, oraz muzyką niegdyś graną na salach projekcyjnych. Co jest znamienne pierwsze dwie płyty z kolekcji zawierały filmy Kenjiego Mizoguchiego do dzisiaj uważanego, w Japonii, za klasyka rodzimej kinematografii. Były to, oprócz Marszu tokijskiego: Tojin Okichi (Gejsza Okichi) z 1930, Taki no shiraito (Biała nić wodospadu) z 1933 oraz Orizuru Osen (Osen - papierowy żuraw) z 1935 roku. Ostatnie dwa z wymienionych filmów są adaptacjami opowiadań Kyōki Izumiego (1873-1939), prozaika i dramaturga, którego utwory weszły na stałe do kanonu literatury japońskiej, końca XIX i pierwszej połowy XX wieku. Alians sił twórczych Izumiego i Mizoguchiego stworzył obraz nowoczesnej, miejskiej egzystencji Japonii okresu Meiji (1868-1912) oraz dekad późniejszych. W przypadku wszystkich czterech filmów ich głównymi bohaterkami są kobiety co wydaje mi się godnym uwagi biorąc pod uwagę patriarchalny charakter społeczeństwa japońskiego, w latach 30. ubiegłego wieku. Japoński reżyser, w wielu swoich utworach, skupił uwagę na postaciach kobiecych, ich wyborach moralnych, uczuciach oraz rolach społecznych. Kobiety odgrywają poczesną rolę w filmach Kenjiego Mizoguchiego.
Dwudziestego października 2007 roku, w zabytkowym budynku Gakushi Kaikan, w tokijskiej dzielnicy Kanda, uczestniczyłem w uroczystym pokazie odrestaurowanej kopii filmu Kenjiego Mizoguchiego (1898-1956) Tōkyō kōshinkyoku (Marsz tokijski), z 1929 roku. Na sali projekcyjnej panował tego dnia podniosły nastrój, pokaz filmu stanowił pierwszą część jubileuszu trzydziestopięciolecia pracy twórczej Midori Sawato, najwybitniejszej artystki, z grona współczesnych benshi – narratorów kinowych. Seans filmu Mizoguchiego znaczył także inaugurację serii Talking Silents, będącej kolekcją, wydaną na płytach DVD, wczesnych, niemych bądź częściowo dźwiękowych filmów japońskich, z towarzyszącą im narracją wokalną benshi – narratorów kinowych, oraz muzyką niegdyś graną na salach projekcyjnych. Co jest znamienne pierwsze dwie płyty z kolekcji zawierały filmy Kenjiego Mizoguchiego do dzisiaj uważanego, w Japonii, za klasyka rodzimej kinematografii. Były to, oprócz Marszu tokijskiego: Tojin Okichi (Gejsza Okichi) z 1930, Taki no shiraito (Biała nić wodospadu) z 1933 oraz Orizuru Osen (Osen - papierowy żuraw) z 1935 roku. Ostatnie dwa z wymienionych filmów są adaptacjami opowiadań Kyōki Izumiego (1873-1939), prozaika i dramaturga, którego utwory weszły na stałe do kanonu literatury japońskiej, końca XIX i pierwszej połowy XX wieku. Alians sił twórczych Izumiego i Mizoguchiego stworzył obraz nowoczesnej, miejskiej egzystencji Japonii okresu Meiji (1868-1912) oraz dekad późniejszych. W przypadku wszystkich czterech filmów ich głównymi bohaterkami są kobiety co wydaje mi się godnym uwagi biorąc pod uwagę patriarchalny charakter społeczeństwa japońskiego, w latach 30. ubiegłego wieku. Japoński reżyser, w wielu swoich utworach, skupił uwagę na postaciach kobiecych, ich wyborach moralnych, uczuciach oraz rolach społecznych. Kobiety odgrywają poczesną rolę w filmach Kenjiego Mizoguchiego.
Research Interests:
"Meiji no Nihon" (Japan of the Meiji Era) film collection is a unique and well-preserved anthology of films, shot in Japan in 1897 and 1898 by the cinematographers working for the Limière company. Among them were two Frenchmen:... more
"Meiji no Nihon" (Japan of the Meiji Era) film collection is a unique and well-preserved anthology of films, shot in Japan in 1897 and 1898 by the cinematographers working for the Limière company. Among them were two Frenchmen: François-Constant Girel (1873-1952) and Gabriel Veyre (1871-1936) and one Japanese photographer and later on the cameraman Shibata Tsunekichi (1850-1929), the pioneer of filmmaking in Japan. The titles of many pieces, belonging to the collection, for example, "Kazoku no shokuji" (Family's Meal) or "Tōkyō no tetsudō eki" (Tokyo Train Station) speak for themselves. Motion pictures shot in Japan, during the significant years of 1897 and 98 simply made a spectacle out of daily life, of the late Meiji period. But, on their way cinematographers met performing artists: dancing geishas, shamisen players, troupes of wandering kabuki actors, even dancing Ainus. Motion pictures, depicting all of the performers in action could be seen as first fiction movies, made in Japan. The "Meiji no Nihon" films were the first cinematographic visions of Japan, which were meant to be shown in the European screening halls. That is why they were so important in the process of creating the image of Japan, in the West, in the turn of 19th. and 20th. centuries. Early cinema was rather a spectacle of attractions with less interest in telling stories. To some point, films of "Meiji no Nihon" collection are the examples of this early cinematographic paradigm.