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2022, The European Journal of Theatre and Performance
The European Journal of Theatre and Performance (EJTP) is pleased to announce that the Journal will be moving from publishing one to two issues per year. This move marks an important step in the growth of EJTP and is inspired by the Journal's intention to offer authors the possibility to submit high-quality scholarly articles on a continual basis. Thus, from the fifth issue onwards, EJTP will start to alternate between a general Essays Section, for which contributions can be submitted freely, and a themed Essays Section, for which a Call for Papers on a specific theme will be issued, as EJTP has done so far.
STP Studies in Theatre and Performance
STP: STUDIES IN THEATER AND PERFORMANCE | S Goudouna Associate Editor (2008-2011)2008 •
Editors: Peter Thomson University of Exeter Kate Dorney Theatre & PerformanceCollections, Victoria & Albert Museum Associate Editors Andrew Wyllie University of the West of England Sozita Goudouna Royal Holloway, University of London
2019 •
In 2012 we published the first English-language edition of Didaskalia. We now present the second issue, containing a selection of texts printed in our magazine between 2011-2013. The articles and interviews chosen for publication present the key phenomena in Polish theater, as well as the current academic interests and methodological approaches to theater history and today’s theater in contemporary theater studies. We begin with texts that deal with the reinterpretation of the Jerzy Grotowski’s work. Grotowski, Women, and Homosexuals: Marginal Notes to the “Human Drama” might be seen as an extension of Agata Adamiecka-Sitek’s reflections on gender in Grotowski’s theater contained in the “The Gender of the Performer” (co-written by Weronika Szczawińska), found in the previous English-language issue. This time the critic analyzes Apocalypsis cum figuris (chiefly based on the recording of the performance), demonstrating the dramatization of the misogynist discourse of psychoanalysis and male homosexuality in the play. This work polemicizes with interpretations to date, and serves as a point of departure for discussions on Grotowski’s work and the methodology of researching the history of theater contained in Adamiecka-Sitek’s correspondence with Leszek Kolankiewicz. In the following part we publish texts dealing with the issue of “negative performativity,” which appeared in Didaskalia in the context of works by Judith Halberstam and Bojana Kunst. Joanna Jopek transplants this concept in the context of Polish visual and performative art by Oskar Dawicki, Joanna Rajkowska, and Cezary Bodzianowski, indicating the anti-political, critical potential of failure that it contains. An important point of reference in her study is a pair of interviews with Oskar Dawicki. In these conversations the author less illuminates the process of making the film Perfomer (devoted to his work) than gives extremely different responses to the same questions, continuing his game with the image of the artist. Part Three, on the other hand, is entirely devoted to new Polish theater, though it closely corresponds with the issues raised in the preceding sections. In the article “Embarrassing Performances by Losers: Counterhistories of Political Theater,” Marcin Kościelniak focuses on counterhistory theater projects, putting forward the thesis that they “are most insightful in our day in realizing the postulates of political art and are creating the most fascinating and vital movement in Polish theater.” Isolating three models of writing counterhistories for stage, the author analyzes projects by duos of dramaturgs and directors: Paweł Demirski and Monika Strzępka, Jolanta Janiczak and Wiktor Rubin, and Marcin Cecko and Krzysztof Garbaczewski. His theoretical reflections are supplemented by a conversation with Justyna Wasilewska on her work on the title role in Marcin Cecko and Krzysztof Garbaczewski’s Balladyna. The subject of creating the image of the artist returns in two more texts, where it is shifted into media discourse and its impact on the reception of art. In her article “Covered/Uncovered: Memory Games in the Promised Theater” Małgorzata Dziewulska examines promotional strategies in theaters and the media discourse that accompanied two chronologically remote premieres: Jerzy Jarocki’s Dream of the Sinless of 1979 and Krzysztof Warlikowski’s (A)pollonia of 2009. She points out that the discrepancy between the advertisements for the performances before the premiere and the final form of the plays affected the content of the reviews, and ultimately modified the plays themselves. Monika Kwaśniewska, in turn, analyzes Jan Klata’s strategies of self-depiction, tracing his statements in the media. Kwaśniewska wonders what happened to make Klata (presently the director of the National Stary Theater in Krakow) the face of the new political theater, thereafter evolving into the “specialist on Polishness,” an “expert” on national issues. The subject of the texts in the final section is the phenomenon of the choir in contemporary theater. The texts by Ewa Guderian-Czaplińska and Agata Łuksza on two projects by Marta Górnicka at the Theater Institute in Warsaw – [‘hu:r kobj+] (“[ˈkɔːrəs əv wɪmən]”) (a play made with amateurs, dealing with the place of women in culture) and Requiemmachine (a performance that uses pieces by Władysław Broniewski to comment on the neo-liberal labor model) – are summed up by a conversation with the artist. In the interview “I Sing the Body Electric” Marta Górnicka speaks of the concept of the choir, created by individuals. She calls the language in her play a kind of speech cleansed of psychology, recalling the sound of a computer or a machine. The director relates the process of creating a choir, and the work in creating a new actor/performer through training sessions during rehearsals. The motif of the theatrical chorus branches out into various themes, lending itself to feminist, historical, political, and aesthetic reflections, concerning the phenomenon of musicality in the theater.
This issue of Platform takes as its theme representations of the human, a topic that developed out of a symposium hosted by Royal Holloway’s Department of Drama and Theatre in 2011 entitled ‘Who Do We Think We Are: Representing the Human’.
The eJournal etum was a project between 2013 and 2015. It was an open Access Journal with a Double-Blind Peer Review. It was founded by Stefanie Kuhn, Ingo Jonas and Andreas Hudelist. Content: jan jagodzinski: The “Relations” of Relational Aesthetics within Altermodernity: Revisiting the Case of Nicolas Bourriaud Johannes Birringer: Audible and Inaudible Choreography Jenny Schrödl: Gender Performances. Theaterwissenschaftliche Perspektiven und Problematiken Zeigam Azizov: Watching Philosophy on YouTube Olaf Sanders: Bildung zum Bösen. Eine bildungsphilosophische Annäherung an die US-Fernsehserie Breaking Bad vom Theater aus
a list of my papers in this field (ordered in terms of sub-fields) including both published articles and Internet Working Papers designed to be revised and corrected over time.
2018 •
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Bulletin of the Society for Near Eastern Studies in Japan
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Predicting High-Impact Pharmacological Targets by Integrating Transcriptome and Text-Mining Features2016 •
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Analysis of a boundary layer flow over moving an exponentially stretching surface with variable viscosity and Prandtl number2019 •
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Circulation of foot-and-mouth disease serotypes, risk factors, and their effect on hematological and biochemical profiles among cattle and buffalo in Quetta, Balochistan, Pakistan2024 •
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Deep Metabolomic Profiling Reveals Alterations in Fatty Acid Synthesis and Ketone Body Degradations in Spermatozoa and Seminal Plasma of Astheno-Oligozoospermic Bulls2022 •
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Pengaruh Elemen Bauran Pemasaran Produk Pasta Gigi Sensodyne Terhadap Keputusan Pembelian Konsumen2013 •
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Maintaining Privacy in RFID Enabled EnvironmentsSapienza Organizacional
Las paradojas del liderazgo en el camino de la transformación digital2022 •