Teatr awangardowy i japońska Nowa Fala : przypadek Terayamy

2013
journal article
article
dc.abstract.enThe turn of the 50s in Japan is marked by a debut of a young generationof film and theater directors. Their artistic undertakings voiced an objection to an aesthetic tradition. Stage artists successfully cooperated with film makers as they shared a similar worldview, leftist sensitivity and their stance expressed the protest against political situation in the country. Film, like theatre, was used as a method of dealing with recent past, previous epoch’s militarism, and as a reflective tool, enabling contemplation over individual and national identity. In such a historical context a new kind of theater, called post-shingeki or Small Theaters Movement, rose to the surface. The purpose of this article, however, is not to discuss general characteristics of the then-current stage avant-garde but an analysis of a particular case, i.e. the works of Shūji Terayama whose most famous plays were staged at European festivals and by some were compared to works by Jerzy Grotowski and Peter Brook. For years Terayama remained a symbol of countercultural resistance as his shocking stagings and films, aroused controversy and outcry. The intention of the article is to present both sources of inspiration and cultural and political contexts that would facilitate a deeper understanding of Tarayama’s hermetic and problematic works whose purpose was to subvert art’s status in middle-class society, abolish constraints, and create a merger of theater and life.pl
dc.affiliationWydział Zarządzania i Komunikacji Społecznej : Instytut Sztuk Audiowizualnychpl
dc.contributor.authorLoska, Krzysztof - 101044 pl
dc.date.accession2016-03-22pl
dc.date.accessioned2014-09-27T09:20:21Z
dc.date.available2014-09-27T09:20:21Z
dc.date.issued2013pl
dc.date.openaccess12
dc.description.accesstimepo opublikowaniu
dc.description.number2 (27)pl
dc.description.physical40-58pl
dc.description.publication0,85pl
dc.description.versionostateczna wersja wydawcy
dc.identifier.eissn2544-3186pl
dc.identifier.issn1508-6305pl
dc.identifier.projectROD UJ / Ppl
dc.identifier.urihttp://ruj.uj.edu.pl/xmlui/handle/item/1504
dc.identifier.weblinkhttp://www.journals.us.edu.pl/index.php/ERRGO/article/view/2619pl
dc.languagepolpl
dc.language.containerpolpl
dc.rightsUdzielam licencji. Uznanie autorstwa - Na tych samych warunkach 4.0 Międzynarodowa*
dc.rights.licenceCC-BY-SA
dc.rights.urihttp://creativecommons.org/licenses/by-sa/4.0/legalcode.pl*
dc.share.typeotwarte czasopismo
dc.subtypeArticlepl
dc.titleTeatr awangardowy i japońska Nowa Fala : przypadek Terayamypl
dc.title.alternativeAvant-garde theater and the Japanese New Wave : the Terayama casepl
dc.title.journalEr(r)gopl
dc.title.volumeDialogi kinapl
dc.typeJournalArticlepl
dspace.entity.typePublication
dc.abstract.enpl
The turn of the 50s in Japan is marked by a debut of a young generationof film and theater directors. Their artistic undertakings voiced an objection to an aesthetic tradition. Stage artists successfully cooperated with film makers as they shared a similar worldview, leftist sensitivity and their stance expressed the protest against political situation in the country. Film, like theatre, was used as a method of dealing with recent past, previous epoch’s militarism, and as a reflective tool, enabling contemplation over individual and national identity. In such a historical context a new kind of theater, called post-shingeki or Small Theaters Movement, rose to the surface. The purpose of this article, however, is not to discuss general characteristics of the then-current stage avant-garde but an analysis of a particular case, i.e. the works of Shūji Terayama whose most famous plays were staged at European festivals and by some were compared to works by Jerzy Grotowski and Peter Brook. For years Terayama remained a symbol of countercultural resistance as his shocking stagings and films, aroused controversy and outcry. The intention of the article is to present both sources of inspiration and cultural and political contexts that would facilitate a deeper understanding of Tarayama’s hermetic and problematic works whose purpose was to subvert art’s status in middle-class society, abolish constraints, and create a merger of theater and life.
dc.affiliationpl
Wydział Zarządzania i Komunikacji Społecznej : Instytut Sztuk Audiowizualnych
dc.contributor.authorpl
Loska, Krzysztof - 101044
dc.date.accessionpl
2016-03-22
dc.date.accessioned
2014-09-27T09:20:21Z
dc.date.available
2014-09-27T09:20:21Z
dc.date.issuedpl
2013
dc.date.openaccess
12
dc.description.accesstime
po opublikowaniu
dc.description.numberpl
2 (27)
dc.description.physicalpl
40-58
dc.description.publicationpl
0,85
dc.description.version
ostateczna wersja wydawcy
dc.identifier.eissnpl
2544-3186
dc.identifier.issnpl
1508-6305
dc.identifier.projectpl
ROD UJ / P
dc.identifier.uri
http://ruj.uj.edu.pl/xmlui/handle/item/1504
dc.identifier.weblinkpl
http://www.journals.us.edu.pl/index.php/ERRGO/article/view/2619
dc.languagepl
pol
dc.language.containerpl
pol
dc.rights*
Udzielam licencji. Uznanie autorstwa - Na tych samych warunkach 4.0 Międzynarodowa
dc.rights.licence
CC-BY-SA
dc.rights.uri*
http://creativecommons.org/licenses/by-sa/4.0/legalcode.pl
dc.share.type
otwarte czasopismo
dc.subtypepl
Article
dc.titlepl
Teatr awangardowy i japońska Nowa Fala : przypadek Terayamy
dc.title.alternativepl
Avant-garde theater and the Japanese New Wave : the Terayama case
dc.title.journalpl
Er(r)go
dc.title.volumepl
Dialogi kina
dc.typepl
JournalArticle
dspace.entity.type
Publication
Affiliations

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