Podcasts about grotowsky

Les auteurs de bandes dessinées Geraldine Grotowsky et François Simard pilotent les éditions Nique à Feu, une structure basée dans la veille capitale qui publie l'excellent collectif La Flopée.Pour suivre les Éditions Nique à feu : https://bento.me/niqueafeuPour suivre Géraldine Grotowsky : https://www.instagram.com/geraldine_la_bd/Pour suivre François SImard : https://bento.me/francois-simardPour suivre Jean-Dominic Leduc : https://jeandominicleduc.ca- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -Abonnez-vous à l'émission sur l'une des plateformes :Spotify https://open.spotify.com/show/3ZhprkCF8gRnEWAf6Mvomm?si=HAq2AeXQT3CarVVUJQwTPAApple https://podcasts.apple.com/ca/podcast/entre-2-cases/id889041895YouTube https://youtube.com/playlist?list=PLjTd4G8_6wHr7RfylElv7PV0WTKZ92mC6&feature=shared

Entrevistem Daniel Naranjo, autor i director, Sara Soneira i Marçal Gene, intèrprets, de 'Repoblar l'ànima en temps de mascareta', producció de Maravilla Theater que va guanyar el Festival Mutis de teatre independent de Barcelona i s'estrena a la sala Dau al Sec del 13 al 17 de desembre de 2023. Aquest és un espectacle ritual de teatre corporal i performatiu basat en els principis de Grotowsky. Inspirat en un fet real esdevingut durant la pandèmia i la supervivència a la malaltia a nivell existencial i filosòfic. El públic acompanyarà en el viatge a quatre performers que posaran a prova el cos i les emocions, tot un repte d'interpretació que va més enllà. Ona Cultural teatre performance autor direcció metateatre textos interpretació producció festival Laura Clemente La Clem Cultura  Ona de Sants  Ràdio Hostafrancs 

Entrevistem Daniel Naranjo, autor i director, i Marçal Gene, intèrpret, de 'Repoblar l'ànima en temps de mascareta', producció de Maravilla Theater que va guanyar el Festival Mutis de teatre independent de Barcelona i s'estrena a la sala Dau al Sec del 13 al 17 de desembre de 2023. Aquest és un espectacle ritual de teatre corporal i performatiu basat en els principis de Grotowsky. Inspirat en un fet real esdevingut durant la pandèmia i la supervivència a la malaltia a nivell existencial i filosòfic. El públic acompanyarà en el viatge a quatre performers que posaran a prova el cos i les emocions, tot un repte d'interpretació que va més enllà. Ona Cultural teatre performance autor direcció metateatre textos interpretació producció festival Laura Clemente La Clem Cultura Versió reduïda de l'entrevista realitzada a Ona de Sants. Aquesta versió s'ha pogut escoltar per Ràdio Hostafrancs

Entrevistem Daniel Naranjo, autor i director, i Ivan Llinàs, assistent de direcció de 'Repoblar l'ànima en temps de mascareta', producció de Maravilla Theater que es presenta diumenge 19 de març a les 20h al recinte de la fàbrica de creació Fabra i Cotats, a la secció 'Mutis a escena' del XiV Festival Mutis de teatre independent de Barcelona. Aquest és un espectacle ritual de teatre corporal i performatiu basat en els principis de Grotowsky. Inspirat en un fet real esdevingut durant la pandèmia de COVID i la supervivència a la malaltia a nivell existencial i filosòfic. El director i dramaturg va estar hospitalitzat amb un quadre de neumònia. El públic acompanyarà en el viatge a quatre performers que posaran a prova el cos i les emocions, tot un repte d'interpretació que va més enllà. S'han hagut de preparar intensivament per a l'estrena en aquest festival que sempre té en compte l'originalitat de les propostes. Tenim moltes ganes de veure la peça i us la volem comentar posteriorment. Ona Cultural - teatre - performance - autor - direcció - metateatre - textos - interpretació - producció - festival - La Clem Cultura - MUTIS - El Podcast de Laura Clemente

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis' and ‘Dead Class' (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski's Akropolis and Kantor's Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jerzy Grotowsky and Tadeusz Kantor were influential in avant-garde theater in the West in the 1960s and 1970s, receiving high critical regard despite the fact that audiences could not understand the Polish language of the performances. In The Post-Traumatic Theatre of Grotowski and Kantor: History and Holocaust in ‘Akropolis’ and ‘Dead Class’ (Anthem Press, 2014), Magda Romanska bridges the disciplinary divides between theater studies and Slavic studies, between the history of Poland in the twentieth century and the history of avant-garde theatre, to place these works in a Polish and international context. Romanska asserts that critics and audiences in West, while appreciating the theater productions of Grotowski’s Akropolis and Kantor’s Dead Class, missed the “obscure, difficult, multi-layered, funny-sounding Polish glory, with all of the complex and convoluted contextual and textual details” of these works. She traces the Polish cultural and literary roots and the Jewish history and culture on which Kantor and Grotowsky drew. She also reveals how Polish audiences would have understood words, images and actions in these productions differently than audiences in the United States, France or Germany. In doing so, The Post-Traumatic Theatre of Grotowski and Kantor contributes to a deeper understanding of post-war Poland, its troubled engagement with the Holocaust and treatment of Polish Jewish citizens, and its interaction with the West. Learn more about your ad choices. Visit megaphone.fm/adchoices