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Rzetelność dziennikarska. Postać dziennikarza we współczesnych tekstach teatralnych
Flader-Rzeszowska, Katarzyna (Wydawnictwo Diecezjalne Adalbertinum, 2022)
The article discusses the figure of a journalist presented in the contemporary drama scripts. The author analyzes how consistent journalists are, if they observe professional ethical standards and if they treat their profession as a calling and mission or only a way of making a living. The analysis of three dramas – Witaj Barabaszu by Jarosław Jakubowski, Powrót do Reims by Beniamin Bukowski and Wolny strzelec by Ishbel Szatrawska – suggests that the journalists featuring in the dramas treat their profession as a way of creating reality, manipulating facts along with their reception, taking advantage of guests and informers to present a subjective account of events. When preparing the materials, they fail to maintain integrity, especially the principle of being unbiased and objective. The descriptions of the journalists indicate a loss of public confidence in media-related professions. Many current journalists have ceased to be thoughtful professionals and turned into being entertainment providers, manipulators or celebrities. The theater seems to hyperbolize this situation to put the problem in the spotlight and encourage a public debate.
Strategies for Communicating the Sacred in “A Study on Hamlets” by the Chorea Theater
Flader-Rzeszowska, Katarzyna (Wydział Teologiczny UKSW w Warszawie, 2017)
“A Study on Hamlets”, directed by T. Rodowicz and W. Raźniak, makes use of different strategies for communicating the sacred. It shows the sacred as decontextualized, brought out of the temple and treated like a gadget, an attractive item for sale for a modern consumer. According to the creators of “A Study on Hamlets”, the signs and sacred symbols are increasingly only a hollow form, simulacra without reference. Also, the production shows the infringed sacredness of death. Coffins-outdoor toilets, careless washing of dead bodies, mass graves or summary exhumations desecrate death, take away its profundity and grandeur. In the Raźniak’s and Rodowicz’s vision, religious symbols are dying, since their relationship with the group for which they mean anything has come to an end. In the world of the dissipating sacred, only songs have the power to save, telling about the most difficult things, upholding the distinction into the sacred and the lay.
Szczęście i jego fantomy w ekranizacjach Teatroteki
Flader-Rzeszowska, Katarzyna (Wydział Teologiczny UKSW w Warszawie, 2018)
Artykuł koncentruje się na realizacjach filmowych najnowszych utworów polskich dramatopisarzy produkowanych przez Wytwórnię Filmów Fabularnych i Dokumentalnych w ramach cyklu Teatroteka. Spektakle poruszają najbardziej palące zagadnienia współczesnego człowieka. Pytają o jego wartości i cele. Tym samym, wielokrotnie stają się namysłem nad sensem życia i opowieścią o poszukiwaniu szczęścia. Artykuł skupia się na ostatnich dziesięciu produkcjach, ze szczególnym uwzględnieniem zagadnienia szczęścia. Dowodzi, że w najnowszej dramaturgii bohaterowie to częściej osoby nieszczęśliwe, którym różne braki biologiczne, psychologiczne, społeczne, a zwłaszcza negatywne relacje rodzinne przeszkadzają w osiągnięciu trwałego zadowolenia z życia. Postaci pozbawione wolicjonalnego działania szukają łatwych do zdobycia złudzeń szczęścia, które zwykle zasłaniają im szczęście realne i możliwe do osiągnięcia.
The Aesthetics of Dream and Fairly Tale at the Service of a New Russia Founding Myth. The Opening Ceremony of Sochi Olympics 2014
Flader-Rzeszowska, Katarzyna (Wydział Teologiczny UKSW w Warszawie, 2014)
The article is dedicated to decoding signs and symbols that were included in the artistic performance at the opening ceremony. The author starts with rendering a definition of a fairy tale and with the terms and conclusions proposed by Bruno Bettelheim, in the Konstantin Ernst's show, the author unveils elements of a fairy-tale aesthetics: theme, delivery, protagonists, objects, and the aim. Also, the artistic performance bears many features of the poetics and language of a dream, which correspond with the works of Erich Fromm dedicated to this topic. The aesthetics of a dream and a fairy tale used in the show are utilized, as the author maintains, to create a founding myth of "new Russia" under the governance of Vladimir Putin. Subjectively selected elements from history, use of symbols, music, historic and literary figures, pieces of art, colors - all of these were the ingredients of the base of Russia's founding myth, a state reborn after the demise of the Soviet Union. The author argues that the show which opened the athletes' Olympic competition was an element to build an image of imperial Russia, a performance in the service of the state propaganda.
Theological Tropes in Piotr Cieplak's Theatre
Flader-Rzeszowska, Katarzyna (Wydział Teologiczny UKSW w Warszawie, 2015)
In contemporary art, seemingly far from religious or faith-related affiliations, one can find many theological tropes: hidden values, symbols and motifs. Being focused on existential issues, touching upon the problems of suffering, dying, longing and love, theatre is still open to getting engaged in a dialogue with theology. Piotr Cieplak, one of the contemporary theatre directors that is worthy of greater attention, uses the language of “verging realities”, i.e. in his performances, he refers to the notions from the realm of theology. He is interested in such issues as faith, doubt, trust, hope and salvation. One of Cieplak’s inspirations at work is the thought of Tomasz Halik, an outstanding Czech theologian. His deliberations contained in the book “Cierpliwość wobec Boga” (“Patience With God”) can be a key to interpreting “Słomkowy kapelusz” performance. This French farce dressed with T.S. Elliot’s poetry and read through the theological lens of Tomasz Halik becomes a story of patient waiting for an unnamed mystery. Here, Cieplak refers to the apophatic theology where God is described as the presence of Absence, a being impossible to embrace or label in any way. From this perspective, “Słomkowy kapelusz” is a story of a man who knows that he is an actor in the big theatre of the world, who believes, doubts, ask questions, longs but is unshakably waiting on the threshold of the mystery.