Alicja Kędziora

An Easy Little Story about What Others are Up To. Anecdote in Theatre History Studies

The aim of this article is to draw the attention to the formation process of the theatre history on the basis of the dominant perception of phenomena, relations between them and the oeuvre of the artists, which has been shaped by the selected research methods. The material, which constitutes the exemplification for the necessity of turning towards the unconventional readings of the sources seen as not so credible, is the autobiography, with the special focus on the anecdotes which are prevalent in it.

Glarrick Club and Players – gentlemen’s clubs of actorst

Gentlemen’s Club is an institution associating people of approximately the same social status, political preference, professional position, or interests, to which only previously accepted members can be admitted. London’s Garrick Club and New York’s Players Club are unique actors’ clubs in the world, which have specified precisely their professional activity profiles and which own collections of theatre memorabilia and conduct wide-scale charitable activity. Both organizations have similar management systems, a similar model of artistic activity, organization and promotion, as well as member recruitment system. Garrick and Players are one of the last places, where you can naturally come into direct contact with the XIX century culture, where beauty and uniqueness lies in constancy and preservation of the morality of the old days.

„Place of memory” in memory management on artist

The concept of the „place of memory” operates in many sciences, and the career of the term has led to the multiplicity of its definition. The article “Place of memory” in memory management on artist reconstructs its history, records the most important definitions, shows the differences between the conceptions. It also constitutes an attempt to justify the necessity of using the term „place of memory” in management sciences in the humanities and contributes to validate the need for the development of memory management in which such figures play a constitutive role.

The ability of perception and interpretation of photographs, a fundamental component of visual culture, is today indispensable cultural and scientific competence. This article is intended to define field of analysis and interpretation of the theatre atelier photography, with an emphasis on one of its features – documentarity. It is also an attempt to justify the need for a comprehensive study of the theater the second half of the 19th age and equal treatment of materials documenting the phenomenon.

RESTORING TO PADEREWSKI HIS HOUSE IN THE HOMELAND. THE MANOR HOUSE IN KĄŚNA DOLNA. THE PADEREWSKI CENTRE TARNÓW–KĄŚNA DOLNA
The Manor House of Ignacy Paderewski in Kąśna Dolna, which remains under the supervision of the Paderewski Centre, is a resiliently operating institution of culture which combines the functions of a biographical house and a concert centre. The manor house not only makes the composer’s residence accessible to tourists, but also organizes concerts, festivals and music workshops; it popularizes the knowledge of the artist, collects and publishes the documentation of musical activity from the voivodship of Tarnów. Broad, international concert activity of the Centre, particularly important during the process of Europe’s unifi cation, plays an important role in getting to know the native cultural heritage; furthermore, it introduces Paderewski and his art into the Polish cultural landscape and emphasizes his universalism and world significance.

Theatre atelier photography is one of the few visual sources relating to the theatre of the second half of the nineteenth century; it is the most direct testimony, which, however, requires considerable caution in its interpretation. Science has developed a lot of methods for the study of visual sources, so an attempt – however  schematic and being just a reconnaissance in that research field – to implement them to interpret theater atelier photography seems to be justified. The author refers to methods which are the most interesting and the most relevant for the history of theater, and considers their usefulness in the analysis and interpretation of the photographic testimonies of dramatic performances.