Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki
Daniela Börtza
cytuj
pobierz pliki
RIS BIB ENDNOTEChoose format
RIS BIB ENDNOTE
Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki
Daniela Börtza
Publication date: 28.11.2016
Studia Litteraria Universitatis Iagellonicae Cracoviensis, 2016, Volume 11, Issue 3, pp. 139 - 153
https://doi.org/10.4467/20843933ST.16.014.5677Authors
Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki
Daniela Börtza
The paper deals with the opera The Bacchae from 1991, a collaboration between Swedish composer Daniel Börtz and Ingmar Bergman. It was one of the three operas Bergman ever directed. The paper examines The Bacchae in a broad context of modernist reception of Greek tragedy and mythology – an especially important frame of reference is the Dionysian, post-Wagnerian opera – and against the backdrop of Bergman’s other film and theatre productions that deal with his highly ambiguous relation to religion.
Bergman incorporated some major themes of European Modernism in his staging. The Bacchae can be read as a part of the “invented tradition” of the black, antilogocentric, violent, obscene antiquity, created around 1900 as an opposition to the bright Winckelmann – inspired version of the past. This dark vision of the archaic roots of human culture corresponds with other modernist topics such as the crisis of language and the attempt to create alternative, body--based modes of expression, the blurring of gender identities, the transgressive nature of art and religion and the conception of music as a representation of the “oceanic” unconscious.
Aare C., Från fundamentalist till människa, „Tonfallet” 1991, vol. 8.
Aare C., Kvinnligheten invarderar det manliga rummet. Lennart Mörks Backanterna, „Tonfallet” 1991, vol. 8.
Aurnhammer A., Pittrof T., Einleitung [w:] A. Aurnhammer, T. Pittrof, „Mehr Dionysos als Apoll”. Antiklassizistische Antike-Rezeption um 1900, Frankfurt am Main 2002.
Bergman I., Obrazy, przekł. T. Szczepański, Warszawa 1993.
Bergsten S., Stagnelius och Bacchanterna. Studier i dramats uppbyggnad och symbolik,„Samlaren” 1960, rocznik 81.
Cowan R., Sing Evohe! Three Twentieth-Century Operatic Versions of Euripides’ Bacchae [w:]Ancient Drama in Music for the Modern Stage, eds. P. Brown, S. Ograjenšek, Oxford 2010.
Cyz T., Powroty Dionizosa. Król Roger według Szymanowskiego i Iwaszkiewicza, Warszawa 2008.
Eurypides, Backanterna [w:] Backanterna. Ifigenia i Aulis, przekł. G.O. Eriksson, J. Stolpe, Sztokholm 2014.
Girard R., Sacrum i przemoc, przeł. M. i J. Plecińscy, Poznań 1993.
Głowiński M., Maska Dionizosa [w:] M. Głowiński, Mity przebrane, Kraków 1990.
Iversen G., The Terrible Encounter with God: The Bacchae as Rite and Liturgical Drama in Ingmar Bergman’s Staging, „Nordic Theatre Studies” 1998, vol. 11.
Kott J., Bachantki albo zjadanie boga [w:] J. Kott, Zjadanie bogów, Kraków 1986.
Larsén C.H., Börtz, Bergman och Euripides [w:] Program opery, Sztokholm 1991.
Larsén C.H., Börtz, Bergman och Euripides, „Horisont” 1994,Häfte 2–3.
Lysell R., Erik Johan Stagnelius. Det absoluta begäret och själens historia, Sztokholm–Stenhag 1993.
Napolitano M., Greek Tragedy and Opera. Notes on a Marriage Manqué oraz R. Savage, Precursors, Precedents, Pretexts. The Institutions of Greco-Roman Theatre and the Development of European Opera [w:] Ancient Drama in Music for the Modern Stage, eds. P. Brown, S. Ograjenšek, Oxford 2010.
Rygg K., The Metamorphosis of The Baccae: From Ancient Rites to TV Opera, „Nordic Theatre Studies” 1998, vol. 11: Ingmar Bergman and the Arts.
Sieradzan J., Szaleństwo w religiach świata. Szamanizm, religia starogrecka, judaizm, chrześcijaństwo, hinduizm, buddyzm, islam, Kraków 2005.
Sjögren L., Lek och raseri, Ingmar Bergmans teater 1938–2002, Sztokholm 2002.
Szczepański T., Bergman i antyk: Bachantki Eurypidesa [w:] J. Skuczyński, P. Skrzypczak, Scena i ekran: przestrzeń dialogu interartystycznego, Toruń 2007.
Szczepański T., Zwierciadło Bergmana, Gdańsk 2007.
Timm M., Lusten och dämonerna. Boken om Bergman, Sztokholm 2008.
Wagner R., Tristan und Isolde. Textbuch mit Varianten der Partitur, Stuttgart 2013.
Wallrup E., Scenen för Dionysos återkomst. Richard Strauss Elektra, Schoecks Penthesilea och Szymanowskis Kung Roger [w:] T. Pettersson, Operavärldar från Monteverdi till Gershwin, Sztokholm 2006.
Wolff Ch.,Crossings of Experimental Music and Greek Tragedy [w:]Ancient Drama in Music for the Modern Stage, eds. P. Brown, S. Ograjenšek, Oxford 2010.
Žižek S., The Lehrstück Parsifal [w:] S. Žižek, The Wagnerian Sublime. Four Lacanian Readings of Classic Operas, Kolonia 2016.
Information: Studia Litteraria Universitatis Iagellonicae Cracoviensis, 2016, Volume 11, Issue 3, pp. 139 - 153
Article type: Original article
Titles:
Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki
Daniela Börtza
Dionizos wyzwolony. Ingmar Bergman inscenizuje Bachantki
Daniela Börtza
Jagiellonian University in Kraków, Gołębia 24, 31-007 Kraków, Poland
Published at: 28.11.2016
Article status: Open
Licence: None
Percentage share of authors:
Article corrections:
-Publication languages:
PolishView count: 1144
Number of downloads: 1204