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http://hdl.handle.net/20.500.12128/19167
Tytuł: | Przestrzeń współbycia : "Tesinske niebo Cieszyńskie nebe" Tesinskeho divadla w Ceskem Tesine jako międzykulturowa narracja o wielokulturowości miasta/miast |
Autor: | Pindór, Mirosława |
Słowa kluczowe: | Cieszyn – Český Tĕšín; pogranicze; wielokulturowość; międzykulturowość; Těšínské divadlo; tożsamość; teatr; Cieszyn – Czech Cieszyn; borderland; multiculturalism; interculturalism; Polish Scene and the Czech Scene of the Theatre in Czech Cieszyn; identity; theatre |
Data wydania: | 2015 |
Źródło: | "Edukacja Międzykulturowa" (2015), nr 4, s. 285-302 |
Abstrakt: | What was subjected to analysis in the presented study is the bilingual stage project
of the Polish Scene and the Czech Scene of the Cieszyn Theatre in Czech
Cieszyn entitled Těšínské niebo Cieszyńskie nebe /Cieszyn Skies/ (first staged on
15th May 2004). In compliance with the intentions of the undertakers: Jaromír
Nohavica, Renata Putzlacher, Radovan Lipus, Tomaš Kočko, this musical “sentimental
tramway trip” through ages in the multicultural region and town was “an
attempt at viewing the area of Cieszyn through the past years and events – an
attempt full of nostalgia and humour as well as references to real and mythical
figures associated with this region”50. This was carried out according to the superior principle, applied by the authors of the project and inspired by the idea of the
Euroregion, of exposing what has been linking the borderland community (and
results in a platform of common values) and not what has been dividing it. The
search for common elements of culture and historical similarities has turned out
to be compliant with the assumptions of intercultural education. The applied option
of viewing the Polish-Czech borderland history and the vision of coexistence
of both nationalities in the area of Cieszyn have been also determined by joining
the structures of the European Union (the opening took place on 15th May 2004).
It was from this perspective that the consecutive sequences of the spectacle were
constructed, unveiling the concept of the borderland man as a more complete
person – spiritually enriched with the dissimilarity of the other. The spectacle has
contributed to the process (started in 1989) of forming appropriately high collective
local, regional and Euroregional awareness of the community inhabiting both
borderland towns and regions. |
URI: | http://hdl.handle.net/20.500.12128/19167 |
ISSN: | 2299-4106 |
Pojawia się w kolekcji: | Artykuły (WSiNoE)
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