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Please use this identifier to cite or link to this item: http://hdl.handle.net/20.500.12128/19167
Title: Przestrzeń współbycia : "Tesinske niebo Cieszyńskie nebe" Tesinskeho divadla w Ceskem Tesine jako międzykulturowa narracja o wielokulturowości miasta/miast
Authors: Pindór, Mirosława
Keywords: 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
Issue Date: 2015
Citation: "Edukacja Międzykulturowa" (2015), nr 4, s. 285-302
Abstract: 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
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