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The 2012 Globe to Globe Festival proved a great success. Actors, directors, musicians, dancers, designers and technicians travelled from all over the world to perform on the Globe stage. Visitors to London’s Cultural Olympiad enjoyed six jam-packed weeks of Shakespeare, presented in an array of international languages. The Globe’s Artistic Director, Dominic Dromgoole, and his Festival Director, Tom Bird, had achieved what seemed, to many, the impossible. Nonetheless, filmed interviews with Dromgoole and Bird, conducted during the festival by the American documentary-maker Steve Rowland, offer tantalizing insights into the genesis of the festival venture. These candid interviews confirm the sometimes farcical, often exhausting, but invariably serendipitous truth behind the Globe to Globe Festival’s short, intense history. Although the Globe was “flying completely blind,” it still succeeded in hosting a glorious feast of Shakespearean delights, seasoned with the strong spice of multiculturality.
The aim of this paper is to present the form of celebration of the 100th anniversary of the Czechoslovak Republic. The physical culture association Sokol played an important role in the foundation of the republic and became part of the Slovak civil associations scene in 1918. The XVIth All-Sokol Ralley (Všesokolský zlet) in 2018 was one of the official events dedicated to the celebration of Czechoslovakia’s anniversary. For this occasion, the Slovak-Czech piece of motion music „Spolu” (“Together”) was composed. Based on participatory observation of the rehearsals in the role of a trainee, as well as interviews with the author of the music and observations at the All-Sokol Ralley, I have explored the symbolism of the celebration and reflected on the participation of Slovak women in this event.
In 2012, Shakespeare’s Globe hosted the Globe to Globe Festival, which featured performances from thirty-seven international companies in their native tongues as part of the Cultural Olympiad in the lead up to the London Olympic Games. This paper explores the role that language played in the Globe to Globe Festival, and the way in which language mediated direction and translation of various plays, specifically in the rehearsal room in anticipation of the performance itself. Translating Shakespeare into thirty-seven different languages allowed the companies to think about the potential benefits of performing their play in a specific dialect or style for both audiences at the Globe and their own language and culture as well. This paper considers the impact of language barriers that existed even within individual companies, and shows that the specific choices around language informed the ways audience members understood and interpreted the narratives of the plays during the festival.
The purpose of the paper is the identification and interpretation of the dynamically developing contemporary mass event called the Cavalcade of the Three Kings (Orszak Trzech Króli). It was organised for the first time in 2009 in Warsaw. On the 6th of January 2014, about 630, 000 inhabitants of 177 towns and villages, singing Christmas carols and wearing colourful crowns on their heads, publically celebrated the religious feast of Epiphany. In the author's opinion, the cavalcades can be perceived as a new phenomenon in public spaces placed between sacralization and festivalization because they have some components of religious events and festivals but they are neither. They seem to be a new hybrid event, with religious and festive elements.
The CEE countries are celebrating the 15th anniversary of joining the European Union. The ‘feast’ is also of note because the EP elections are just in front of us. Instead of weighing up the expected results, we can surmise that the resolution of Central European voters is now weaker in terms of belonging to the European community and their trust in democratic institutions is also considerably lower than it was in the transition era. But what happened? The answer is too complex to be summarised in just one study; the examination of this issue would require a complex analysis of facts from economic transformation to transitions in social and economic subsystems. Of these elements, I wish to introduce the system-level transformation and the current state of civil society.
Composer Sabin Pautza’s creation, of a style diversity that is rare in the contemporary landscape of Romanian music, stands out through its effervescence and colourfulness, backed by the extraordinary mastery of writing techniques. The work we are referring to in this article, Canti prophani, is a vocal-symphonic suite written for a children’s choir. The suite includes three contrasting miniatures (fast-slow-fast), united through their motif, Maico, Maico..., Dalbe flori and Dimineața ziua bună, representing a translation into music language of the main features of childhood games: repetitive action, rhythm, word play. In terms of language, the children’s choir is assigned only the pure sonority of diatonic modes, while the orchestra overlays harmonic and polyphonic structures that are much more elaborate. The lay character of the lyrics, underlined in the suite’s title, shifts the emphasis from the religious area to that of purity of heart and of sincere joy, the focus being on the high emotions around the feast of Christmas. This brief analytical examination will only highlight the main approaches to the sound material, looking at both archaic influences and at the modern composition techniques, as well as at the manner in which the two blend together. The actual thread that binds all three sections of this work, the image of the mother, occurs everywhere, as the mother is invoked throughout the length of the three parts.
This article uses Charles S. Peirce’s concept of icon and Judith Butler’s idea of genealogy of gender to study levels of fictionality in the Old English poem Beowulf. It shows that Wealhtheow, the principal female character in the epic, operates as a diegetic reader in the poem. Her speeches, in which she addresses her husband King Hrothgar and Beowulf contain implicit references to the Lay of Finn, which has been sung by Hrothgar’s minstrel at the feast celebrating Beowulf’s victory. It is argued here that Wealhtheow represents herself as an icon of peace-weaving, as she casts herself as a figuration of Hildeburh, the female protagonist of the Lay of Finn. Hildeburh is the sister of Hnæf, the leader of the Danes, and is given by her brother to Finn the Frisian in a marriage alliance. In her role as a peace-weaver, the queen is to weave peace between tribes by giving birth to heirs of the crown. After the courtly minster’s performance of the Lay, Wealhtheow warns her husband against establishing political alliances with the foreigner Beowulf at the expense of his intratribal obligation to his cousin Hrothulf, who is to become king after Hrothgar’s death.
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Józef Uroda (1901-1956), today entirely forgotten, was an organist at the Transfiguration church in Buczkowice near Szczyrk from 1925 to 1942. At that time he was a significant figure in the cultural and artistic life of his village. He was engaged in many kinds of activities: he conducted the parish choir, collected and noted down religious songs, composed musical pieces, wrote poetry, theatrical plays, and translated from foreign languages. An ardent lover of literature and theater, he set up a theater group, which embraced young and older people, with whom he staged some plays (Mazepa by Juliusz Słowacki, Zemsta [The Revenge] by Aleksander Fredro, Chata za wsi [The Cottage behind the Village] by Józef Ignacy Kraszewski, or Zemsta Cygana [Gypsy’s Revenge] by Seweryn Goszczyski). He was also active in his community, taking part in the local cultural and educational undertakings. He cooperated with OMTUR [Youth Organization of the Workers’ University Association]), sat on the Board of the Buczkowice section of the People’s School Society, and he was a member of the Polish Gymnastics Association “Sokół” [Falcon]. During the German Nazi occupation he was imprisoned in the concentration camp Polenlager 92 in Kietrz for two years. He died in Buczkowice in 1956.
In the musical collections left by J. Uroda, there is his manuscript collection of Marian songs of 1936, titled Ave Maria! Najwikszy zbiór pieśni religijnych do N. Maryi Panny [Ave Maria. The Largest collection of religious songs to Virgin Mary]. This is a large song collection containing as many as 343 Marian songs. It should be added that the collection was not completed, it had been planned to contain 420 songs. The Marian repertory collected by Uroda is impressive because of its vastness and diversity. The songs are intended for the Feasts of Immaculate Conception of the Blessed Virgin Mary, Our Lady of Loreto, Espousal of Virgin Mary, Our Lady of Lourdes, Purification of Virgin Mary, the Annunciation, Virgin Mary of Perpetual Help, Virgin Mary Assisting the Faithful, Virgin Mary the Gracious, Visitation by Virgin Mary, Virgin Mary Refuge of the Sinners, Our Lady of the Scapular, Our Lady of the Angels, Our Lady of Snows, the Assumption, Our Lady of Czstochowa, Our Lady of Consolation, Our Lady of Sorrows, Our Lady of La Salette, Our Lady of the Rosary, Our Lady the Merciful, and the Feast of Oblation of the Blessed Virgin Mary. Many songs are written for Marian months - May and October. A large set of songs consists of pilgrim songs, sometimes associated with a specific sanctuary or place (“To Our Lady of Gidle near Czstochowa”, “On Virgin Mary in the Floriaska Gate in Krakow”, ”To Our Lady at Piasek in Krakow”, “To Our Lady of Piekary”). Uroda chose this repertory mainly from published songbooks and collections containing organ accompaniments to songs - mostly from the collections of Ryszard Gillar and Tomasz Flasza, moreover, from those of Rev. Michał Marcin Mioduszewski, Rev. Franciszek Walczyski, Rev. Jan Siedlecki, Rev. Józef Surzyski, Teofil Klonowski, and Rev. Emilian Schindler.
From the cognitive point of view it is most important that Józef Uroda’s Marian collection contains over twenty previously unknown songs, which enrich the Polish Marian repertory and shed additional light on it, especially with regard to Poland’s southern regions. These are both previously unknown melodies and song texts and Polish contrafacta of German songs. Among these unidentified and previously unknown items there are six songs authored by Józef Uroda: his three compositions - Do Marii pospieszajmy [Let us hurry to Virgin Mary] Dzwoneczku nasz miły [Our lovely bell] and Tam, gdzie cudowny [Where the miraculous… ]); and his three contrafacta of German songs - Jak wiosny kwiat [Like a spring flower] (for an unidentifi ed German tune), Mario! maja Królowo [Mary, the Queen of May] (for the song melody of Maria, Maienkönigin) and Żródło łaski, witaj nam [Be greeted, the Source of Grace] (for the song melody of Gnadenquelle, sei gegrüsst).