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Parade by Erik Satie, Jean Cocteau, and Pablo Picasso created in 1917 was proclaimed the first surrealistic ballet, the cubist manifesto and succès de scandale. The article aims to examine the intermedial relations between the media that constitute the oeuvre regarding Werner Wolf's typology of intermediality. The context of the analysis is provided by avant-garde movements that emerged in arts at the turn of the 20th century and determined the phenomena occurring within particular media. As a result, in the transmedial dimension, the impact of metalepsis can be observed. It leads to the disturbance in the narrative structure arising from the assumptions in a ballet scenario. [ABSTRACT FROM AUTHOR]

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The text presents selected artistic events, related to the so called "independent movement" in the 1980s, in the former Koszalin Voivodeship. The author, quoting Jerzy Busza, emphasizes that the adopted artistic attitudes at that time constituted "a great triumph of normality over the abnormalities and burdensome inconveniences of everyday life," in the period of Martial Law and after it. After Janusz Zagrodzki, the creator of the term 'Private Art' [Sztuka Prywatna], the author draws attention to the aspect of the functioning of 'Pitch-in Culture' [Kultura Zrzuty] in the private and unofficial zones, and following the thesis of Józef Robakowski, to the sense of an individual and independent attitude as a superior element for the creation of art. The first independent initiative of artists from the Koszalin area was a three-day event After a Year [Po Roku], organized cyclically from 1982 to 1988 in mid-December, led by Andrzej Ciesielski and Andrzej Słowik. Artists invited from all over the country were to present their current achievements. Artistic Carol, Without a Slogan [Kolęda Artystyczna, Bez Hasła], organized on February 10-12 in Koszalin, 1984, was a response to the invitation of Koszalin artists to the Lodz's Pilgrimage organized a year earlier. It was the largest manifestation of the independent art movement in the region. The organizers were people participating in the Łodz event: Ewa Kowalska, Grażyna Bogusz Wolska, Andrzej Ciesielski and Stanisław Wolski. In all, 85 people from all over the country were invited, besides, many uninvited people came to the event on their own initiative, connected, among others, with the Pitch-in Culture [Kultura Zrzuty] movement. For the Koszalin community, the openair activity was also important, which was still related to the tradition of the Plein-Airs in Osieki organized since 1963, and ended after the introduction of Martial Law in 1981. This situation was to be changed by a series of open-air workshops organized under the slogan 'We invite you to work' in 1987-1989 in Karlino, and in 1990 in Darłowo. The initiators and first artistic commissioners were Andrzej Słowik and Maria Idziak, who in 1989 handed over this function to Wojciech Zamiara, and in 1990 to Andrzej Ciesielski. The gallery At The Rectory [Na Plebanii] by Andrzej Ciesielski was also important for the functioning of the Koszalin community in the national artistic community. In the years 1986-1990, 34 meetings were held as part of its activities. He continued his work at the next My Archive Gallery [Galeria Moje Archiwum], operating in the years 1993-2001. These initiatives, as well as many others undertaken in the 1980s, combined the extraordinary energy and unconventional courage of the participants. However, they did not result only from the confrontation with the political situation then, but, as in previous decades, from the immense value that permeates the spirit of art - the need for freedom. [ABSTRACT FROM AUTHOR]

This article is an attempt to indicate, in the activities and performances of selected Gdańskbased independent theatre ensembles, direct inspiration, along with more remote analogies to the legacy of the Bauhaus, in terms of (among other things) organizational and artistic issues, as well as with regard to the sociopolitical context. The author also focuses on practice and on ideas that might, consciously or unconsciously, have been taken up by the founders of the first Gdańsk student theatres of the 1950s and by alternative theatre groups of the subsequent decades, until the beginning of the twenty-first century. The latter include Bim-Bom, Cyrk Rodziny Afanasjeff (The Afanasjeff Family Circus), Co To (What’s That), Galeria Ą (Ą Gallery), Teatr Ekspresji (Theatre of Expression), Teatr Snów (The Theatre of Dreams) and Teatr Dada von Bzdülöw (The Dada von Bzdülöw Theatre). The influence of the artistic research of the Bauhaus was most entirely revealed, above all, in the fascination of Jerzy Krechowicz, the founder of Teatr Galeria, with the experiments of László Moholy-Nagy. With regard to the performances that were proposed by the independent Gdańsk theaters mentioned above, their more or less distant analogies and references to Bauhaus’s stage experiments form two strands, which intertwine in the activity of individual groups, namely that of visual narrative and that of dance/movement – these are discussed by the present author. What appears to be the main issue is the fact that in the Bauhaus as well as in the first university student groups in Gdańsk, this theatre was created and transformed mainly by visual artists and not by “theatre people”. What was characteristic for the Gdańsk student theatres of the first period was this dominance of visual art, even a certain pictoriality, which remained to a large extent as a characteristic feature of independent groups from Gdańsk. With the assumption (after ZbigniewTaranienko) that the theatre of visual narrative was entirely created in theory and realized in practice by the artists of the Bauhaus, mainly by Oskar Schlemmer and by Moholy-Nagy, the author situates Gdańsk theatres within such a tradition of theatrical experimentation, in which “The art in movement fulfills (...) the superior structural function and determines the content.” The purpose of this text is to demonstrate how individual elements, similar to those of the practice and of Gropius’s concept of formation are visible in various scenes, in different times and places, and in other contexts, which this text demonstrates in a concise manner. [ABSTRACT FROM AUTHOR]

The article discusses a range of musical compositions from the avant-garde movement and conceptual art, in which silence is the dominant artistic matter. From little-known In futurum by Erwin Schulhoff and the acclaimed John Cage's 4'33", to the untamed wilderness of Cornelius Cardew's visual experiments and the political silence of anarcho-punk Crass's recordings -- the paper gives rise to a look at the richness of meanings hidden in silence. [ABSTRACT FROM AUTHOR]

Orange Alternative happenings, organized on the occasion of state holidays and official anniversaries, extending throughout Wrocław near Świdnicka street. The surrealistic events called ‘Dwarves in PRL’, ‘Eve of Revolution’ or ‘Saint Nicolas on Świdnicka’ even attracted 15,000 participants between 1987–1989, when public street gatherings were banned in Poland. Waldemar Fydrych, called ‘The Major’ was the director of this movement and the art students, history of art students, philology students and high school students were the actors. An important role was played by the militia, who consequently arrested the dwarves and other participants. The orange happenings were not ideological in character, but they ridiculed the socialist system and its absurdities, creating a great street carnival. [ABSTRACT FROM AUTHOR]

Formizm, as an art movement drawing from cubism, expressionism and futurism, had a crucial influence on the formation of modern Polish theatre, in which innovatory techniques were tightly linked with anti-realistic, synthetic and sometimes three- -dimensional stage design. Among great stage designers of the interwar period, Andrzej and Zbigniew Pronaszko (especially the younger of the brothers - Andrzej) played a distinctive role. The artists worked together in 1925-1926 in Teatr im. Wojciecha Bogusławskiego in Warsaw, which was led by Leon Schiller and Wilam Horzyca (and then by Aleksander Zelwerowicz). The brothers used their experience from the time they cooperated with the Formiści avant-garde group (1917-1922), as well as their contacts with the artists linked to the constructivist group Blok (1926), to create original stage design for several shows, which initiated a new movement in Polish theatre, called "Polish monumental theatre". The Pronaszkos' design style, which formed in 1925-1926, was based on non-literal, synthetic and architectonical shaping of space, using three-dimensional objects and sculpture-like costumes, which forced actors to move unnaturally, and, finally, creating stage sets by means of carefully chosen colours and lights. They prompted a major change in stage design, which evolved from synthetic canvas paintings to "sharply outlined geometrical forms, determining and rationalizing both the message of the drama and the rhythm of the staging" (S. Marczak-Oborski). The play which heralded the revolution was The Winter's Tale by W. Shakespeare, with stage design by Andrzej Pronaszko. The following shows - Kniaź Patiomkin by Tadeusz Miciński (1925), Achilleis by Stanisław Wyspiański (1925) and Róża by Stefan Żeromski (1926), with stage design by both brothers and directed by Leon Schiller, were based on the use of abstract pictures, architectural formation of space, electric lights, music and composed gesture. They went down in history of the Polish theatre as the first innovative staging forms and the first poetic-monumental shows. Another important inspiration for the Pronaszkos' experiments was ritual, mystery theatre - in the staging of Pasterka wśród wilków, a mystery drama by Ghéon, decorations were inspired by medieval style. The staging of Złoty płaszcz, on the other hand, referred to the convention of Chinese theatre as one of the forms of anti-realistic theatre. [ABSTRACT FROM AUTHOR]

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