Description

In 1977, the Gardzienice Theatre Association, an experimental theatre company was founded in a tiny Polish village. By 1992 The Observer was hailing "Brilliant Gardzienice...and orgy of joy, anguish, prayer and lamentation performed in candlelight with hurtling energy and at breakneck speed...Physically reckless, thrillingly well sung...On no account to be missed. " Today the Gardzienice Theatre Association is hailed as Poland's leading theatre group, training Royal Shakespeare Company actors and touring the world. Paul Allain describes and analyses their sung performances, strenuous physical and vocal training, and anthropological fieldwork amongst marginalized European minorities.
This is one of the first detailed attempts to assess developments in Polish experimental theatres since 1989. The author questions whether those artists can maintain their vision in the face of Poland's economic difficulties and increased commercialization of the arts.

Gardzienice: Polish Theatre in Transition

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Hardback by Paul Allain

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Short Description:

In 1977, the Gardzienice Theatre Association, an experimental theatre company was founded in a tiny Polish village. By 1992 The... Read more

    Publisher: Taylor & Francis Ltd
    Publication Date: 25/02/1998
    ISBN13: 9789057021053, 978-9057021053
    ISBN10: 9057021056

    Number of Pages: 202

    Non Fiction , Art & Photography

    Description

    In 1977, the Gardzienice Theatre Association, an experimental theatre company was founded in a tiny Polish village. By 1992 The Observer was hailing "Brilliant Gardzienice...and orgy of joy, anguish, prayer and lamentation performed in candlelight with hurtling energy and at breakneck speed...Physically reckless, thrillingly well sung...On no account to be missed. " Today the Gardzienice Theatre Association is hailed as Poland's leading theatre group, training Royal Shakespeare Company actors and touring the world. Paul Allain describes and analyses their sung performances, strenuous physical and vocal training, and anthropological fieldwork amongst marginalized European minorities.
    This is one of the first detailed attempts to assess developments in Polish experimental theatres since 1989. The author questions whether those artists can maintain their vision in the face of Poland's economic difficulties and increased commercialization of the arts.

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