Proces twórczy w resocjalizacji nieletnich w środowisku otwartym na przykładzie technik teatralizacyjnych

This study concentrates on the use and development of creative potential of the minors from the Attendance Centre. The main inspiration for the reflection on the creative social rehabilitation work was the concept of creative resocialization. The research performed for the needs of the study was a pedagogical individualizing experiment and is also described in the present paper. It consisted in the introduction of an experimental factor in the form of drama workshops into the existing education process and made it possible to observe changes occurring as a result of this experiment. The author tried to find the answer to the question of whether and how the creative process will influence the self-perception, self-creation, self-reflection, social functioning and emotional competencies of minors. Initial and final measurements, performed in the experimental group and in the control group, demonstrated that the application of theatricalization techniques and the activation of creative process were justified. The results of these activities are considered in an individual dimension and show a certain progress and pedagogical profits. A satisfying result of the theater work was the performance with the participation of minors. It constituted an important part of the study

Teatralne oblicza nieletnich w recepcji widzów - analizy, interpretacje, refleksje

Artykuł obejmuje zagadnienia z zakresu resocjalizacji kreującej i pedagogiki teatru. Rozważania wynikają z realizacji projektu warsztatów teatralnych w ośrodku kuratorskim z młodzieżą niedostosowaną społecznie. Efektem tych działań był spektakl teatralny, a reakcje i interpretacje odbiorców badano autorskim Kwestionariuszem recepcji widza. Inspiracją do podjęcia tak zakrojonego działania stała się koncepcja twórczej resocjalizacji Marka Konopczyńskiego, zogniskowana wokół rozwijania potencjalności i kreowania nowych, indywidualnych kompetencji. Etapy pracy teatralnej były koherentne i odpowiadały fazom procesu twórczego. Przedmiotem podjętych rozważań jest ostatnia z nich, czyli weryfikacja - ocena trafności idei oraz aktów kreacji, której dokonywali widzowie. Teatr jest dialogiem między nadawcą - kreatorem a odbiorcą - widzem. Ta diada jest tu szczególna, gdyż niecodzienna, osadzona w wymiarach pedagogicznym i kulturalnym. Inicjatorka przedsięwzięcia, a jednocześnie autorka tego opracowania, była ciekawa, w jaki sposób widzowie dokonają percepcji tematu ukazanych obrazów oraz jaki nadadzą im sens, jakie przypiszą znaczenie. Zainteresowanie wzbudzał również wymiar przeżycia estetycznego i emocjonalnego odbiorców spektaklu. Podjęto także próbę odpowiedzi na pytanie: „czy praca teatrem może stanowić konkretną propozycję działań profilaktyczno-wychowawczych, resocjalizacyjnych?”. Recepcja widzów została skategoryzowana poprzez zadane w kwestionariuszu pytania, a całokształt uzyskanych wypowiedzi, tych lapidarnych i narracji o pełniejszym kształcie, tworzy ciekawą, nasyconą humanizmem optykę wydarzenia.The article covers the subjects related to creative rehabilitation and the pedagogy of theater. The discussions are a result of the realization of a project of theater workshops in a probation center for youths that are socially unfit. The activities resulted in a theater play and the reactions and interpretations of the audience were studied by means of an original Audience Reception Questionnaire. The inspiration for the undertaking was the concept of creative rehabilitation by Marek Konopczyński, centered around the development of potentiality and the creation of new, individual competences. The stages of theater work were coherent and reflected the stages of a creative process. The subject of the discussion is the last stage, so the verification - the evaluation of the accuracy of the idea and the acts of creation, performed by the audience. Theater is a dialogue between the sender - the creator, and the receiver - the audience. This dyad is special in this case as it is unconventionally set in the pedagogical and cultural realm. The initiator of this undertaking and, at the same time, the author was interested in the way the audience would perceive the subject of the presented image and what sense, new approach and meaning would they contribute to it. The aesthetic and emotional spheres of the audience were of great interest. Furthermore, an attempt was made to answer the following question: “is it possible for theater work to become a concrete offer of preventive, educational and rehabilitation efforts?” The reception of the audience was categorized by means of questions, and the entirety of the lapidary statements combined with the fuller narration create very interesting optics of the whole undertaking, which is saturated with humanism

Obecność sztuki teatralnej w codzienności życia społecznego : nowe obszary zainteresowań pedagogiki społecznej

The book shows the presence and engagement of theatre art in everyday social life. In order to display the constant presence of theatre and theatrical activities in everyday perspective, it presents – broadly – the constitution of theatre art, both in international space and in Poland. The orientation towards a widespread presence and availability of theatre in every historical period became the incentive towards presenting its role in social practices in the context of social pedagogy. It is an attempt to present the possibilities of employing art in the area of pedagogical tasks. Presenting the beginnings, the institutionalization and the development of theatre in different geographical regions in a historical perspective sought to illustrate the constant presence of theatrical activities in the history of mankind. Based on source materials, it was purposeful to show that this art form developed from the specific needs of past generations as a form of expression, manifesting feelings, a method of communication, and a form of fulfilling the needs of recreation and leisure. With time, theatre fulfilled increasingly larger social, educational, and emotional-aesthetic roles. While performing those functions, it became an important instrument in social practices: processes of education and upbringing of the younger generations, shaping and experiencing reality, and finally – nurturing moral attitudes and values. It is worth remembering that from the very beginning, theatrical authors and creators referenced everyday human existence in their texts, utilizing both positive attitudes, experiences and situations, as well as negative, problematic phenomena, which demonstrated frailties and flaws of the human nature. Modern dramatic arts substantiate that this topical inclination has not drastically changed throughout the ages; only forms of presentation and means of expression have altered. The work particularly spotlights social-theatrical activities at this time of transformation, and most of all – a time of numerous social conflicts, shortages, and existential and emotional problems. The specificity of theatre – of theatre art – and its permanent curiosity of the surrounding social reality caused the reciprocity (intermingling) of theatre and society to become the norm. This in turn has and still does imply a range of tasks and functions theatre can and admittedly does serve for the society and within its boundaries. This current of activities includes classical, alternative, and amateur troupes, showing that theater (even in its classical form) does not lose its ideas, formulas, and artistry, engaging itself in creating positive images, as well as “correcting”/accentuating negative phenomena in everyday social space through its works, subject matter, form, and presentation venues. Thus, theatre art, as well as quasi-theatrical activities become a form of prophylaxis and compensation, a basic task of social pedagogy. In summary, the contents of this work indicates that through established, basic artistic functions, but also social and educational ones, theatre can and does become a partner for activities of social pedagogy

Estetyka popkultury w polskim teatrze po 1989 roku

In a reflection dedicated post-modernity Fredric Jameson notes, that: “the basic feature […] of postmodernism is blurring of boundaries between high culture and so-called mass or commercial, and the emergence of new types of texts, inspired by the forms, categories and the content of the cultural industries”. The marriage of art and popular culture not so long ago – at least in Poland – caused emotional reaction of conservative spectaors. Now it seems to be obvious and natural phenomenon. This new situation is confirmed not only by the reactions of the audience and reviews of performances, but also by the expression of artists. Popular culture has became an important element of theatrical language for artists debuting after 1989 in the new political, social and economic reality. Young directors quickly opened up to new aesthetics. Weronika Szczawińska, theater director and dramatist, a few years ago in the text published in the theatrical magazine “Teatr”, declared: “Pop culture has ceased to be a negative point of reference, a radical contribution to the diagnosis of the whole impoverished culture, which has become full of stereotypes […]. Pop music, associated with a radical social message, in many cases is today treated more seriously, because it allows you to experience moments of truth”. Polish theater after 1989, especially in the mainstream, consistently seeks to blur the boundaries between high and low culture. Flirting with popular culture, incidental in times of Polish People’s Republic (1946-89), now turned into a wide stream of exploration, games, borrowings and interferences. One can even say that it led to a conventionalization of aesthetics that at the turn of the century was still very controversial. The artists play with popular culture at different levels, inspired by colloquial reality and virtual media. The horizon of their research is marked by playing with convention, eclectic forms, changing the context, irony and a joke. Popular culture has came to the theater as an obvious element of reality of present day. use the aesthetics of popular culture not only to get in touch with the audience through common cultural codes, but also with the need for a reflection on the modern world. Constructing semantically dense texts, artists aim in the emotional involvement of the viewer as it happens at rock concerts or folk entertainment. They create an aesthetically attractive spectacle that must meet the expectations of today's consumers, whose perception is shaped by new media. The aim of my work is an attempt to bring closer this phenomenon in relation to the contemporary Polish theater. For several years, the artists have been inspired by the aesthetics of popular culture, including its elements in the structure of their performances. The presence of pop culture in theater shows different faces, in terms of both: the form and the content. In my reflection I skip specific issues of popular theater and mass theater, focusing primarily on the so-called artistic mainstream. I try to discuss the artistic strategies of the directors for whom pop culture is an important point of reference, e.g. Grzegorz Jarzyna, Maja Kleczewska, Jan Klata, Monika Pęcikiewicz, Monika Strzępka and Wiktor Rubin. Describing the artistic strategies and the poetics of different art directors, I've tried to have a look at the reception of their performances, which in case of this kind of art is very important. I do not avoid the comments on their image creation by media, especially when their presence in the public sphere translates into art. Directors who appeared after “patricides” generation (in Polish “ojcobójcy” – a group of directors who made their debuts in the second half of the nineties; the term was invented by theater critic Piotr Gruszczyński) on one hand, create theater engaged socially and politically, but on the other – use elements of popular culture, which leads to a kind of collective vivisection. They expose language that affects our receiving of the world. “Patricides” were interested in marginalized areas of power system (mainly in area of manners) – although in the works of Grzegorz Jarzyna (who belongs to this group) we can see fascinations of the culture of a big city, popular culture and mass, and recently the human condition in the post-modern, consumerist western world. Younger directors don’t avoid topics related to politics, economics and new media. Especially Jan Klata or Monika Strzępka & Paweł Demirski tandem identify their theater with political action. Maja Kleczewska is interested in contemporary man living in consumerist reality, but avoids direct references to the politics and social reality in her performances. Monika Pęcikiewicz has brought a critical look to the theater focusing on reality infiltrated by the media. She reveals patterns in which femininity and masculinity is entangled, discovers the roles we play in our life. Wiktor Rubin is interested in exploration of connections between power, violence and “the society of the spectacle”. His performances resemble vivisection of violence, that often manifest media manipulation. Jan Klata uses figures drawn from popular culture to criticize historical narrations, undermines national myths and symbols, and describes the modern democracy and society immersed in consumer culture. Finally, Monika Strzępka, who explores cultural and thematic peripheries of theatre (healthcare, railways service, privatization, ideologies of the historical discourse). She juxtaposes incompatible elements in her performances, one example of which could be a musical theme inspired by social campaign “Childbirth with Dignity” (conducted by popular Polish daily newspaper “Gazeta Wyborcza”), whose action takes place in the maternity hospital St. Sophia. By introducing to high culture such unwanted elements as fairground art conventions, comedy genres and themes, low culture characters and aesthetics and enjoying the popular iconography, she discovers repressed areas of our identity. Today, when we follow discussions about the aesthetics of theater immersed in pop culture that took place in the nineties of the twentieth century and early years of the twenty-first century, it’s hard to believe that they aroused such strong emotions. Maybe because popular culture – as a permanent part of the surrounding reality (also symbolic) – has undergo a positive revaluation. It became an obvious element of aesthetics of drama by many artists. It appears in various types and forms, not only in the performances of artists presented already, but also in works of directors not introduced in this study, and between them: Krzysztof Warlikowski, Piotr Cieplak, Marcin Liber and the youngest: Ewelina Marciniak and Paweł Świątek. An excellent example of changing the status of popular culture in art is staging “Dziady” (“Forefathers”), directed by Radosław Rychcik in Teatr Nowy in Poznań. Rychcik settled the well known drama written by Adam Mickiewicz (the main author of the Polish Romantic period) in American history and pop culture and his interpretation hasn’t caused critical voices. The artist has been awarded many times for an original reading of the drama on different festivals. In his production pop culture receives the status of one of the contemporary mythology that builds awareness of contemporary Pole the same as current identity obsessions and historical dilemmas. In this interpretation Rychcik brilliantly combined Polish and American culture, juxtaposing the situation of Polish political prisoners of the nineteenth century under the Russian occupation with the situation of American slaves from the same period. How did he manage to introduce American pop culture elements to polish national drama? Chained Polish prisoners sing anthem “Revenge on the enemy” to the tune of gospel in the final scene. And consequently: a black woman (Mrs. Rollison counterpart) working for the Senator being a landlord from the south of United States, members of the Ku Klux Klan sitting at the dinner table, all assassinated during dinner by Aunt Jemima (stereotypical definition of thick black maid). Finally, the famous speech of Martin Luther King “I Have a Dream” gave during the Washington demonstration against racial segregation is recalled. The sentences treating about the right to freedom of each individual uttered by Konrad sound like the Great Improvisation. Whereas, this important part of the Mickiewicz drama is not articulated by any actor on the stage. Instead, we can hear the off-screen voice, which belongs to Gustav Holoubek (one of most famous interpreters of Mickiewicz drama) and expresses his interpretation of the Conrad’s monolog, quoted from the “Lava”, movie based on “Dziady”, directed by Tadeusz Konwicki. In “Dziady” Rychcik reaches for major contemporary mythology: national, cultural, and popular. In his spectacle low culture becomes the element of contemporary mental reality, which shapes imagination, identity and understanding of the world by modern audiences in the same way as cultural stereotypes, or archetypal stories of local and national myths. Popular symbols, significance and form mingle with figures from high culture, which is symptomatic of the present and in which there is a circulation of high and low orders. It’s following the process that occurs in non-theatrical reality where popular culture mixed with high culture and even – says Marek Krajewski – is now the dominant culture, which imposes lens through which we view and interpret the world around us

Film jako przedmiot i narzędzie nauczania kultury polskiej i języka polskiego jako obcego

The dissertation discusses the issue of using films in the process of teaching Polish language and culture as a foreign. It contains a survey on the history of Polish cinema that is being regarded from a glottodidactic perspective, which requires considering the usefulness of particular movies in the process of teaching Polish language and culture. The selection of movies suggested in the dissertation is based on surveys conducted among students and teachers. The dissertation consists of three chapters: an introductory one, which describes media education in Poland, and the following two describing the research and presenting the possibilities that using movies and TV series while working with foreigners creates. Guidelines concerning methods of working with audiovisual material are based on theoretical reflection on the condition of media education in Poland and the analyses of cultural differences concerning taboo topics that appear in contacts with foreigners. The accurate representation of the reality in Polish TV series is also assessed in the dissertation. Lesson plans suggested in the dissertation are based on the manuals addressed to students on different levels of language proficiency and one contemporary Polish TV series. The challenges of using film and television materials in teaching Polish language and culture as a foreign are discussed in details. The research conducted for the purposes of the dissertation leads to the attempt of formulating a general opinion on advantages of using mass media in the process of teaching

Konfrontacje i negocjacje : strategie tożsamości we współczesnych praktykach artystycznych

Confrontations and negotiations. Strategies of identity in contemporary artistic practices is a research work aimed at rethinking the anthropology of identity and its imaging in the world of contemporary art. The starting point for this is in the aesthetical and philosophical reflection on history and theory of the functioning of the subject in contemporary culture, and especially contemporary art. Identity and subjectivity are always confronted with what’s public and what’s private. In such understanding they are characterized by ambiguity, common bloodstream and direct connection between the ideas of the Inside and the Outside, the common and archaeological discourse of what got an important development – in wider philosophical perspective – in Michel Foucault’s writings. Equally intriguing complements to this reflection can be found in Jacques Derrida’s notes on the presence/absence of trace and subject, Barthes’ Death of the Author and Gilles Deleuze’s ‘bankruptcy of representation’ and ‘loss of identity’. These humanistic tropes and motives are aided by the ‘theses’ included in over 2000 year-old Buddhist sutras and in scientific discoveries in the area of quantum physics, which unanimously undermine the status of an objective observer and the identity and integrity of our image of the world with the reality. The perspective that emerges from them creates a plane for a subjective, relative or quantum participant of events. Therefore it is a symbolic place, where all the participants of the urban spectacle of contemporaneity meet, including flâneurs (and artists) among others. The work presents the analysis and reinterpretation of artistic strategies occurring in art of the last five decades – in the context of the issues of widely understood identity (of artists, works and the viewer). The work includes the outline and model of modernist and postmodernist understanding of identity which became finally relativized in result of changeable paradigms of knowledge. This has caused the impasse of subjectivity and generally viewed identity. The art of the second half of the twentieth century, as well as the newest works reflect this crack of the classical identity discourse, what reveals among other things through (de)mythologizing the genealogical (and biographical) discourse of the artist. Today the identity of all participants of artistic practices (readings and expressions) has become a space of negotiation and linguistic game, where the subject makes transgression, multiplication or dispersion, and the very identity is a figure of nomadic and rhisomatic character. It is shaped in relation to what’s public and private; therefore the metaphors of ‘flâneur’ and ‘passage’, connoting the dialectics of the Inside and the Outside, seem to be cognitively and aesthetically attractive

Młodzież w dobie przemian społeczno-kulturowych

Praca zbiorowa zawiera artykuły będące odzwierciedleniem narracji o teraźniejszości i przyszłości młodego pokolenia. Opracowania ilustrują warunki życia i problemy egzystencjalno-pedagogiczne, z jakimi boryka się współczesna młodzież. Przedstawiają rolę, jaką winna odegrać pedagogika społeczna, w tym racjonalna praktyka wychowania, opieka i praca socjalna. Pedagogiczna działalność, wsparcie i profilaktyka są nadal niezbędne dla minimalizowania społecznych nierówności, tworzenia sprzyjających warunków i szans rozwojowych – zwłaszcza dla młodzieży.Collective work Youth in this age of socio-cultural transformation edited by K. Segiet is a proposal for a publication, in which the collected articles are a reflection of the discussion about the present and the future of the younger generation. Studies are illustrating the living conditions and problems existential-pedagogical faced by modern youth. Argue, what a role should be played by social pedagogy in the rational practice of upbringing, care and social work. Pedagogical activities, support and prevention, are still essential for minimizing social inequalities, the creation of favourable conditions and development opportunities, especially for young people

Językowy obraz Łodzi w wybranych mediach (na materiale "Gazety Wyborczej", "Dziennika Łódzkiego", "Onetu" i "Łódzkich Wiadomości Dnia")

Celem dysertacji była analiza językowego obrazu Łodzi w różnych typach mediów (prasa, internet, telewizja). Materiał dobrano tak, by wychwycić różnice w sposobie przedstawiania Łodzi w mediach o zasięgu ogólnopolskim i w mediach o zasięgu lokalnym. Szczegółowej analizie poddano 1850 artykułów pochodzących z czterech mediów: Gazety Wyborczej, Onetu, Dziennika Łódzkiego i Łódzkich Wiadomości Dnia