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Gotowe bibliografie tematyczne / Internment camp theater

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Gotowa bibliografia na temat „Internment camp theater”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Internment camp theater"

1

Benbow, Heather, i Andreas Dorrer. "‘KULTURKRIEG’ BEHIND BARBED WIRE: GERMAN THEATRE IN AN AUSTRALIAN FIRST‐WORLD‐WAR INTERNMENT CAMP". German Life and Letters 77, nr 2 (kwiecień 2024): 195–217. http://dx.doi.org/10.1111/glal.12407.

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ABSTRACTThis article is the first in‐depth study of the ‘Deutsches Theater Liverpool’, probably the most successful non‐English theatre ever on Australian soil, selling out daily performances and mounting a new production each week. The theatre's success was due in large part to its location inside the ‘German Concentration Camp’, the largest First World War (WWI) internment camp in Australia. In contrast to most WWI internment camps around the world, its almost six thousand ‘enemy alien’ internees were a mixture of civilians – most of whom called Australia home before the war – merchant sailors and naval personnel. For this diverse group of men, the theatre was more than entertainment; it was an important way to spend their time meaningfully. We argue that this meaning was strongly connected to the (re)negotiation of identity through theatre, allowing the internees to contribute to the war effort understood at the time in German public discourse as a ‘Kulturkrieg’, a battle for the survival of German culture. Theatre‐makers and audiences (re)engaged with their Germanness through ideas of ‘Kameradschaft’, German diligence and the joint duty of ‘durchhalten’ – ‘making do’. The critical importance of female impersonation in the achievement of the theatre's cultural aims rounds out our analysis of the D.T.L.

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Krotofil, Maciej, Hennadij Nadtoka i Ihor Sribnyak. "Cultural and Artistic Component of the Camp Leisure of Interned Ukrainian Soldiers in Aleksandrów and Łańcut, Poland (end of 1920 – 1921)". Eminak, nr 1(41) (13.04.2023): 134–47. http://dx.doi.org/10.33782/eminak2023.1(41).626.

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The purpose of the article is to conduct an analysis into the cultural and artistic component of the camp everyday life of interned UPR Army soldiers in the camps Aleksandrów and Łańcut (Poland) at the end of 1920 and in 1921. The scientific novelty lies in the multi-faceted study of the essence of cultural and artistic activity conducted by creative groups from among camp residents, whose events helped enrich everyday life in the camps for interned soldiers. Conclusions. The cultural and artistic life of interned soldiers was manifested most fully in three categories – songwriting of amateur choirs, performances of camp orchestras, work of camp theaters. At the same time, all amateur theatrical and concert events were national in content and spirit and contributed to the spiritual consolidation of the interned Ukrainian soldiers in the difficult conditions of internment. Thanks to the efforts of members of artistic groups, camp residents had the opportunity to regularly attend theater performances, choir performances, and instrumental music concerts. In addition, with the joint efforts of camp artists, various artistic events (‘concert-parties’) were regularly prepared for the internees, which constituted a harmonic combination of various theatrical, choral and musical numbers. Usually, they were concluded by dance sections, which enjoyed constant popularity among all camp residents. Similarly, camp artists cooperated in their efforts during the preparation of theatrical performances, thanks to which the performances acquired greater artistic value. It was also important that women (mostly officers’ wives), some of whom had undeniable artistic talent, were actively involved in the performances. Important cultural and artistic events included the celebration of national and state holidays, days of memory of Taras Shevchenko and Ivan Franko, divisional holidays, a commemoration of the fallen in battles, etc. The joint efforts of camp artists, choristers and musicians significantly contributed to overcoming the threatening tendency towards degradation and dispersal of the interned Ukrainian soldiers. Ukrainian song, music, and dramatic art, to the greatest extent, contributed to the camp residents’ spiritual unification around national values and also allowed them to successfully overcome all the difficulties of the camp’s everyday life.

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Sribniak, Ihor. "Życie kulturalne i artystyczne żołnierzy Ukraińskiej Armii Ludowej internowanych w obozie w Strzałkowie (lipiec 1921-sierpień 1922)". Polonia Maior Orientalis 8 (30.12.2021): 97–112. http://dx.doi.org/10.4467/27204006pmo.21.006.15457.

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W artykule opisano kulturowo-artystyczny element codziennego życia obozowego internowanych żołnierzy Armii URL w Strzałkowie w okresie od lipca 1921 do sierpnia 1922 r. W tym czasie w obozie działało kilka zespołów dramatycznych artystów amatorów, chór pod dyrekcją D. Kotki, dwie improwizowane orkiestry (instrumenty smyczkowe i dęta). Dzięki tym grupom artystycznym uwięzieni mieli okazję uczestniczyć w przedstawieniach teatralnych, występach chórzystów, koncertach muzyki instrumentalnej. Ponadto ich wspólnym wysiłkiem regularnie przygotowywano różne wydarzenia artystyczne („koncerty”) dla internowanych, które były połączeniem różnych przedstawień teatralnych, chóralnych i muzycznych. Wspólny wysiłek obozowych artystów, chórzystów i muzyków znacząco przyczynił się do przezwyciężenia groźnej tendencji do degradacji i rozproszenia internowanego wojska ukraińskiego. Cultural and Artistic Life of the Ukrainian Internee Soldiers of the Army in Strzałkowo Internment Camp (July 1921-August 1922) In the submitted article not only the cultural but also artistic part of the daily life in internment camp was written. The everyday life of soldiers was also mantioned. The work describes the period from July 1921 to August 1922. It was the time when in the internment camp the dramatic groups was very active. The actos who take part in the theaters groups were the amateur artist. People were active in a waried field of study or art such as: the choir, the orchestra (string and wind instruments). Thanks to those artistic groups people in the internment camp had the chance and possibility to take part in theatre performances or choir concerts or the instrumental concerts too. Moreover theirs shared effort allow to organise in a regular way many artistic perfomances and events. The artistic events were the compilation of the wariety of arts sphere. The common effort of the cams artists, choir’s singers, musicans was the key to find a solution of the problems. That was the factor which significantly contributed to overcoming the dangerous tendency to degradation and dispersion of the interned Ukrainian Army.

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4

Sribniak, Ihor. "Ukrainian amateur theatre at the internment camp of the UNR army in Strzałkowo, Poland, as viewed by theatrical critics in August 1921 — July 1922 (according to the materials of the journal Promin / Sunbeam)". Synopsis: Text Context Media 26, nr 2 (2020): 48–60. http://dx.doi.org/10.28925/2311-259x.2020.2.5.

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The aim of the study is the understanding of the theatre role for formation of spiritual and ideological ideals of interned soldiers. This involves analysis of the amateur circle repertoire and critical reception of plays as well as reconstruction of value motivation of Ukrainian military groups. The historical method, source analysis and synthesis have been used for this purpose. The results of the study showed that the theatrical performances were prepared by several artistic and actor groups (repertory companies), and the informal competition took place between them. Such situation formed the tradition of critical appraisal of the theatrical plays and their publication on the pages of the camp “live” newspaper “Promin”. It is worth mentioning that critics did not miss the opportunity to show the negative sides or, contrarily, praise the actors’ training and stagecraft during the performances. Theatrical stage performances of camp drama and art groups had a significant importance in boosting morale of the interned soldiers as well as satisfying their nostalgic feelings for their homes and native land. The majority of theatrical plays were nationally aspired by the context and spirit (all the dramas were prepared for the stage production in Ukrainian), which thus promoted the spiritual consolidation of the interned warriors. Importantly, camp residents were seeking and finding their own creative ways for the representation of their art pursuits, contributing to the treasury of the Ukrainian and global culture. The significance of the Ukrainian theatre in Strzałkowo is based on the notion that thanks to the mastery performance of amateur actors as well as the Ukrainian songs as supporting music for the theatrical plays, Polish society gradually became to acknowledge positively the Ukrainian National Republic and Ukrainians as the integral part of the European political, national and cultural environment. The article novelty is connected with introducing the information about amateur theatre circles of internal soldiers and critical reception of their activities. The practical significance of the research is that its results prove the longevity of the Ukrainian dramatic tradition.

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5

Sribnyak, Ihor, Natalia Yakovenko i Viktor Matviyenko. "Charitable activities of the Young Men’s Christian Association in the camps of interned Ukrainian soldiers in Poland, 1921". Eminak, nr 2(38) (5.08.2022): 77–88. http://dx.doi.org/10.33782/eminak2022.2(38).582.

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The purpose of the paper is: to reveal the content and forms of charitable aid provided by the Young Men’s Christian Association (UMCA) in the camps of interned Ukrainian soldiers of the UPR Army in Poland during a certain chronological period, as well as to determine its overall amount and impact on the everyday life of camp residents and their family members. The research novelty is demonstrated by the all-sided coverage of the whole amount of the YMCA’s activities, whose members initiated a humanitarian aid campaign in the internment camps, thanks to which it became possible to organize a full cultural and educational life of the campers, as well as to satisfy the basic needs of children and women most suffering from hard living conditions of camp life. Conclusions: The content of the YMCA support campaign in the camps was material assistance to improve nutrition for children, organization of their special care (creation of kindergartens and maintenance of their staff), and purchase of clothing for children and women, assistance to women in childbirth. At the same time, the Association intensively supported the activities of camp cultural, artistic and educational centers, and in particular amateur theaters, choruses and orchestras. The unconditional merit of the YMCA was the development of sports, for which the latter never spared money – equipping gyms, purchasing special equipment for them. At the same time, the YMCA relied on the development of game sports (football, volleyball, basketball, etc.), participation in which enabled to stabilize the emotional state of the military, forced to spend much of time in camp isolation. But the most important aspect was that the YMCA gave a possibility to the internees to acquire new knowledge and specialties, creating additional opportunities for them to integrate into the socio-economic life of their new countries of residence. Thus, thanks to the YMCA, camp schools and courses became able to fulfil their educational mission, and the internees – to overcome difficulties of the first months of staying in camp isolation.

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Książki na temat "Internment camp theater"

1

M, Meerovich Boris, red. Theatre in the Solovki prison camp. Luxembourg: Harwood Academic Publishers, 1995.

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Catherine, Temerson, red. The Sonderberg case: A novel. New York: Alfred A. Knopf, 2010.

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Petrovskai︠a︡ akademii︠a︡ nauk i iskusstv. i Komi (Russia). Ministerstvo obrazovanii︠a︡ i vyssheĭ shkoly., red. Khudozhestvennoe voploshchenie temy GULAGa v russkoĭ literature Respubliki Komi vtoroĭ poloviny XX veka. Syktyvkar: Izd-vo "Ėskom", 2006.

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Charles, Kean, red. Sh akespeare's play of a midsummer night's dream: Arranged for representation at the Princess's Theatre. Oxford: Pergamon, 1985.

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Shakespeare, William. A midsummer-night's dream. Cambridge: Cambridge University Press, 2009.

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Shakespeare, William. A midsummer night's dream. Oxford: Oxford University Press, 2009.

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Shakespeare, William. Ein Sommernachtstraum. Hamburg: Thalia Theater, 1986.

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Shakespeare, William. A midsommer nights dreame. New York: Applause, 1998.

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Shakespeare, William. Han yŏrŭm pam ŭi kkum. Sŏul Tʻŭkpyŏlsi: Hyŏngsŏl Chʻulpʻansa, 1996.

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Shakespeare, William. A midsummer-night's dream. London: Leopard, 1995.

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Części książek na temat "Internment camp theater"

1

Rosenberg, Pnina. "Resistance on Stage: Theatrical Performances in French Internment Camps". W Theater unter NS-Herrschaft, 285–304. Göttingen: V&R unipress, 2018. http://dx.doi.org/10.14220/9783737006422.285.

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Yu, Henry. "Performers on Stage". W Thinking Orientals: Migration, Contact, and Exoticism in Modern America, 153–70. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195116601.003.0012.

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Abstract Frank Miyamoto described the bifurcation of his identity while conducting research in a Japanese American internment camp by using the language of the theater. “One is an actor within a drama and feels the forces which shape it; but one is simultaneously an outsider, a member of the audience, who observes the drama as it is played out by others.”1 The stage analogy separated for Miyamoto the “role” of the ethnic being studied from the point of view of the nonethnic audience. The ethnic insider had a role to play, but who made up the audience that was strictly observing? It was this strange nonacting role of the audience that was the foundation of the inside/outside, observed/observer dichotomy that structured the Oriental Problem as a set of social practices. How was being the audience itself a role to be played?

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