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Issue |
Title |
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1/2015 |
'I’m Calling Out to You': On the Choral Theatre of Marta Górnicka |
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Agata Łuksza |
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2(6)/2018 |
'We Won’t Give Up Solidarity!' Fragments of Heritage |
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Łucja Iwanczewska |
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1-2(7-8)/2019 |
A Bit of a Queer Production: What Happens and What Cannot Happen When a Queer Biography Meets Publicly Funded Theatre |
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Zuzanna Berendt |
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1/2015 |
A Feigned Emancipation |
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Monika Kwaśniewska |
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1-2(7-8)/2019 |
A Few Queer Choreographies and a Horizon Imbued with Potentiality |
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Anka Herbut |
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1-2(7-8)/2019 |
A New Landscape with a Rainbow: Queerness and Hope |
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Agata Adamiecka-Sitek |
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1/2015 |
Agon, Passion, Profanation: Challenges for New Political Theatre |
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Bartosz Frąckowiak |
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1(5)/2018 |
Akademia Ruchu: A Future Already Past |
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Weronika Szczawińska |
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1-2(7-8)/2019 |
Allies: How We Broke the Silence and Made Documents |
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Agata Adamiecka-Sitek, Agata Koszulińska, Marta Miłoszewska, Weronika Szczawińska, Beata Szczucińska, Małgorzata Wdowik |
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1-2(3-4)/2017 |
And the Winner Is… Appointing Artistic Directors in Hungary |
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Andrea Tompa |
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1(5)/2018 |
Androgynous and Soft: Non-normative Languages of Ania Nowak |
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Agnieszka Sosnowska |
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1(2)/2016 |
Art as Vehicle of Community: The Works of the Workcenter of Jerzy Grotowski and Thomas Richards in Pontedera, Italy, 2009–2012 |
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Igor Stokfiszewski |
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1(5)/2018 |
Auto-theatre in the era of post-truth |
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Joanna Krakowska |
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1(2)/2016 |
Between Encounter and Change of Reality, between Participation and Emancipation: Conversation about Challenges Facing Social Theatre |
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Agata Adamiecka-Sitek, Elżbieta Depta, Agnieszka Jakimiak, Mikołaj Lewicki, Tomasz Rakowski, Agata Siwiak, Igor Stokfiszewski, Mirosław Wlekły, Krzysztof Zarzecki |
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1-2(7-8)/2019 |
Between Freedom and Manipulation: The Situation of Actors in Factory 2 |
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Monika Kwaśniewska |
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2(6)/2018 |
Between Russia and Germany: Aleksander Wat’s My Century as a Theme for Modris Eksteins |
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Małgorzata Dziewulska |
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1-2(3-4)/2017 |
Beyond Participation |
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Igor Stokfiszewski |
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1-2(7-8)/2019 |
Bleak Futurism |
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Piotr Gruszczyński |
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1(2)/2016 |
Blind Alleys in Documentary Theatre: An Analysis of the Production Process of Situation Rooms, the Multiplayer Video Piece by the Rimini Protokoll Collective |
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Zofia Smolarska |
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1-2(3-4)/2017 |
Can Centrala Save Us? |
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Kamila Paprocka-Jasińska |
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1-2(3-4)/2017 |
Censorship as the Formative Mechanism of Neoliberal Culture?: The Productive Function of Prohibition |
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Ewa Majewska |
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1-2(7-8)/2019 |
Change - Now? Calling for Unavoidable |
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Agata Adamiecka-Sitek |
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1-2(7-8)/2019 |
Changing the Face of French Scene: Rethinking Assumptions for a Theatre That Mirrors Society |
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Grégory Gabriel, Elliot Marès |
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1-2(7-8)/2019 |
Comment |
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Krystian Lupa |
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2(6)/2018 |
Communal Theatre: A Forgotten Tradition in the Avant-garde |
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Zofia Dworakowska |
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1(5)/2018 |
Cyberparticipation and Malicious Interactivity, or: Who or What Participates in Post-Theatre |
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Mateusz Chaberski |
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1(2)/2016 |
Democracy: Do It Yourself |
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Agata Adamiecka-Sitek, Iwona Kurz |
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1-2(3-4)/2017 |
Demolishing Partition Walls: ‘Auto-theatre’ at the 2016 Theatre Confrontations Festival in Lublin |
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Ewa Guderian-Czaplińska |
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1-2(7-8)/2019 |
Devotional Articles and a Unicorn: Queer Aspects in the Work and Bibliography of Krystian Lupa |
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Stanisław Godlewski |
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1-2(3-4)/2017 |
Dismantling Our Own Language: Justyna Lipko-Konieczna and Justyna Sobczyk in Conversation with Zofia Smolarska |
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Zofia Smolarska, Justyna Sobczyk, Justyna Lipko-Konieczna |
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1-2(7-8)/2019 |
Dutch Practice-Based Theatre Experiences |
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Henk Havens, Bert Luppes, Lieke van der Vegt, Emma Buysse |
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1/2015 |
Engagement and Autonomy of Theatre |
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Paweł Mościcki |
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1(5)/2018 |
Factory 3 |
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Maryla Zielińska |
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1/2015 |
From Documentarist to Situationist: The Plays of Paweł Demirski |
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Anna R. Burzyńska |
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1(5)/2018 |
Future Proof (With Courage & Curiosity): Training for a theatre that does not yet exist |
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Richard Gough |
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1(2)/2016 |
Golgota Picnic and the Framework of Public Discourse: Performing Democracy and Managing Social Indignation |
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Antoni Michnik |
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1-2(7-8)/2019 |
Growing Sideways and Subverting Theatrical Hierarchies: Paweł Miśkiewicz’s Spring Awakening |
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Katarzyna Waligóra |
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1-2(7-8)/2019 |
Homosexuals in Konrad Swinarski’s Productions: A Language Problem? |
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Grzegorz Niziołek |
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1/2015 |
How Far Can You Go in an Institution? On a Feminist Turn That Wasn't: Agata Adamiecka-Sitek Talks with Milena Gauer and Weronika Szczawińska |
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Agata Adamiecka-Sitek, Milena Gauer, Weronika Szczawińska |
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1-2(3-4)/2017 |
How Komuna Otwock became Komuna// Warszawa: A Conversation with Alina Gałązka, Grzegorz Laszuk and Tomasz Plata |
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Arkadiusz Gruszczyński (ed.), Alina Gałązka, Grzegorz Laszuk, Tomasz Plata |
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1-2(3-4)/2017 |
How to Lift the Curse? Director Oliver Frljić and the Poles |
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Agata Adamiecka-Sitek |
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1/2015 |
I Don’t Want to Do Theatre Anymore, I’ve Got Bored: Paweł Demirski in Conversation with Maciej Nowak |
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Paweł Demirski, Maciej Nowak |
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1-2(3-4)/2017 |
Institution: the Defence of Necessity |
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Dorota Buchwald |
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1-2(3-4)/2017 |
Institutional Gastroscopy: Publicly Funded Theatre in Poland, Diagnosed by Its Craftspeople |
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Zofia Smolarska |
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1(2)/2016 |
Irradiated with Art |
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Małgorzata Jabłońska |
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1(5)/2018 |
I’m Your Private Dancer: Pop Culture in Choreographic Practice |
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Joanna Szymajda |
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1(5)/2018 |
Laudatio |
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Tomasz Kubikowski |
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2(6)/2018 |
Living Leftovers of History |
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Dorota Sajewska |
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1-2(7-8)/2019 |
Nakedly and Tenderly. Agata Adamiecka-Sitek in conversation with Marta Malikowska |
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Agata Adamiecka-Sitek, Marta Malikowska |
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1/2015 |
Nothing Else Matters: Jan Klata in Conversation with Dariusz Kosiński |
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Dariusz Kosiński, Jan Klata |
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1(5)/2018 |
On Receiving an Honorary Doctorate, Warsaw, October 2017 |
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Richard Schechner |
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1(2)/2016 |
On Social Culture |
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Igor Stokfiszewski |
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1-2(3-4)/2017 |
On the Common Good: The Institution of the Chorus and Images of a Nation in Marta Górnicka’s Theatre |
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Jan-Tage Kühling |
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1-2(3-4)/2017 |
On the ‘People’s Theatre’: a Glance Back |
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Ewa Bal |
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2(6)/2018 |
Osvobozené divadlo and Teatr Symultaniczny: Two Unrealised Theatre Projects in Central and Eastern Europe as a Research Subject in Media Archaeology |
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Jakub Kłeczek |
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1/2015 |
Poles, Jews and Aesthetic Experience: On the Cancelled Theatre Production by Olivier Frljić |
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Agata Adamiecka-Sitek |
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1-2(3-4)/2017 |
Polish Theatre after Klątwa: Paweł Łysak and Paweł Sztarbowski, directors of the Powszechny Theatre in Warsaw, in Conversation with Agata Adamiecka-Sitek and Marta Keil |
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Paweł Łysak, Paweł Sztarbowski, Agata Adamiecka-Sitek, Marta Keil |
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1(5)/2018 |
Post-Theatre and Its Allies: New Experiments in Polish Theatre |
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Editorial Board |
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1(5)/2018 |
Post-Theatre: Escaping from Theatre, Escaping to Theatre |
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Tomasz Plata |
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1(2)/2016 |
Public to Private: A Theatrical Game with Disability |
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Ewelina Godlewska-Byliniak, Justyna Lipko-Konieczna |
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2(6)/2018 |
Re-calling |
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Dariusz Kosiński |
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1(5)/2018 |
Rematerializing ‘the Internet’: 'IT', a Choreographic Performance by Marta Ziółek |
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Magdalena Zamorska |
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1(2)/2016 |
Returning Bride: Performative Re-creation of Identity and Space |
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Dorota Ogrodzka |
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2(6)/2018 |
Revolution in the Cross’s Shadow: Solidarity as Performance |
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Marcin Kościelniak |
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1/2015 |
Revolutions versus Participations: Participation Strategies and Performative Tactics in the Wielkopolska: Rewolucje Programme |
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Joanna Jopek |
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1-2(7-8)/2019 |
Shifting the Landscape: Why Changing Actor Training Matters in Light of the #MeToo Movement |
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Vanessa Coffey, Hilary Jones, Mccallister Selva, Thomas Zachar |
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2(6)/2018 |
Spatial Rhythm in Time: Parallels between Vsevolod Meyerhold’s theatrical biomechanics and Katarzyna Kobro's concept of spatial composition |
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Małgorzata Jabłońska |
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2(6)/2018 |
Staging Clichés and Settling Scores |
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Paweł Sztarbowski |
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1-2(7-8)/2019 |
Testimonies and Declarations |
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Iga Gańczarczyk |
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1-2(3-4)/2017 |
The Actor in the Deadlock of Contemporary Folwark Relations |
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Monika Kwaśniewska |
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1-2(7-8)/2019 |
The Actresses, or Sorry for Touching You |
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Michał Telega |
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1(2)/2016 |
The De-Novo Association: The Summer Theatre Action |
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Anna Świętochowska |
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1(2)/2016 |
The Dispossessed Spectator: Subversive Games with Viewer Passivity in the Theatre of Krzysztof Garbaczewski |
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Joanna Jopek |
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1-2(3-4)/2017 |
The Emancipated Artist |
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Romuald Krężel |
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1-2(3-4)/2017 |
The Institutional Practices of a Festival |
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Marta Keil |
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1/2015 |
The Politics of Participation |
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Agata Siwiak |
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1-2(3-4)/2017 |
The Pope’s New Clothes: Jean Vilar’s Lay Religion and Popular Theatre |
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Piotr Olkusz |
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1-2(7-8)/2019 |
The Power of Queer Failure |
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Grzegorz Stępniak |
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1(2)/2016 |
The Spectre of Democracy |
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Dariusz Kosiński |
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1(2)/2016 |
The (Syn)aesthetic Experience of Participants in Site-specific Performances in the Performance Scholar’s Laboratory |
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Mateusz Chaberski |
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1(2)/2016 |
The Theatre of Public Life – a Crucible of our Humanity? (Re-reading Arendt) |
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Elżbieta Matynia |
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1/2015 |
The Theatre of the Playwright |
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Paweł Demirski |
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1-2(3-4)/2017 |
The Village Is on Fire! The Village Is Burning Down! Notes on the Oliver Frljić Production of Klątwa in Warsaw |
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Paweł Mościcki |
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1-2(3-4)/2017 |
The Workers’ Movement in the Campaign for Democratizing Culture and for Political Democracy |
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Igor Stokfiszewski |
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1-2(3-4)/2017 |
The ‘Open Activity Academy’, or: On Akademia Ruchu Centres |
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Zofia Dworakowska |
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1(2)/2016 |
Theatre and Community |
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Editorial Board |
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1-2(3-4)/2017 |
Theatre and Democracy. Institutional Practices in Polish Theatre |
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Agata Adamiecka-Sitek, Marta Keil |
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2(6)/2018 |
Theatre Collectives, Panel 1: How Do the Flemish Do It? |
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Panel 1 |
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2(6)/2018 |
Theatre Collectives, Panel 2: Doing Things the Polish Way |
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Panel 2 |
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1-2(3-4)/2017 |
Theatre Organization System in Poland |
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Paweł Płoski |
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1(5)/2018 |
Theatre Studies: Working with Theatre |
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Tomasz Plata |
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1/2015 |
Theatre Takes a Stand: Polish Participatory Theatre at the Turn of the Twentieth and Twenty-First Centuries |
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Mateusz Borowski |
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2(6)/2018 |
Theatre Unmasked: An Experimental Production of Stanisław Wyspiański’s Daniel at Stefan Żeromski Theatre in Warsaw |
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Paulina Kubas |
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1/2015 |
Theatres of Politics. Politics of Theatres |
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Editorial Board |
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1-2(3-4)/2017 |
Theoretical Democracies, Practical Institutions |
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Weronika Szczawińska |
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1(5)/2018 |
There Is No Such Thing as a Giessen School |
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Heiner Goebbels |
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1(5)/2018 |
Three scenes from the art academy: the professional, the ignorant and the local schools |
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Marijke Hoogenboom |
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1(2)/2016 |
To Participate and to Disappear |
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Łucja Iwanczewska |
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1(2)/2016 |
Towards the Private: Notes on Contemporary Non-Fiction Theatre |
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Roman Pawłowski |
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1/2015 |
Transfer: German and Polish Political Theatre in the Early 21st Century |
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Anna R. Burzyńska |
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