stale – Traduction – Dictionnaire Keybot

  Atelier w Poznaniu zain...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Uczestnicy Atelier dołączyli do stale rozrastającej się sieci obejmującej obecnie 264 absolwentów z 60 krajów. Minione 7 dni wypełnione były inspirującymi dyskusjami i nawiązywaniem trwałych więzi na przyszłość.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir 2014.malta-festival.pl comme domaine prioritaire	Jeffrey Tan, Atelier participant from Singapore, said: “This is indeed a rare and unique opportunity to meet and learn from the very experienced mentors and equally rich fellow festival managers and directors. Taking time to stop and reflect, listen and learn, rediscover why I am doing what I am doing and how I am running my festival.”

  Prapremiera „Czarodziej...  

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– opery Pawła Mykietyna na podstawie powieści Thomasa Manna. Paweł Mykietyn jest jednym z najbardziej cenionych polskich kompozytorów. Stale współpracuje z Krzysztofem Warlikowskim. Jest również autorem muzyki filmowej, m.in.

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, an opera based on the novel by Thomas Mann. The author of the music, Paweł Mykietyn, is one of the most renowned Polish composers who regularly works with Krzysztof Warlikowski, and who has also created a number of film scores, for example to films directed by Małgorzata Szumowska and Andrzej Wajda. The performance will be directed by Andrzej Chyra, a theatre and film actor, and the director of the acclaimed

  Malta Festival Poznań g...  

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„Przyszli menedżerowie festiwali, którzy wezmą udział w Atelier, staną się częścią stale rozrastającej się sieci absolwentów, poprzez którą poszerzać będą swoje poglądy i odkrywać nowe sposoby i modele współpracy” – mówi Kathrin Deventer, Członkini Rady Akademii Festiwalowej i Sekretarz Generalna EFA.

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45 young festival managers from all over the world will be selected to take part in this unique training programme. Coordinated by Hugo De Greef (former EFA Secretary General, General Manager Bruges European Capital of Culture 2002, Founder and former Director Kaaitheater - Belgium), ten renowned artistic festival directors from all over the world will guide the participants through the intense programme.

  Oświadczenie w sprawie ...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Rolą festiwalu artystycznego jest poruszanie kwestii kluczowych dla zrozumienia współczesnego świata w jego złożoności. Program Malta Festival Poznań stale poszerza pole dyskusji, konfrontuje widzów z tematami istotnymi, nawet jeśli nie zawsze zgadzamy się z ich ujęciem.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir 2014.malta-festival.pl comme domaine prioritaire	We address this statement to everyone who has voiced their objections to the staging of Rodrigo García's play "Golgóta Picnic” during the 2014 Malta Festival Poznań; both to those who felt offended a priori by the play itself (speaking out against a play that they have not, in fact, seen) and to those who have perhaps only heard about the protest.

  LORENA WOLFFER, Estados...  

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LORENA WOLFFER (ur. 1971 r.) działa na pograniczu sztuki i aktywizmu: angażuje grupy kobiet w interwencje artystyczne, tworzy innowacyjne modele pedagogiczne służące do kolektywnego rozwoju wiedzy sytuacyjnej. Jej praktyka odnosi się do spraw związanych z kulturowym kontekstem kreowania tożsamości płciowej. Artystka stale broni też praw kobiet, przez swoje działania dopuszcza je do głosu.

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is a phrase meaning “state of exception”, a constitutionally defined state of hazard which imposes restrictions on civil rights. It also describes the day-to-day reality of women in Mexico, women living at risk of violence and in fear for their safety and for their lives. Lorena Wolffer’s project will present a reverse state of exception: a public meal for 20 women. Sitting at a table placed in a town square, the participants can freely exercise their right to be in public space. The project will be produced in cooperation with local organisations and activists.

  Rebeka zagra przed Damo...  

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Dzięki starciu charakterów i często odmiennych spojrzeń na muzykę, stale eksperymentują, używając do swoich kompozycji wielu sprzętów: syntezatorów analogowych z lat 80., gitary elektrycznej i basowej, dyktafonu taśmowego.

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Rebeka from Poznań is an alternative music discovery of the last recent years. It delights critics and is loved by fans for the clash of minimalist, electronic sounds with ambitious, melodic pop, emotional lyrics and strong voice of the singer Iwona Skwarek. Together with Bartosz Szczęsny, they combine two strong music personalities and reach the height of their joint energy during concerts. Thanks to the clash of characters and often different outlooks on music, they constantly experiment, using many instruments in their compositions such as analogue synthesizers from 1980s, electric and bass guitars or a tape recorder.

  Malta Festival Poznań 2...  

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Jej program i charakter zmieniał się przez lata, jednak zawsze nadrzędnym celem było przedstawianie publiczności artystów, którzy w danym momencie tworzyli dzieła ważne, oryginalne, porywające. Z roku na rok ich grono się powiększało, do teatru dołączały inne dziedziny sztuki. Rytm przemian Malty stale wyznacza zmienny duch czasu.

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Being sensitive to the transformations of the reality that surrounds us is the unchanging quality of Malta. Its programme and character underwent changes in the course of the years, but the overriding aim remained to present to the audience the artists who in that particular moment created significant, original and captivating works. Every year their circle was getting wider and theatre was joined by other domains of art. The rhythm of Malta’s transformations is always determined by the changing spirit of the times.

  Nowe światy Malty na Mi...  

Montrer texteMontrer source en cacheMontrer URL avec texte source	Maltański program Międzynarodowego Dnia Teatru zbudowany jest wokół idei nowego świata – rozumianego zarówno jako projekt przyszłości – utopijnej lub katastroficznej, jak i świata stwarzanego przez artystę teatru, który rozpoczynając od pustej sceny stale tworzy rzeczywistości alternatywne.
Comparer pages textesComparer pages HTMMontrer URL avec texte sourceMontrer URL avec langue cibleDéfinir 2014.malta-festival.pl comme domaine prioritaire	, an indie pop group from Poznań, will get us in a musical mood. Prior to that, the terrace of the Arkadia building (which houses the Malta Foundation) will be filled with helium balloons that will provide a backdrop for an urban sound installation. During a workshop, children will be able to symbolically demolish and create a Poznań of their dreams.

  Oświadczenie w sprawie ...  

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Antoniem Spadaro papież powiedział: „Człowiek tworzący kulturę musi tkwić w kontekście, w jakim działa i nad jakim prowadzi namysł. Stale czyha na nas niebezpieczeństwo życia w laboratorium. Nasza wiara nie jest wiarą-laboratorium, lecz wiarą-drogą i wiarą historyczną.

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Rodrigo García is known to Polish audiences primarily through his 2009 appearance in Wrocław, where he received the Europe Theatre Prize for „New Theatrical Realities”* where he staged, amongst others, his play „Incident: Kill to Eat” in which an actor recreated an event that takes place in millions of restaurants all over the world – he killed a lobster on stage. This play also provoked extreme reactions – the artist was accused of crossing accepted moral and legal boundaries in the arts. According to a court ruling, however, the method in which the lobster was killed was significantly more humane than the method used in restaurants. There, the lobsters – a luxurious delicacy that only the well-off can afford – are killed en masse and prepared solely to satisfy the refined desires of affluent consumers. In his play, García repeas the procedure, giving it the weight of an indictment – he asks the question of whether we are not offended at the sight of something we allow to happen every day, perhaps even actively contribute to: violence, rape, the objectification of human beings.

  Malta Festival Poznań 2...  

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Współpraca międzynarodowa Malty oznacza nie tylko stałe przedstawianie polskiej publiczności najciekawszych artystów, jest także stale podtrzymywanym kontaktem z tym, co dzieje się w krajach sąsiednich, tematami angażującymi artystów i odbiorców.

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Malta’s international cooperation means not only constant presentation of the most interesting artists to the Polish audience but also keeping a permanent contact with what is happening in the neighbouring countries, themes that intrigue artists and audience. Therefore, since 2012 Malta Festival Poznań has been the member of the network House on Fire. HoF is a five-year-long project of cooperation between ten European cultural institutions. The chief objective of the House of Fire is the support of artists who through their art take a stance in the public debate on current social, cultural and economic problems troubling European communities. The members of HoF are: LIFT (London), HAU (Berlin), Kaaitheater (Brussels), BRUT (Vienna), Archa Theatre (Prague), Teatro Maria Matos (Lisbon), Frascati (Amsterdam), Malta Festival (Poznań), Théâtre Garonne (Toulouse), BIT (Bergen). House of Fire is co-financed by the European Union from the Culture programme.

  Tim Etchells kuratorem ...  

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Jakich nowych celów i spełnienia jakich obietnic można oczekiwać od świata za kolejne dwie dekady? Jaki będzie nowy ład światowy? Jakie jest pole działania artystów w kontekście stale zachodzących zmian na geopolitycznej mapie świata?

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The Curator of this year’s Idiom, New World Order, is Tim Etchells, a major personality in European theatre, the founder and leader of the British company, Forced Entertainment. Tim Etchells is an artist whose work expands beyond a single discipline: he is a director and playwright who also makes video projects and neon signs. Together with the artists he has invited to take part in the festival, including Tiago Rodriguez, Vlatka Horvat and Rabih Mroué, as well as groups like Schwalbe and Winterfamily, Tim Etchells will focus on the topic of the possible future. In the second half of the 20th century, the world seemed to be on its way to improvement, greater safety and happiness. Today, we are accompanied by a gloomy vision of a planet that has completely exploited its limits and potential for growth. The contemporary world seems to be darkened with an image of disaster in the form of military conflict and environmental threats. What new goals and the fulfilment of what promises can be expected during the next two decades? What plane can artists work on in the context of the constant changes on the geopolitical map of the world?

  ROMEO CASTELLUCCI kurat...  

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Castellucci nie waha się zadawać trudnych pytań, wracać do archetypów, do tego co wyparte, badać ciemnych stron człowieczeństwa. Jest zaangażowany w świat, świadomy mroków i pułapek współczesności, a jednocześnie tym światem zafascynowany i stale poszukujący w nim Człowieka.

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Transhumanism, or human transformation caused by the development of science and technology, as well as the limits of subjectivity are areas that demand a thorough reflection by the artist who is capable of looking at the dynamics of contemporary times with the insight of a philosopher and who asks general and universal questions that attempt to arrive at the “nature of things”; the artist who is aware of and interested in the changes occurring in the imaginativeness and perception of the individual, the citizen of the world here and now. Such an artist is Romeo Castellucci, one of the most brilliant contemporary European creators, who combines in his theatre and stage projects extraordinarily powerful visions and radical images that affect viewers in a penetrating and total way; visions and images that convey an ethically and existentially involved message. Castellucci does not hesitate to ask difficult questions or to revisit archetypes, that which has been suppressed; to study the dark sides of humanity. He is engaged in the world being aware of the present’s shadows and traps and, at the same time, is fascinated by it and constantly looks within it for traces of the Human Being. In his works Castelluci experiments, merges different media and tests the viewers’ endurance. His theatre does not leave one indifferent. Piotr Gruszczyński has said that Castellucci is an artist who, right now, defines everything that is going on in theatrical Europe.

  Oświadczenie w sprawie ...  

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Mateusza” Piera Paolo Pasoliniego, „Pasję” Mela Gibsona, „Jezusa Chrystusa Zbawiciela” Klausa Kinskiego, „Żywot Briana” Terriego Jonesa (Monty Python) czy film Marka Koterskiego „Wszyscy jesteśmy Chrystusami”. Współczesna kultura stale odnosi się do swoich fundamentów, dlatego temat chrześcijaństwa jest w niej wciąż obecny i żywy.

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The history of European culture shows that throughout the centuries many works of art have raised extreme emotions, met with resistance and was accused of attacks on morality and prevailing values – one can mention Michaelangelo's famous „David”, Édouard Manet's „Olympia” or Gustave Flaubert's „Madame Bovary”. Each of these works has become part of the canon of European culture. Cotemporary high and popular culture can also be controversial. Among less obvious works drawing upon the story of Jesus Christ we can cite Roland Joffé's „The Mission”, Martin Scorcese's „The Last Temptation of Christ”, Pier Paolo Pasolini's „The Gospel According to St. Matthew”, Mel Gibson's „The Passion of the Christ”, Klaus Kinski's „Jesus Christ Savior”, Terry Jones' and Monty Python's „The Life of Brian” or Marek Koterski's film „We're All Christs”. Contemporary culture continuously draws from its roots, ensuring that the theme of Christianity remains present and alive. It would be hard to imagine Christianity ceasing to be a source of inspiration and an important reference point for successive artists.