état polonais – English Translation – Keybot Dictionary

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  www.arenbergauctions.com  
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Dans cette galerie de portraits de collectionneurs que nous avons débuté sur le Blog, la place l’occupe aujourd’hui le Prince Adam Karol Czartoryski, héritier d’une des grandes familles de la noblesse polonaise et qui viens de vendre sa collection, immense et richissime, à l’État polonais.
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The US is a nation of compulsive collectors –at least if responses to an exhibition at New York City’s New Museum are anything to go by. The keeper is a collection of collections, a survey of the collecting passion in art and beyond that finds room for everything from a […]
  www.ovpm.org  
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À partir de 1559, Riga est successivement incorporée dans les empires russe, polonais et suédois. Le tsar Ivan le Terrible prend Riga en 1559 mais doit la céder à l’état polonais-lituanien en 1581. Après la guerre entre la Pologne et la Suède, Riga est annexée au royaume suédois et même déclarée “ deuxième capitale de la Suède ”.
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From 1559 onwards, Riga was successively incorporated into the Russian, Polish, and then Swedish Empires. Tsar Ivan the Terrible took Riga in 1559 but had to cede it to the Polish-Lithuanian State in 1581. After the war between Poland and Sweden, Riga was annexed to the Swedish Kingdom and even declared the “second capital of Sweden.”
  access2eufinance.ec.europa.eu  
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L'État polonais est plus que millénaire. Au XVIe siècle, la Pologne comptait parmi les pays les plus puissants d’Europe. En remportant la bataille de Vienne, en 1683, le roi Jean III Sobieski de Pologne brisa le siège ottoman de cette ville et mit ainsi fin à la menace d’une occupation de l’Europe occidentale.
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Romania, in southeast Europe, is mountainous in the north while the main feature in the south is the vast Danube valley. The river forms a delta as it approaches the Black Sea, which is a wildlife reserve for countless native and migratory birds.
  www.memopal.com  
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Au cours de la Seconde Guerre mondiale, le Polonais Jan Karski réalise une mission des plus risquées : en 1942, il traverse le continent européen, alors occupé par les nazis, pour alerter les dirigeants des pays alliés sur l’Holocauste. Son périple a été planifié et préparé par le mouvement de lutte antinazie de l’État polonais clandestin, qui possède sa propre armée, ses tribunaux, ses écoles et ses journaux.
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During World War II, Polish resistance hero, Jan Karski was involved in an extremely dangerous mission: In 1942, he travelled across the Europe during Nazi occupation, to warn Allied Forces about the Holocaust. His journey was planned by the underground Polish resistance movement, which had its own army, tribunals, schools and newspapers.
  artsalive.ca  
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Il étudie la mise en scène à Cracovie, puis séjourne à Moscou où il découvre l'héritage de Stanislavski et de Meyerhold. Après ses premiers voyages en Asie centrale, en 1959, il co-dirige ce qui deviendra le Théâtre Laboratoire, à la fois école et troupe, subventionnée par l'État polonais.
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Jerzy Grotowski began with the premise that theatre had over-borrowed from other media, especially film and television, and had thus violated its own essence. In an effort to restore its purity, he eliminated everything but its two essential elements: actor and audience. This approach, which he called "poor theatre," was to earn this Polish director international recognition. After studying at the National Theatrical Academy in Krakow, he went to Moscow, where he absorbed the heritage of Stanislavskyand Meyerhold. In 1959 he joined the Laboratory Theatre, a school and company subsidized by the Polish government. His experiments focused on the actor, requiring that they gain absolute control over themselves physically, vocally and psychically, so that during performances they might transform themselves as demanded by the play. Actors had to learn to give of themselves freely, and expose themselves psychically when necessary, abandoning all notions of narcissism or exhibitionism. In his most celebrated work, an adaptation of Calderón's
  www.ust.edu.tw  
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Le Président s'est borné à constituer un Conseil national (1939-1945), considéré comme un substitut du parlement polonais en exil. Par contre, sur le territoire du pays, un Conseil d'Unité nationale a été instauré, qui, pendant la période 1944-1945, menait une activité similaire à un parlement de l'État polonais clandestin.
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On 2 September 1939, the Sejm held its last session, declaring readiness to fight the invader. On 2 November 1939, the President dissolved the Sejm and the Senate, which were to resume their activity within two months after the end of the Second World War; this never happened. The continuity of state institutions under conditions of wartime occupation by two foreign powers was maintained by the President of the Republic under the April Constitution. The only body which was not restored after the establishment of Polish legal authorities-in-exile was the parliament. The President limited himself to setting up the National Council (1939-1945), treated as a substitute for parliament in-exile. Meantime, in occupied Poland, the Council of National Unity was set up, functioning in 1944-1945 as the parliament of the Polish Underground State. That was the moment marking the end of the Second Republic which had existed since 1918.
  www.artsvivants.ca  
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Il étudie la mise en scène à Cracovie, puis séjourne à Moscou où il découvre l'héritage de Stanislavski et de Meyerhold. Après ses premiers voyages en Asie centrale, en 1959, il co-dirige ce qui deviendra le Théâtre Laboratoire, à la fois école et troupe, subventionnée par l'État polonais.
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Jerzy Grotowski began with the premise that theatre had over-borrowed from other media, especially film and television, and had thus violated its own essence. In an effort to restore its purity, he eliminated everything but its two essential elements: actor and audience. This approach, which he called "poor theatre," was to earn this Polish director international recognition. After studying at the National Theatrical Academy in Krakow, he went to Moscow, where he absorbed the heritage of Stanislavskyand Meyerhold. In 1959 he joined the Laboratory Theatre, a school and company subsidized by the Polish government. His experiments focused on the actor, requiring that they gain absolute control over themselves physically, vocally and psychically, so that during performances they might transform themselves as demanded by the play. Actors had to learn to give of themselves freely, and expose themselves psychically when necessary, abandoning all notions of narcissism or exhibitionism. In his most celebrated work, an adaptation of Calderón's
  www.artsalive.ca  
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Il étudie la mise en scène à Cracovie, puis séjourne à Moscou où il découvre l'héritage de Stanislavski et de Meyerhold. Après ses premiers voyages en Asie centrale, en 1959, il co-dirige ce qui deviendra le Théâtre Laboratoire, à la fois école et troupe, subventionnée par l'État polonais.
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Jerzy Grotowski began with the premise that theatre had over-borrowed from other media, especially film and television, and had thus violated its own essence. In an effort to restore its purity, he eliminated everything but its two essential elements: actor and audience. This approach, which he called "poor theatre," was to earn this Polish director international recognition. After studying at the National Theatrical Academy in Krakow, he went to Moscow, where he absorbed the heritage of Stanislavskyand Meyerhold. In 1959 he joined the Laboratory Theatre, a school and company subsidized by the Polish government. His experiments focused on the actor, requiring that they gain absolute control over themselves physically, vocally and psychically, so that during performances they might transform themselves as demanded by the play. Actors had to learn to give of themselves freely, and expose themselves psychically when necessary, abandoning all notions of narcissism or exhibitionism. In his most celebrated work, an adaptation of Calderón's