The authoress began her presentation of the structure of the liturgical drama entitled 'Ludus Danielis' - a sui generis 'spectator's guide' - by examining the text of the manuscript from Beauvais. She went on to consider the dynamic of the reality created in the church interior by the theatrical word and gesture. In doing so, she indicated such features as the vanishing contrast between the actors and the spectators, the reduced significance of the plot and the characters, the increased rank of the structure as well as the deceleration of the rate of events. In this sort of theatre, the centre of gravity is transferred from the plot to 'contemplative activity', the celebration of the 'happening', and the dynamic of relations between man and God. She also studied from a meta-theatrical vantage point the question of the part and the actor, taking this opportunity to cite the theatrical reflections of Juliusz Osterwa (his plans of transforming the Reduta Theatre into a Brotherhood of St. Genesius).
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