Instruction for Authors of the theatre journal Didaskalia
The texts sent to the Didaskalia editorial office should be prepared according to the following rules:
- scientific articles: 40 thousand characters (with spaces),
- reviews of performances: 9 thousand characters (with spaces),
- reviews of books: 7 thousand characters (with spaces).
font: 12pt, Times New Roman, spacing 1.5,
files with extensions: .doc or .docx.,
titles of performances, books, films, CDs, exhibitions, etc. are written in italics and magazines in quotation marks,
the names of theatres, cinemas, clubs and institutions are written without quotation marks, simply,
short quotes are placed in quotation marks in the text, and long quotes (above three lines) are separated with a break line and written in 10pt font, according to the formula:
"Everyone can write stories, provided that they are interesting to write, feel the "fashionable" issues and convince the publisher that they will sell well," Domańska says.
I get up, I work I get up I get this life like a snowball in front of me
I say things I make money and what you're gonna do here is disconnect me from the electricity he wanted the best
Fuck this critical approach to me.
And for what?
That I want to have something to live and work for, huh?
questions are written in bold,
answers in non-bold font,
the next questions are separated by an empty line,
in the case of one interlocutor, the names and surnames of the interlocutor and the author of the interview are given only under the title, according to the template:
Arkadina from Arkadia
Joanna Targoń speaks to Maria Maj
How do you work on a performance like this? There was no text at the beginning, only improvisations?
The work was fantastic; the improvisations were fantastic. In the City of Dream (pol. Miasto Snu) , Krystian offered us this: first you, then me. We didn't know our roles yet, we came to the Pearl (pol. Perła), the City of Dream (pol. Miasto Snu), as ourselves. With his dreams and ideas after reading Kubin's book.
There was text?
No, it wasn't.
In the case of more than one interlocutor, we give the full name and surname for each speech, according to a formula
Your previous performances made me look at my opinions and emotions and check them carefully to see if they were somebody else's, imposed on me. I had a masochistic pleasure from it, but still I had a pleasure. At Courtney Love, you put me up against a wall in a completely different way. This time you're making me seriously ask myself questions that are usually postponed or simply denied in order to move on, essentials, personal, extremely uncomfortable and hurtful. It is difficult to get out of them and the pleasure is smaller. And no light in the tunnel.
MONIKA STRZĘPKA: Because it's a show born of depression. You have accurately describe it, Paweł. There was something about the depths... deepest, something about hell.... How did you say it?
PAWEŁ DEMIRSKI: But what exactly did I say?
MONIKA STRZĘPKA: If I could remember, I wouldn't ask you. And that's how we live here, when we retired in Wrocław. The 70th anniversary of grunge, a memory is not what it used to be.
we construct footnotes in the APA style: in round brackets the name of the author and the year of publication are written, page numbers are given in case of literal quotation of the text. Names, year and page numbers are separated by a comma, according to the formula:
"Everyone can write stories, provided that they are interesting to write, feel the "fashionable" issues and convince the publisher that they will sell well" (Domańska, 2006, p.42),
if the author's name or the year of publication appears in the text as part of a sentence in brackets, only the missing information shall be provided in the form of a formula:
As Domańska states: "Everyone can write stories, provided that they are interesting to write, feel the "fashionable" issues and convince the publisher that they will sell well" (2006, p.42),
in the case of more than one consecutive quotation (or references) from the same source, the author's name, year of publication and page should be given next to the first quotation, and only the page should be given in the following cases, according to the formula:
"Everyone can write stories" (Domańska, 2006, p. 42). In order to publish them, he has to convince the publisher that his book will "sell well". (p. 42).
Comments not included in the main text are placed in footnotes numbered with consecutive Arabic numerals,
under the text we place a bibliography, according to the formula:
Domańska, Ewa, Historie niekonwencjonalne. Refleksja o przeszłości w nowej humanistyce, Wydawnictwo Poznańskie, Poznań 2006.
Bruner, Jerome, Kultura edukacji, translated by T. Brzostowska-Tereszkiewicz, Universitas, Kraków 2006.
Article in the collective volume
Majchrowski, Zbigniew, Szczątki założycielskie, [in:] 20-lecie. Teatr polski po 1989 roku, edited by D. Jarząbek, M. Kościelniak, G. Niziołek, Ha!art, Kraków 2010.
Article in the magazine
Burzyńska, Anna R., Tradycja i profanacja, „Dialog” 2012 no.12.
Article in the journal
Derkaczew, Joanna, Ziemia niespełnionych obietnic, „Gazeta Wyborcza online”, 14 IX 2009.
Jopek, Joanna, Z intelektualnym zapleczem, http://www.e-teatr.pl/pl/artykuly/128891.html, [dostęp: 17 V 2013].
Information annexed to the texts
- a summary of the scientific article (up to 100 words) should contain a description of the issues involved and the methodology used,
- a short biographical note (in the case of authors working with the editor office for the first time; permanent authors should keep their notes up to date) with the ORCID number (in the case of peer-reviewed scientific texts).
- texts not ordered by the editorial office do not return,
- the editorial office reserves the right to make abbreviations and changes to published texts,
- please send your texts to the following address: firstname.lastname@example.org.