PL EN


2017 | 66 | 3(263) | 5-15
Article title

„Takie samo miejsce” dla „orłów i komarów Parnasu”, czyli jaki dramat (i jaki teatr dla tego dramatu) zaprojektowali nasi oświeceni

Title variants
EN
The Same Place” for “Eagles and Mosquitos of the Parnassus,” or What Drama (and What Theatre for That Drama) Our Enlighteners Envisioned
Languages of publication
Abstracts
EN
The intent of the article has been to demonstrate how goals set by Polish Enlighteners for the theatre and the assumptions they shared, coupled with the circumstances and conditions of theatre entrepreneurship at the time, led willy-nilly to the formation of a popular theatre and the development of analogical popular drama. For it would be a gross misunderstanding to treat this theatre and drama as a highly artistic enterprise, even though the resultant institution was flexible enough to be able to put on other kinds of shows as well. Nonetheless, such attributes as the theatre’s educative and utilitarian qualities, i.e. that it was politically engaged, responsive to the current realities of life, programmatic, entertainment-oriented, and willing to perform for a broad spectrum of audiences, are indeed marks of its popular character. A pragmatic approach to the stage was reinforced by the royal subsidies as well. In this situation, a new profession of the repertory supplier emerged, represented not only by Jan Baudouin or Franciszek Zabłocki, but also by numerous other authors who tried their hand at playwriting, even though they had not been involved in writing literature before. And since the theatre audiences were quickly gaining autonomy and soon started making their own demands, it became clear that the neoclassical aesthetic was bound to give way to non-classical tendencies. What emerged was a generally popular form of theatre enterprise that became a major influence on the ensuing development and evolution of the 19th-century stage. The intent of the article has been to demonstrate how goals set by Polish Enlighteners for the theatre and the assumptions they shared, coupled with the circumstances and conditions of theatre entrepreneurship at the time, led willy-nilly to the formation of a popular theatre and the development of analogical popular drama. For it would be a gross misunderstanding to treat this theatre and drama as a highly artistic enterprise, even though the resultant institution was flexible enough to be able to put on other kinds of shows as well. Nonetheless, such attributes as the theatre’s educative and utilitarian qualities, i.e. that it was politically engaged, responsive to the current realities of life, programmatic, entertainment-oriented, and willing to perform for a broad spectrum of audiences, are indeed marks of its popular character. A pragmatic approach to the stage was reinforced by the royal subsidies as well. In this situation, a new profession of the repertory supplier emerged, represented not only by Jan Baudouin or Franciszek Zabłocki, but also by numerous other authors who tried their hand at playwriting, even though they had not been involved in writing literature before. And since the theatre audiences were quickly gaining autonomy and soon started making their own demands, it became clear that the neoclassical aesthetic was bound to give way to non-classical tendencies. What emerged was a generally popular form of theatre enterprise that became a major influence on the ensuing development and evolution of the 19th-century stage.
Year
Volume
66
Issue
Pages
5-15
Physical description
Contributors
  • Uniwersytet Adama Mickiewicza w Poznaniu
References
  • N. Abercrombie, S. Lash i B. Longhurst, Przedstawienie popularne: przerabianie realizmu, [w:] Odkrywanie modernizmu. Przekłady i komentarze, red. i wstęp. R. Nycz, Kraków 1998.
  • M. Borowski, Dramat XVIII i XIX wieku a performatywne modele zaangażowania, [w:] Polska dramatyczna. Dramat i dramatyzacje w XVIII i XIX wieku, red. M. Sugiera, Kraków 2014.
  • J. Burski, B. Martela, Obrona kultury popularnej, Berman na Times Square, [w:] Rekonfiguracje modernizmu. Nowoczesność i kultura popularna, red. T. Majewski, Warszawa 2009.
  • M. Cieński, Formacja oświeceniowa w literaturze Polski i Niemiec, Wrocław 1992
  • W. Heisenberg, Ponad granicami, przekł. K. Wolicki, wstęp A. K. Wróblewski, Warszawa 1979.
  • M. Klimowicz, Początki teatru Stanisławowskiego (1765–1773), Warszawa 1965.
  • T. Kostkiewiczowa, Franciszek Zabłocki, „Fircyk w zalotach”, [w:] Dramat polski. Interpretacje. Część I: od wieku XVI do Młodej Polski, red. J. Ciechowicz, Z. Majchrowski, wstęp D. Ratajczakowa, Gdańsk 2001.
  • P. von Matt. Intryga. Teoria i praktyka podstępu w literaturze, przekł. I. Sellmer, A. Żychliński, Warszawa 2009.
  • P. Morawski, Średniowiecze: Re-wizje. Teatr misteryjny w zwierciadle kultury popularnej, [w:] Niebezpieczne związki. Dramat, teatr i lutura popularna, red. E. Partyka i P. Morawski, Warszawa 2010.
  • Przeciw dramie mieszczańskiej (II) o rozprawie Misteleta, „Journal Litteraire de Varsovie”, [w:] Teatr Narodowy (1765–1794), red. J. Kott, Warszawa 1967.
  • W. B. Worthen, Dramat między literaturą a przedstawieniem, przekł. M. Borowski, M. Sugiera, Kraków 2013
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-b32808ea-8c23-4188-858b-9041009cd72b
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