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Z lektur Bunga: Gabriele D’Annunzio, „Rozkosz” („Il piacere”)

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Sztaba W.

Pamiętnik Literacki

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2016

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vol. 107

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issue 4

161-181

PL

„Kochany Dorianie d’Ugenta” – pisał Leon Chwistek w liście do Stanisława Ignacego Witkiewicza, robiąc podwójną aluzję do literackich inspiracji przyjaciela: powieści Oscara Wilde’a “Portret Doriana Graya” oraz Gabriele d’Annunzio “Rozkosz” (“Il piacere”), której główną postacią jest Andrea Sperelli, hrabia d’Ugenta. Dzieło D’Annunzia odegrało istotną rolę w powstaniu „622 upadków Bunga” – wskazuje na to podobieństwo tematów i sposobów ich formalnego ujęcia. Protagonistami obu utworów są młodzi artyści, wplątani w modernistyczny węzeł życia i sztuki. Tytuły dopełniają się – Andrea i Bungo ponoszą porażkę, gdyż złudna rozkosz prowadzi nieuchronnie do upadku. „622 upadki Bunga” to powieść w dużej mierze autobiograficzna. Również D’Annunzio zwykł do swoich dzieł, jak „Ogień” czy „Tryumf śmierci”, wplatać fakty z własnego życia.

EN

“Dear Dorian d’Ugenta,” Leon Chwistek wrote in his letter to Stanisław Ignacy Witkiewicz, making a double allusionn to his friend’s literary inspirations, namely to Oscar Wilde’s novel “The Picture of Dorian Gray” and Gabriele d’Annunzio’s “Il piacere” (“The Child of Pleasure”), in the latter of which the character is Andrea Sperelli, count Ugenta. D’Annunzio’s work played a crucial role in forming “622 upadki Bunga” (“The 622 Downfalls of Bungo”), which is evidenced by the similarity of topics and the modes of their formal presentation. Young artists, protagonists of the two pieces, are embroiled into a merge of life and art. The novels’ titles are complementary – Andrea and Bungo suffer defeat since fallacious pleasure inevitably leads to a downfall. “The 622 Downfalls of Bungo” is to a great extent an autobiographical novel. Similarly, D’Annunzio would plait into his works such as “Il fuoco” (“The Flame of Life”) or “Trionfo della morte” (“The Triumph of Death”) facts from his own life.

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Żal mi tropików…

100%

Sztaba W.

Konteksty - Polska Sztuka Ludowa

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2014

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vol. 68

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issue 3-4(306-307)

377-382

EN

The text follows the traces of the journey to the tropics made by Bronisław Malinowski and Stanisław Ignacy Witkiewicz.

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Pocztówki z piekła. Stanisław Ignacy Witkiewicz w Paryżu 1908

100%

Sztaba W.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 4(260)

55-70

EN

We know little about Stanisław Ignacy Witkiewicz’s stay in Paris in the spring of 1908; we do not know the letters to his father where he probably reported what he experienced there, and the correspondent letters by his father contain few traces of such reports. Traces of the stay have, however, made their way to his literary creations: he recounted his impressions of his encounter with the new painting in The 622 Downfalls of Bungo, whereas The Beelzebub Sonata contains evidence of his visits to Paris cabarets, particularly to L’Enfer and Le Néant. The playwright suggests that the Hell of Acts 2 and 3 is to resemble a cabaret in Paris—and a little Budapestian—or in Rio (Salon di Gioja), but mostly Parisian, which he repeats in the play on numerous occasions, including the opening-scene stage directions where he emphasises, importantly, the general atmosphere of demonic tackiness of such entertainment establishments. Reading contemporary reports and looking at old postcards and photographs of the cabarets’ interiors one can see just what Witkacy meant by tackiness. And one can imagine an atmosphere he strove for in the stage setting for The Beelzebub Sonata. Knowing Witkacy’s penchant for the macabre, one can guess that he visited the Grand-Guignol Theatre. And probably the Musée Grévin, too. While Witkacy stayed in Paris, a theatrical event of great importance—the greatest importance, indeed, from today’s point of view—took place. The Antoine Theatre gave two performances of Ubu Roi by Jarry with Firmin Gémier. They were only afternoon performances, but they were widely publicised. Did Witkacy take notice? Twenty years later, Ubu Roi cropped up, perhaps as a reminiscence from Paris, in his letter to Edmund Wierciński, where he recommended some plays for the repertory: “By the French, Roi Ubu, I don’t recall the author’s name.”

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Z lektur Bunga: Gabriele D’Annunzio, „Rozkosz” („Il piacere”)

Żal mi tropików…

Pocztówki z piekła. Stanisław Ignacy Witkiewicz w Paryżu 1908