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  1. 3 Ratajczak D.

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Comédie polonaise, czyli O komediach przepolszczonych

100%
Ratajczak D.
Pamiętnik Teatralny
|
2014
|
vol. 63
|
issue 4(252)
56-80
EN
The title of the article signals a paradoxical, two-fold existence of Polonised comedies, which, though existing, usually go unnoticed, especially that most of them are second-rate. I propose to draw consequences from the fact of this double existence and to treat these texts as a product of multi-authorial and multi-generational type of creation of pragmatic character, belonging rather to theatre repertories than to literature and peculiar to the 18th and part of the 19th century. The first part of the article offers an answer to the question of why the figures of the Polish Enlightenment could feel as pioneers when they were launching the public theatre and started producing comedy, and what made their theatre stand out among numerous other spectacles of the era, either derived from old ludic culture or inspired by contemporary trends. The second part of the article discusses the problems of classicism that was being introduced at the time and of comedy, the literary genre that classicism appropriated both as an aesthetic and ethical category of ancient origin and as a long-standing practice of reworking to which the concept of plagiarism did not apply. Here, various models of comedy are discussed, with emphasis on the Destouches’ model that, as Mieczysław Klimowicz pointed out incisively years ago, dominated the scene. The third part of the article deals with the contemporary understanding of adaptation: the role it played, the consequences it was perceived to have, and an array of functions it was meant to perform. Thus, the part contains a list of its variants. The article also addresses the issue of unequivocal originality of the adapted work and of secondary originality pertaining to the sphere of practice and to the concept of adaptation. The authors and critics were aware of the phenomenon but did not perceive the Polonisation of comedy as inappropriate. In their minds, stealing someone else’s literary work could only make sense if both works were written in the same language. In the conclusion, some 20th-century adaptations from the same language are cited, but their situation is already different. Today, it may be said that, despite motivations of their authors at the time, they anticipated the current popularity of remixes.
2
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Z rodziną komedii do „rodzinnej Europy”

100%
Ratajczak D.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
85-98
EN
The text discusses a challenge that the eighteenth-century European civilisation posed for generations of the Polish Enlightened and some consequences of their decisions. In fact, there was no alternative for them: in order to become part of the European civilisation and the progress whose path had just been set they had to bring about a multifaceted transformation of the Polish society dominated by noblemen, to make a turn that would completely change its world view, mentality and customs. Because one cannot be a part, and then heir, of the Enlightenment without being modern. And so the Polish enlightened elites fashioned their theatre as a transforming medium based on French models and classicist aesthetic—the most modern in Europe and most suited to their general educational intentions. The task of nationalising the progress was undertaken by Prince Adam Kazimierz Czartoryski, whereas the standard of comedy was proposed by a Jesuit playwright, Franciszek Bohomolec. The main burden of modernisation was to be borne by comedy, due to its qualities being the genre most suitable for the purpose. “The familial Europe” (a reference to memoirs by Maria Czapska) serves here as a metaphor of the cultural situation. On our way to our “familial Europe” we were accompanied by a whole family of comedies of several intertwining lineages: the didactic comedy “of purpose”, the emotional comedy, the comedy of manners, the aristocratic comedy, and political comedy.
3
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„Takie samo miejsce” dla „orłów i komarów Parnasu”, czyli jaki dramat (i jaki teatr dla tego dramatu) zaprojektowali nasi oświeceni

100%
Ratajczak D.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 3(263)
5-15
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.
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