The paper is the attempt to compare the text of Daniil Kharms Yelisaveta Bam and her free theatrical production made in Rozrywka Theatre by Łukasz Czaja. The author considers similarities of the text and scenography, reflecting not only Charms’ assumptions but also producer’s stage concepts of The Great Reform of the Theater. The author also points out differences making a show out of Charms’ performance, closer to modern viewer, however, leveling the signs and atmosphere of the times when Charms’ drama was created.
The present artile dealt with the post-war production of the stage play Theatre of the Eternal War by Nikolai Evreinov. The author discussed the history of stage presentations of Jevrenov’s drama in Poland. Then she developed the topic referred to in the title of the play in focus. Theatre of the Eternal War was presented in the Wybrzee Theatre in 1967. Skillful costruction of the scenography, which only apparently resembles a naturalistic one, made it possible to maintain the sense as well as the humour of the text, which is difficult when a stage production of an author’s plays is made many years after the works had been written. In case of the performance discussed in this paper the division theatre/reality, typical for Evreinov, was succesfully maintained.
This article presents one of the newest Polish issue: Bedbug by Mayakovsky. Author draws attention to the universal values of art: the longing for happiness and closeness. Polish spectacle moves the action the second part of the drama to contemporary, and only partially retains universal values. It has for a strong political overtones.
The aim of this paper was to show links between Polish dramaturgy of the early 20th centuryand Russian dramaturgy. According to the author of this paper, such links are particularly conspicuousin Kwidam by J. Iwaszkiewicz, which in the present paper was compared with L. Andreyev’sThe Life of Man. In the Polish playwright’s text, which is formally related to JedermanHofmannsthal, there are many references to the Russian text. In a similar way also Polish writersperceive the life of man (Przybyszewski, Niemojewski), which, as they believe, is like in Anderyev’splay, that is, it is controlled by the supernatural power and its decreees.
In this sketch, the author attempts to analyze the spectacle of the Bialystok group PAPAHEMA created on the basis of the drama Bulgakov Molier, or conspiracy of the saints. In the spectacle, the display of biographical threads for the purpose of universal aim`s has been dispensed with. According to the author, the creator of the spectacle, while remaining faithful to the assumptions of the text, created a universal spectacle, presenting motifs of human behavior and, above all, exposing the theatricality of the text.