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Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History

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Fabiszak J.
Anglica. An International Journal of English Studies
|
2016
|
issue 25/3
97-106
EN
Andrzej Wajda is a renown Polish theatre and film director, whose achievements have been recognised by theatre and film artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were first staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed significant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very significant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most significant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a difference in their life, touches upon both getting old and a long-term marriage.
2
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Shakespeare’s Histories and Polish History: Television Productions of Henry IV (1975), Richard III (1989) and Othello (1981/1984)

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Fabiszak J.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2007
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vol. 4
EN
The article discusses the reception and signification of select televisual productions of Shakespeare’s history plays on Polish television. My choice of teleplays has been determined by two factors: one the one hand, history plays aired on Polish television were rare and their accessibility limited; on the other hand, I want to illustrate the fate of Shakespeare productions in the context of Polish post-war history by comparing them with yet another play, which seems to be resistant to political interpretation: Othello, produced in 1981 and aired in 1984. My argument is that although officially the teleplays discussed in the article did not allude to the political situation in Poland at the time of their production/airing, yet one could attempt to reconstruct a possible political reading of the productions, which could have been implied in them, or which the then recipients could have come up with. Due to censorship, official reviews of the productions avoided political references to the current affairs in Poland. Since Shakespeare’s plays on television have not been extensively discussed so far, the article is one of the first attempts to suggest a politically-oriented interpretation of selected teleplays aired before 1990.
3
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Magia teatru: Wspomnienie o Profesorze Jerzym Limonie (1950-2021)

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Grzegorzewska M., Fabiszak J.
Pamiętnik Teatralny
|
2021
|
issue 2(278)
173-182
EN
Professor Jerzy Limon was a world-renowned scholar, expert on Shakespeare and English literature, as well as theater theorist. He was also a writer and translator. His professional career is linked with Gdańsk: he taught English literature and theatre at the University of Gdańsk; it was in Gdańsk that he had the Gdańsk Shakespeare Theatre built in the place where the Fencing School, housing an Elizabethan stage, once stood. Jerzy Limon created and supervised the Gdańsk Shakespeare Festival for over 20 years, which presented productions from all over the world.
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