Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 8

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Daniel Charles Gerould (1928–2012) In Memoriam

100%
Sokół L.
Estetyka i Krytyka
|
2013
|
issue 4(31)
33-37
2
Content available remote

Matka Witkacego. Tragedia rodzinna – zagłada człowieczeństwa w człowieku

100%
Sokół L.
Pamiętnik Teatralny
|
2016
|
vol. 65
|
issue 4(260)
15-32
EN
The Mother (1924), one of the most highly valued plays by Witkacy, is sometimes considered to be a family drama, or a family tragedy or grotesque. It has been widely praised for its brilliant inventiveness and shocking avant-gardism. In 2016 it is worthwhile to refocus on its grim prophetism, which has been forgotten. Witkacy’s catastrophism has not become trivial or out-dated, quite the contrary. Witkacy himself confirms the adequacy of classifying The Mother as a family drama by openly using other family dramas in his play: Ghosts by Ibsen, and—which may be less obvious—The Ghost Sonata by Strindberg. What sets these family dramas apart is their eeriness; they feature vampiric motifs; they expose the secrets and putrid decay hidden behind the façade of a happy bourgeois home that has lost all flavour of tragedy and thus belongs to the category of grotesque. In all of the dramas, what is real turns out to be often a false appearance hiding motivations which can be summed up as metaphysical. The analysis of the Eely family in Witkacy goes further than to show a crisis, or downfall, of the bourgeois world; it aims at showing the downfall of man, and of humanity in a human being. The downfall is gradual. At first, the world starts fading away, and all that has been stable and solid is disintegrating. A rejection of the values and principles of the world as we know it becomes something done easily and unabashedly, and the humanity of man degenerates and withers away. To put it in Witkacy’s own terms, religion, art, and philosophy will die away one by one, and what comes next could be called dehumanisation. The Mother brings a concrete vision of the downfall. Leon proclaims that a prophet of today may be a scumbag. What he means is that the link between moral virtues, represented in the past by the prophet whose dignity and authority were conferred by God, and the merits of his prophesy or mission has been severed. A today’s prophet can be a despicable and contemptible person, and yet his prophesy may still be valid and true. Leon Eely, despite his fiendishness, is still aware of the sheer scope of the imminent doom, and he wants to prevent it. His chances of success are miniscule. People who are de facto human, i.e. Individual Beings sensitive to metaphysics, will perish forever, replaced by people only nominally human whose whole existence is reduced to the processes of production, consumption and reproduction, people who hate metaphysics of any kind and are just post-human, “mechanised” individuals. Leon Eely will pass away into nothingness. After a squad of “ex-people” executes him in an act of revolutionary justice, even his corpse will disappear. Nothing will remain.
3

Instytut Sztuki jako Akademia

100%
Sokół L.
Konteksty - Polska Sztuka Ludowa
|
2020
|
vol. 74
|
issue 3 (330)
64-67
PL
Całe moje życie naukowe spędziłem w Instytucie Sztuki Polskiej Akademii Nauk. Zostałem przyjęty do pracy 1 kwietnia 1969 roku. W moim przypadku prima aprilis okazał się dniem bardzo szczęśliwym. Owoczesny dyrektor Instytutu, prof. Juliusz Starzyński, zatrudnił mnie dlatego, że zajmowałem się już wcześniej dramatami Stanisława Ignacego Witkiewicza (Witkacego), wybitnego awangardowego artysty, dramatopisarza, powieściopisarza, krytyka, estetyka, filozofa i napisałem wcześniej magisterium o jego dramatach w świetle jego teorii Czystej Formy. Przedstawiłem mu wstępny, ale koherentny plan rozprawy doktorskiej, który go przekonał. Tak to Witkacy wprowadził mnie do Instytutu Sztuki, gdzie pracuję do chwili obecnej. Znalazłem tu wszelkie warunki, by rozwijać zainteresowania komparatystyczne; poza dramatem i teatrem były to także antropologia kultury, sztuki plastyczne, wycieczka do filmu, odrobina muzykologii. Nie miałem trudności w kontaktach naukowych z koleżankami i kolegami reprezentującymi różne dyscypliny obecne w naszym Instytucie, kiedy potrzebne mi były konsultacje czy pomoc. Ich wiedza była „pod ręką”. Nie musiałem opuszczać terenu naszej placówki, by uzyskać wsparcie naukowe, które było mi potrzebne. Z biegiem lat sam służyłem pomocą, przede wszystkim jeśli idzie o Skandynawów, głównie Ibsena i Strindberga. Dlatego nazywałem i nazywam nasz Instytut Akademią; po części w znaczeniu antycznym.
EN
I spent my entire scientific life at the Institute of Art of the Polish Academy of Sciences, where I started working on 1 April 1969. In this case April Fool’s Day proved to be extremely fortunate. Professor Juliusz Starzyński, at the time director of the Institute, employed me because already previously I studied the dramas of Stanisław Ignacy Witkiewicz (Witkacy), an outstanding avantgarde artist, playwright, critic, aesthete, and philosopher, and wrote an M.A. dissertation about Witkacy’s dramas in the light of his Pure Form theory. I presented an initial but coherent plan of a Ph.D. thesis, which the Professor found convincing. In this fashion Witkacy was my guide into the Institute of Art, where I work up to this day. Here I found all the necessary conditions to develop my comparatistic interests, which apart from drama and the theatre included the anthropology of culture, the visual arts, the cinema, and a smattering of musicology. Whenever I required consultations or assistance I never found scientific contacts with my colleagues representing the assorted disciplines pursued in our Institute to be a problem. Their knowledge was always “at hand”. Thus I was not compelled to search outside our institution in order to obtain necessary scientific support. In time, I too offered help regarding Scandinavian authors, predominantly Ibsen and Strindberg. This is the reason why I referred, and still do, to our Institute as an Academy – partly by evoking the ancient meaning of the word.
4
Content available remote

Metafizyka jako metateatralność? Do Damaszku I Augusta Strindberga

100%
Sokół L.
Pamiętnik Teatralny
|
2016
|
vol. 65
|
issue 3(259)
135-150
EN
For a few decades now, various interpretations and readings of the To Damascus dramatic trilogy by Strindberg have been focusing either on the whole work or just on its first part; in this case, I side with the latter tactic. Firstly, I assume as obvious, though, at the same time, as profound and well argued, the proposition advanced by Egil Törnquist that the trilogy is a religious and metaphysical text as well. The character of the Invisible One (Den Osynlige), who is an imaginary representation of God, is essential for this line of thought, and for me, too, the character not making an appearance on stage is of paramount importance. I use the term “metaphysics” in its most widespread and predominant sense of the general theory of being, yet I reserve the right to make use of the specific sense described by the French philosopher Frédéric Nef, an author of a 2004 book on metaphysics, who writes under the entry for metaphysica specialis as follows: “it is divided into rational psychology, rational cosmology, and rational theology, which is a study of kinds of being (psychic, cosmic, divine).” Törnquist locates the metaphysical problematics in the characters of the drama, and his method might be described a “metaphysics through reference to topos, or better yet: topoi.” As we know, Strindberg projected the psyche and emotional distress of his protagonists, which usually meant also: his own, onto such personages as: Saul (Paul), Cain, Lucifer, the old-Scandinavian god Loki, the devil, Adam, Jacob wrestling with the angel (God), and so on. Events, clearly, are important as well, like the Jacob’s wrestling just mentioned as well as the story of the temptation and fall of man, which is probably dealt with in most detail in the first part of the drama, etc. Törnquist usually refers to rich scholarship on the drama and to his own, usually very incisive, intuitions. My task is, therefore, not to delineate yet another path through the myriad of Biblical topoi that are present in the Western culture. I am, on the other hand, preoccupied with the presence of metaphysics in the world presented in the drama, with the way it makes its appearance—through a kind of invasion or aggression. Perhaps the most evocative and violent example of this is what happens at the end of Scene 1, on a street corner, in Act I. Strange things are happening, indeed, things radically contrary to reason, that fill with utter terror the characters deemed to be real and sound of mind. What they are experiencing is something called mysterium tremendum and mysterium fascinans. In my conclusion, I go back to the issue of metatheatricality as elaborated by Tadeusz Kowzan in Théâtre miroir. Métathéâtre de l’Antiquité au XXI-ème siècle (2006) and express the opinion that metaphysics in drama and theatre may appear as metatheatricality. Am I right?
5

Znikające ślady i cienie przeszłości

100%
Sokół L.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 3(322)
294-300
PL
Poetyckie wspomnienia z Koprzywnicy – miasteczka, w którym autor spędził pierwsze lata życia. To miejsce o bogatej, dziś niemal zupełnie zapomnianej historii obecności Żydów. Lech Sokół tłumaczy: „Towarzyszyło mi wciąż to samo niepokojące uczucie próżni, która nie dała się niczym zapełnić ani usunąć z rzeczywistości realnej, gdyż pamiątki – to bodaj najlepsze słowo – na to nie pozwalały. Brakowało także żywych ludzi, po których ocalały miejsca i rzeczy, oni zaś nie ocaleli. Zdawali się istnieć w martwym czasie zaprzeszłym, któremu zaprzeczali, bo żyli w opowieściach, w późniejszym okresie mojego życia także zapisanych, wydrukowanych, wreszcie na fotografiach. Żyli w mojej świadomości i wyobraźni. Próżnia okazała się po części wypełniona przez strzępy pamięci, obrazy i wyobrażenia, a kiedy zestarzałem się i piszę te słowa, trup czasu po swojemu ożył”.
EN
Poetic reminiscences from Koprzywnica – a small town where the author spent the first years of his life. A locality with a rich history of the presence of the local Jews, today almost totally forgotten. Lech Sokół explains: “I was always accompanied by this disturbing awareness of a void that could not be filled with anything or ejected from reality because mementos – this is probably the best word – did not permit it. Living people, who left behind places and things, had not survived. They appeared to exist in a lifeless past perfect, which, however, they denied because they lived on in stories, which in the later period of my life were recorded and printed, and finally in photographs. They lived on my imagination and consciousness. The void proved to be partly filled by swatches of memory, images, and visions and, when I write these words in my old age, the ashes of time have in their way become alive”.
6
Content available remote

Recenzja książki Ewy Partygi Ibsenowskie konstelacje. Ćwiczenia w patrzeniu i czytaniu. (Instytut Sztuki Polskiej Akademii Nauk, Warszawa 2016).

100%
Sokół L.
Pamiętnik Teatralny
|
2018
|
issue 1-2(265-266)
216-225
EN
The book discusses a lot of important problems, plunging right in from the very first words. At the outset, we are given a severe, yet just assessment of the Polish reception of Ibsen in theatre, literature, and literary criticism, with all the myths that have accumulated there. A full reception of his oeuvre that encompasses modern translations, artistically rich theatre reception, as well as truly competent theatre and academic criticism in conjunction with a deep audience response has only just begun in Poland. The book Ibsenowskie inspiracje is a part of this new wave. The author is a comparatist, theatre scholar, Scandinavian philologist, and translator of dramas and various other literary and scholarly texts not only from the Norwegian but also from Danish, Swedish, and English. So far, however, she has not translated any play by Ibsen! The constellations of problems referring to his dramas as well as to various literary, artistic, and philosophical contexts of his work that show his oeuvre from different angles encompass, to use the author’s terminology, visual, philosophical, Scandinavian, and Young Polish constellations. The author has a full grasp of the newest developments in Ibsen studies, and against that backdrop, her own readings and interpretations turn out to be quite original. Perhaps the most brilliant of them belong to the visual constellations, in which the author tackles the relationships between Ibsen and Munch, “Ibsen in the theatre of photography,” “photography in Ibsen’s dramas” (in her own original and enlightening way Partyga uses the album edited by Peter Larsen, and her take on Ibsen’s strategy of self-promotion is highly engaging), and the relationship between Ibsen, Munch, and Vilhelm Hammershøi. The philosophical constellations consist of only to essays. The first uncovers some striking parallels between Ibsen as the author of The Master Builder and Nietzsche as the author of On the Genealogy of Morals. The second text is equally important, because it deals with Ibsen and Kierkegaard. It is a parallel reading of Repetition and three of Ibsen’s dramas (Rosmersholm, Hedda Gabler, and The Master Builder) with a view to metatheatricality. The Scandinavian and Young Polish constellations can be discussed jointly, because they are structured in a similar way: they focus on the problem of reception of Ibsen’s work in the drama and theatre of Scandinavia and Poland respectively. The Scandinavian reception refers to drama and theatre, whereas the Polish one includes theatre and literary criticism as well. In this constellation, Partyga examines the problem of Ibsen’s presence in Ingmar Bergman’s theatre; it is the first Polish study on the topic. A lot of attention is given to the relation between Ibsen, Jon Fosse, and Cecilie Løveid. The Young Polish constellations bring important revisions of Polish myths about Ibsen. The author does justice to Gabriela Zapolska as an Ibsenian actress and deals a final blow to the myth of Tadeusz Pawlikowski as an alleged “Ibsenist.” Another interesting phenomenon is Stanisław Brzozowski who, according to Partyga’s assessment, did not read Ibsen thoroughly enough. Thus we have lost a chance for dialogue of the outstanding mind with Ibsen. There is also a highly illuminating essay about vocation in Ibsen and in Wyspiański. What both playwrights have in common is that they “search for a new, capacious form of drama and theatre that could come to terms with the complicated and difficult experience of modernity,” as the author puts it. In the reviewer’s opinion, her book is an outstanding one.
7

Na Pomnik Berliński

44%
Sokół L.
Konteksty - Polska Sztuka Ludowa
|
2020
|
vol. 74
|
issue 1-2 (328-329)
155-156
8

Wiersze

38%
Sokół L.
Konteksty - Polska Sztuka Ludowa
|
2019
|
vol. 73
|
issue 3 (326)
29-30
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.