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Szkoda, że państwo to widzieli. Przemiany infrastruktury i topografii warszawskiego sportu w świetle źródeł tekstowych i fotograficznych

100%

Piotrowski I.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2017

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vol. 94

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issue 1

104-112

EN

In spite of the construction of a few important venues, inter-war sport did not have appropriate representation in the space of the city wrestling with the heritage of partitions and industrial capitalism. Sport facilities appeared often in accidental places, hidden in the mazy structure of the capital. Despite a radical change in property and space relations, post-war Warsaw could not keep up with building and maintenance of sports infrastructure. The period after 1989 featured further delays resulting from deep political transformation. However, the last ten years have marked a serious revitalisation of old venues and building of new ones (old spaces facilitating sports and recreation are fragmented and a new network of venues is built).

2

Z fenomenologii warszawskiej plomby. O domu Kereta widzianym z ulicy Chłodnej

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Piotrowski I.

Res Publica Nowa

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2013

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issue 1

100-104

EN

Chłodna Street represents a problem of postwar management and turns into an inexplicable artifact – neither a post-war memorial, nor an example of modern design. The street is like a star that turns into a black hole. The peripheral location of the street caused time to seemingly stop and changes have been hard to make. After the war, Chłodna Street was never rebuilt, it was left to itself. The street and its trajectory of disorder is an example of ”war and oblivion”.

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Siedem postaci w poszukiwaniu staropolskiego nadmiaru. Wokół sukcesu „Opisu obyczajów” Mikołaja Grabowskiego

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Piotrowski I.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2022

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vol. 117

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issue 1

15-28

EN

This article discusses the contexts that contributed to the success of one of the theatre and television hits during Poland’s transformation – Jędrzej Kitowicz’s play Opis obyczajów, czyli… jak zwyczajnie wszędzie się mięsza złe do dobrego [Description of Customs, or How Evil Simply Everywhere Interferes with Good] directed by Mikołaj Grabowski, which premiered in 1990. While offering some insight into the eighteenth-century vicar’s prose reminiscing about the good old days under the rule of the Saxon kings and high-quality performances from the actors, the performance also reflected the contemporary reality in which viewers could see themselves. The lack of period costumes or props and the focus on parts of the play dealing with bigotry and feasting showed that the reality from (at that time) 250 years before was not that much different from the contemporary one. Old Polish culture was presented as a blissful time of people enjoying their lives and automatically identifying themselves with nobility and court life. The 1990 interpretation highlighted the gastronomic and consumerist aspects of the play, outlining why this sphere of life became to serve as the most accurate metaphor for the condition of the Polish state and society (visible in other sources from the transformation period such as numerous cultural texts). It seeks to expose that paradoxical time of scarcity despite the theoretical availability of food products in the face of the dynamically changing social structure and the need of the middle class to distinguish itself which can also be observed even today.

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2 Kultura Współczesna. Teoria. Interpretacje. Praktyka

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3 Piotrowski I.

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1 2017

1 2013

Szkoda, że państwo to widzieli. Przemiany infrastruktury i topografii warszawskiego sportu w świetle źródeł tekstowych i fotograficznych

Z fenomenologii warszawskiej plomby. O domu Kereta widzianym z ulicy Chłodnej

Siedem postaci w poszukiwaniu staropolskiego nadmiaru. Wokół sukcesu „Opisu obyczajów” Mikołaja Grabowskiego