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Kilka spojrzeń na przedstawienia Innej Szkoły Teatralnej (2010-2019)

100%
Hasiuk M.
Didaskalia. Gazeta Teatralna
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2021
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issue 162
163-198
EN
The text is a proposal to present the specifics of activities carried out by Węgajty Theatre in the formula of the Other Theatre School, in the second decade of its existence – the years 2010-2019. The author uses categories such as process, road / walking, performative theatre, rhapsodic structure, artivism, in an attempt to present the way of creating performances in Węgajty. She employs the proposed terms with reference to the findings made in various areas of knowledge by such artists as: Arnold Mindell, Rebecca Solnit, Tadeusz Pawłowski, Jean-Paul Sarrazac as well as the practice of Ricardo Dominguez, for example. What constitutes a significant element of the research material are unpublished interviews with the founders of Węgajty Theatre and its associates conducted by the author and Joanna Kocemba-Żebrowska in the years 2018-2020.
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Ślady źródła. O wybranych realizacjach szekspirowskich w polskim teatrze więziennym

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Hasiuk M.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 3(251)
145-174
EN
The text presents experiences of theatre work with Shakespearean repertoire (Shakespearean plays, themes and inspirations) in resocialisation-centre communities. References to the same type of activity in English-speaking countries (in the US, Australia, England, Wales, and Northern Ireland) as well as in Italy and RSA provide a background that enables the author to map out the phenomenon of Polish performances in greater detail. The Shakespeare of Polish prisons, though still a rarity, turns out to be a multifaceted phenomenon varied in terms of theatre aesthetics, dramatic interpretation, modes of work and their goals. The research material on which the article is based consists of the following productions: Hamlet za kratą (‘Hamlet Behind Bars’) directed by Przemysław Pałosz at the Opole Detention Centre in 1994; the Kłodzko „Makbet” według Szekspira (‘Macbeth According to Shakespeare’) directed by Krzysztof Papis at the Po drodze Prison Theatre in 2006; the cycle of Hamletbased performances prepared by Magdalena Zelent at the Gdańsk Przeróbka Penal Institution (Szekspir – product czasowo niedostępny, 2011 [‘Shakespeare – the Product Temporarily Out of Stock’]; Hamlety – duchy ojców, 2012 [‘Hamlets – Ghosts of the Fathers’]; Hamlet. Leitmotiv, 2014); Wroniecka chuliganeria, 2011 (‘Thugs from Wronki’) by the Zniewoleni theatre group from the Wronki Penal Institution, and A Midsummer’s Night Dream directed by Joanna Lewicka by the Zapaleni.org theatre group with the participation of inmates from the Opole Lubelskie Penal Institution (2012). The analysis of particular phenomena reveals a flickering hybrid-form image of Shakespeare through which inmates try to express various existen tial nuances of being institutionalised and search for new ways of looking at the world.
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Etos i utopia w działaniach Teatru Węgajty

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Hasiuk M.
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2020
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vol. 74
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issue 3 (330)
226-236
PL
W prezentowanym tekście specyfika pracy Teatru Węgajty została poddana analizie z uwzględnienie takich kategorii jak: „środowisko”, „kolonia”, „ethos” (z kluczowym dla tekstu rozpoznaniem Józefa Tischnera) i „ekoton” (wprowadzony przez Ewę Kępę). Tekst stanowi próbę odpowiedzi na pytanie w jaki sposób ethos Teatru Węgajty, etyka jego pracy wynikają z zajętego miejsca (opuszczonego siedliska poza wsią warmińską); i. w jaki sposób wszystkie te czynniki warunkują rodzaj pracy teatralnej i działań artystycznych podejmowanych w Węgajtach. Szczególnym ich przykładem jest międzynarodowy Festiwal Wioska Teatralna postrzegany w tekście w kategoriach utopii w odwołaniu do prac: Howarda Beckera, Michèle Madonna-Desbazeille, Alaina Passina, Jeana Duvignaud oraz rozpoznań Edwina Bendyka.
EN
In the presented text, the Węgajty Theater’s characteristic work method was analyzed taking into account such categories as: “environment”, “colony”, “ethos” (with the key recognition of Józef Tischner) and “ecotone” (introduced for humanities research in Poland by Ewa Kępa). The text is an attempt to answer the question how the ethos of the Węgajty Theater and the ethics of its work result from the occupied place (an abandoned habitat outside the Warmian village); and how all these factors determine the type of theatrical work and artistic activities undertaken in Węgajty. Their singular example is the international Theater Village Festival seen in the text in terms of utopia in reference to the works of Howard Becker, Michèle Madonna-Desbazeille, Alain Passin, Jean Duvignaud and the recognition of Edwin Bendyk.
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„Lepiej budować mosty niż ściany”

100%
Hasiuk M.
Pamiętnik Teatralny
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2019
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issue 2(270)
41-46
EN
The text discusses the phenomenon of theatre in prison. It focuses on the diversity of its forms and its dependence on many contexts: social, cultural, geographical, and primarily political, which sometimes have a destructive impact on the examined phenomenon. On account of its distinct characteristics, prison intensifies the constitutive features of the art of theatre: its ephemeral nature, living presence based on the interpersonal meeting of the actor and the spectator, team work and artistic practice, associated with the transformation of the world in its various dimensions. Because the living conditions are so unfavourable there, prison seems to be a dream field for theatre, the essence of which is to “transgress” reality, distance itself from it, reveal its hidden face and the mechanisms governing it, and thus transform the world and stimulate human development: the actor and the viewer, in several capacities. In the prison context, the artistic aspect of theatre work is linked to its ontological and existential aspect much more clearly than, for example, in the so-called mainstream theatre. The author also proposes introducing the term “theatre created in prison” instead of “prison theatre” and replacing where possible “inmates”, “prisoners” with “actors/actresses”, “creators”, “collaborators from prison”.
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Planeta klaunów w konstelacji Słońca

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Hasiuk M.
Pamiętnik Teatralny
|
2018
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issue 1-2(265-266)
83-98
EN
The article analyses the varied functions and ways of application of the clown and circus motifs in the more than 54-year-long history of the Théâtre du Soleil. Clowns have passed into the theatre of Ariane Mnouchkine from the “sources” of her theatre inspiration: from Oriental forms, commedia dell’arte, and fair spectacles, from the pedagogic practice of Jacques Lecoq as well as from the space of the abandoned Montmartre (former Médano) circus, where the Thèâtre du Soleil, homeless back then, set the action of A Midsummer Night’s Dream (1968). The motif of a circus tent reappeared later on in the Molière film (1987) as well as in a mature production of the company, Les Éphémères (‘Ephemera’) of 2006. The clown provided structure for one of the most significant of Mnouchkine’s productions in the history of the Théâtre du Soleil, the first group creation, Les clowns (‘The Clowns,’ 1969). In later productions, clowns reappeared as constitutive elements of the world represented on stage in two guises: as jesters in glimpses of the revolutionary cabaret in Mephisto (1979) and as a kind of buffer introducing new qualities of experience in the instalments of the Shakespearean cycle (Richard II of 1981, Twelfth Night of What You Will in 1982, and Henry IV of 1984), complementing the tragedy and broadening the meaning of comedy. A similar function can be identified in the production of Macbeth in 2014 (the monologue of the Doorkeeper performed by Eve Doe-Bruce). Apart from that, a clownish trait can be said to be one of the most significant reference points in the title roles of Hendrik Höfgen in Mephisto, Richard II in Shakespeare’s play and Sihanouk in The Terrible but Unfinished Story of Norodom Sihanouk, King of Cambodia (1985) and, though in another dimension, in Macbeth.In each instance, the personages of clowns in performances of the Théâtre du Soleil broaden the dimensions of the world represented on stage; revealing its complexity and opacity, they become signs of pure theatricality and expose to view numerous paradoxes that can be seen at the individual, social, and transcendent level.
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Odnaleźć ciało błyskawicy. O wybranych postaciach w przedstawieniach Odin Teatret

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Hasiuk M.
Pamiętnik Teatralny
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2017
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vol. 66
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issue 1-2(261-262)
20-48
EN
The article aims to define theatrical characters in selected productions by Eugenio Barba: their distinctive qualities, the way they are constructed, the meanings they carry, and the functions they perform. A look at how theatrical character can be understood by a theatre practitioner, actor, director and pedagogue Charles Dullin; a sociologist, Jean Duvignaud; and a semiologist, Anne Ubersfeld, serves as the starting point for the inquiry. The origins of the characters that inhabit the world represented in Odin Teatret productions can be grasped by assuming two points of view: by construing the character as “a strictly poetic locus” (Ubersfeld), and by comprehending the actor’s techniques as techniques “of a personality, of a particular and unique body-mind” (Barba). The figures of human imagination brought onto the stage in Barba’s productions are born out of this bifocal vision. Seemingly paradoxical and nonsensical, they come from an unknown part of the soul, just as dreams do, according to Jung. Characters portrayed by Odin Teatret actresses, Iben Nagel Rasmussen (White Angel, Shaman, the mute Kattrin, and Trickster) and Julia Varley (Doña Musica, Kristen Hastrup, Mr Peanut, and Daedalus), supply examples for the analyses carried out by the author.
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Koło ratunkowe – Molière w Le Théâtre du Soleil

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Hasiuk M.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
167-181
EN
Ariane Mnouchkine admitted in one of her interviews that, at the beginning, she had been simply hostile towards Molière and his legacy. Taking it into account makes her struggles with the oeuvre of Jean Baptiste Poquelin even more interesting. It is not accidental that the circumstances of both instances when Mnouchkine had a stab at Molière were similar. Both the film Molière (1978) and the theatre production of Tartuffe were realised at a time of serious problems that Le Théâtre du Soleil faced. And both productions were a lifesaver for the theatre. The screenplay for the film was based on the novel Life of Mr. de Molière by Mikhail Bulgakov. More importantly, however, the whole endeavour was for Mnouchkine a way to confront the heritage of her predecessors with what she was striving for. The outstanding man of the theatre was portrayed in a broad context that included his relationships with his theatre company, the epoch, society that was “barely emerging from the Middle Ages”, and power that revealed itself in the despotism of the king and the fanaticism of devotees. Mnouchkine made her Tartuffe take place in a setting resembling Arabic countries. In doing so, however, she did not attempt to stage Molière “in Arabic” but rather to bring up to date the image of social threat which the playwright in the 17th-century France had seen in zealots. The device she used had also to do with her conviction that making the setting more distant in time and place, a device applied to many different texts, often revealed the essence of the problem. The complexity of Mnouchkine’s attitude towards Molière clearly shows the problems with tradition understood as an act of passing something along. Its most important feature turns out to be the act of creating a space between generations that ensures creativity and development for both parties involved and enables them to transcend the natural bounds of death and deterioration.
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„Nie można obejść się bez teatru”. O poziomach metateatralności w Mewie Antona Czechowa

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Hasiuk M.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 3(259)
151-168
EN
The Seagull (1896) holds a special place in the oeuvre of Anton Chekhov for the richness of metatheatrical devices deployed in it. It is the only drama by the playwright where one can find all the kinds of metatheatricality distinguished by Sławomir Świontek. It may be worth to add a fourth kind that manifests itself at the level of composition of the dramatic form and has been defined as “a play with genres” (Ewa Partyga) or “quoting of structures” (Danuta Danek). The present study of kinds of metatheatricality reveals Chekhov’s emphasis on the multitude of ways in which the audience can play a creative part in the theatre experience. The dramatist vindicates some elements hitherto considered to be secondary, passive, and weak. At the same time, Chekhov uses the image of the theatre of everyday life in order to expose the inner workings of society’s oppression that crushes its most sensitive individuals. This situation becomes a mirror for the processes going on within the self (as conceived of by the Dialogical Self Theory by Hubert Hermans). The disfunctionality of the world presented in the drama indicates fractures within the human psyche, where weaker personal positions must be suppressed or eradicated. The aim of the metatheatrical devices utilised in The Seagull is to construct a multi-level representation of reality and to display the multitude and changeability of personal perspectives on the reality, which illuminate one another. Out of this multitude of points of view and diversity of personal voices, Chekhov constructs a thoroughly modern representation of the world, whose governing principle combines dialogicality and theatricality.
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Odrodzenie pradawnego obrzędu? Alilujki Teatru Węgajty

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Hasiuk M.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 1-2(257-258)
261-284
EN
The artistic vision of the Węgajty Village Theatre was influenced substantially by the writings of Stanisław Vincenz. With such inspiration, the theatre practitioners began their carolling and, through this practice, became acquainted with the Easter carolling ritual that used to be practiced near Suwałki, i.e. the alilujki (‘Hallelujas’). They were instructed on how to Easter carol (chodzić po aliluji or chodzić po wołoczebnem) by the elders of Dziadówek village. Appropriating the custom for themselves, they have kept its three-part structure, but the final part is changed. As practiced by Węgajty performers, their repeated processions from house to house to wish the inhabitants happy Easter and play them some music has transformed into a theatrical performance open to all villagers and guests (instead of concluding with a feast for the carollers). The Alilujki of the Węgajty Theatre is not a revival of an ancient ritual. It is not theatre per se either, even though each element of the Alilujki can be matched with some theatrical form or topos (theatrum mundi, Theatre of the Oppressed, commedia dell’arte). Only the last part of the whole structure can be designated as theatre, which ends with joint merrymaking and dancing. The Węgajty Alilujki constitutes a phenomenon situated between theatre and ritual. The dialogue of the two areas is mutually enriching and invigorating. Without the theatre, the ritual would die. Without the ritual, the theatre would never have reached the places it has reached.
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Stowarzyszenie, szkoła, spółdzielnia – wielogłos Teatru Węgajty

63%
Hasiuk M., Joanna K.-Ż.
Didaskalia. Gazeta Teatralna
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2020
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issue 156
1-31
EN
The text presents the process of transformation of the organizational structure of the Węgajty Theatre and the related reformation of the group dynamics and methods of creative work. In the group’s complex organizational history, the turning point was the loss of permanent institutional support in 2011. After twenty-five years of work under the auspices of various cultural institutions in Olsztyn, the Węgajty Theatre was forced to function as a non-governmental organization. The text shows the impact of the grant system on the Theatre's activities and its strategies developed for conducting artistic work. Węgajty's most crucial activity, if the group is considered as a formation project, is the work of the Other Theatre School. The original form of artistic education is combined at the School with a return to socially engaged issues. The text also presents the pros and cons of a social cooperative created at the Węgajty Theatre to stabilize its financial situation.
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