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THE THEATRE IN THE SPIRIT OF MUSIC - THE RIVER OF GARDZIENICE (Teatr z ducha muzyki - rzeka Gardzienice)

100%
Kosinski D.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 1(280)
124-128
EN
In this essay the author tries to outline the stream of Polish theatre tradition to which - as he is convinced - the 'Gardzienice' theatre not only belongs, but also constitutes. This, as the author calls it, 'Polish theatre of musicality' was initiated by Adam Mickiewicz both in hist masterpiece - 'The Forefathers' Eve', and in his original philosophy of the 'tone' - specific value of musicality present not only in melody or rhythm, but also in human words, actions, landscapes and so on. The practice of creating theatre not from the texts and meanings, but from music and actions, of not writing for and on the stage, but composing a live event like a musical piece, was present in the works of Stanislaw Wyspianski, ideas and experiments of The Reduta theatre and performances by Jerzy Grotowski. But it was Wlodzimierz Staniewski and his company of Gardzienice, who regarded the idea and practice of musicality as the core of their work, developing new methods of creation and training. Being the heir of the tradition, in specific way summarising it, Gardzienice also gave birth to some new attempts and experiments, run by former members of the company. Thanks to it 'the theatre of musicality' can be seen as one of the most important and strongest streams of contemporary Polish theatre.
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INTRODUCTION (Dwa teatry - dwa swiaty)

63%
Kosinski D., Ireneusz G.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 1(280)
61
EN
The authors introduce the outcome of a scientific conference 'Two theatres - two worlds' (10-12 May 2007), published in 'Konteksty'. Its fundamental iaim was to combining reflections on the accomplishments of the Reduta Theatre and the Centre for Theatre Practices 'Gardzienice'. A fitting occasion for such a double meeting was provided by the sixtieth anniversary of the death of Juliusz Osterwa (19 May 2007) and the thirtieth anniversary of 'Gardzienice'. The death of Osterwa, which, after all, ended the history of the Reduta Theatre, did not denote the end of the ideas, which he, Mieczysław Limanowski, and artists co-working with them attempted to implement. These ideas are to be found, interpreted and unravelled in their own ways in, i. a. the praxis and philosophy of 'Gardzienice'.
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