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Być (albo nie być) jak Chojka. Wspomnienie o Joannie Puzynie-Chojce (1969–2018)

100%
Kręglewska K.
Pamiętnik Teatralny
|
2018
|
issue 4(268)
175-184
EN
The text is an attempt at sketching the professional career and describing other theatre-related activities of Joanna Puzyna-Chojka (1969–2018), a theatre scholar, academic teacher, and most of all, active participant of Polish theatre life. Puzyna-Chojka started working at the University of Gdańsk in 1993. In the twenty-five years of her professional career, she published several hundred articles devoted mostly to the newest dramaturgic strategies, presence of new media in the theatre, and various kinds of theatre realism. She is the author of Gra o zbawienie: o dramatach Tadeusza Słobodzianka (‘Playing for Salvation: On Tadeusz Słobodzianek’s Dramas,’ Kraków, 2008) and editor of four multi-author books. Puzyna-Chojka was a prolific theatre critic: she debuted in Dziennik Bałtycki in 1989, and in the next three decades she wrote several hundred theatre reviews and other texts of theatre criticism, publishing in virtually every notable periodical documenting the life of Polish theatre. And finally, Puzyna-Chojka was equally interested in the practical side of running a theatre. She worked as a literary director of the Muzyczny Theatre in Gdynia, the Wojciech Bogusławski Theatre in Kalisz, and the Witold Gombrowicz Municipal Theatre in Gdynia and she served as literary director and selectioner of the Kaliskie Spotkania Teatralne festival and literary and programme director of the R@port Festival of Contemporary Polish Plays in Gdynia (where she also participated in devising the Gdynia Dramaturgy Award). In the last years she served as the programme director of the Rzeszowskie Spotkania Teatralne – Festiwal Nowego Teatru in Rzeszów. Scholarly work, teaching, theatre criticism, organising scholarly sessions, conferences and debates, and finally working on theatre festival programmes do not make the list of Joanna Puzyna-Chojecka’s professional roles complete. She also hosted meetings with theatre artists and interviewed them after shows (e.g. at the PC Drama project or during the Sopot Two Theatres Festival). Moreover, she set at the Artistic Committee of the All-Polish Contest of Polish Contemporary Play Productions and was a co-founder and supervisor of the student nieUGiętych Theatre.
2
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Pamięć praktyk – praktyki pamięci

100%
Kręglewska K.
Konteksty - Polska Sztuka Ludowa
|
2020
|
vol. 74
|
issue 1-2 (328-329)
69-78
PL
Artykuł został poświęcony archiwum teatralnemu Ośrodka Praktyk Teatralnych „Gardzienice”. Autorka omawia zarówno materialny wymiar, jak i typy zgromadzonych w tej przestrzeni dokumentów, by następnie przejść do analizy sposobów korzystania z materiałów archiwalnych w codziennych praktykach „Gardzienic” oraz sformułować tezę o wzajemnym warunkowaniu się współczesnych praktyk teatralnych i archiwalnych.
EN
This article focuses on the theatrical archive of the “Gardzienice” European Centre for Theatre Practices, with the author discussing both the material dimension and type of documents gathered in this space so as to next analyse ways of using archival material in the daily practices of “Gardzienice” and formulate a thesis about the mutual conditioning of contemporary theatrical and archival practices.
3
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Ku przymierzu widowni ze sceną, czyli Wesele… „Gardzienic”

63%
Wiśniewski T., Kręglewska K.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
309-318
EN
Similarly to the earlier work of “Gardzienice”, The Wedding – Wyspiański – Malczewski – Konieczny constitutes a condensed and artistically autonomous universe. On the one hand the production makes extensive use of creative methods that are typical of Włodzimierz Staniewski and on the other employs specific stage language that has been developed by the ensemble. Complex artistic organization of the on-stage reality may be observed not only in the case of a particular performance but also in the broader sequence of events that are named “a theatre marathon”. For this reason, the article focuses not only on a particular staging of Wesele…, but concentrates also on the performative potential of the “marathon” held between 19th and 20th January 2018. Wesele… by Gardzienice is additionally placed in a broader interpretative context.
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