Results found: 1

Search results

Sort By:

Limit search:

Dramaty Różewicza w kontekście węgierskim

100%

Király N.

Pamiętnik Teatralny

2013

vol. 62

issue 3-4(247-248)

273-288

Polish poetic drama of the Romantic and symbolist periods as well as that of the second half of the 20th century has not gained the kind of popularity enjoyed first by the plays by Mrożek or Witkacy and today by Masłowska or Słobodzianek. There have been some good productions from time to time, but the Polish poetic dramaturgy has not become an integral part of Hungarian theatre repertories. This holds true for Tadeusz Różewicz’s dramas as well despite the fact that his plays and poetry have very good Hungarian translations. The first volume of these translations was published in 1967 but it was only at the turn of the 1980s and 1990s that any productions noted in the Hungarian theatre life finally appeared. A Polish critic, Elżbieta Baniewicz, remarks that “the content internalised in the structure of image and language” is a characteristic feature of Różewicz’s dramatic composition. Hungarian critic András Pályi interprets the difficulties of getting to the bottom of Różewicz’s dramatic output in a similar way: “Who discovers Beckett in Różewicz must also discover the discussion that the ‘poetic theatre’ of the Polish playwright with a sociological view of the world enters into with Beckett’s metaphysics”. At the verbal level, it requires a very complex form of dialogue. The word in Różewicz has a demiurgic power – the more so, the more it can distance itself from journalistic content and overwhelmingly numerous mythological references. In consequence, Różewicz can provide everyday words and gestures with a metaphysical dimension. Characters in his plays are constantly searching for appropriate definitions, which gives their monologues a monotonous mood. The audience must be prepared for the kind of creative act proposed by the playwright. It functions as a basis for the category of “not-playing”. Różewicz says that the poetic element in his theatre becomes a real and realistic process while thereal and realistic elements become poetic. “Just as a medieval cathedral built with massive stones is light, poetic and sublime”, Różewicz’s “open drama” makes aninfinite number of emotional and intellectual transformations of the impersonal lyrical subject possible, but it requires great poetic sensitivity of the actor.

Refine search results

1 Pamiętnik Teatralny

1 Király N.

1 2013

Search results

Dramaty Różewicza w kontekście węgierskim