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The vacant utopia : reflecting on the first Polish post-war staging of The Tempest

100%
Pożar P.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2020
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vol. 23
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issue 1
131-149
EN
In 1947 Leon Schiller staged The Tempest as his first post-war Shakespeare play. From today's perspective, his choice possibly reveals the intention to counter the harshness of post-war reality or to display a sense of an unbroken connection to pre-war efforts. However, the inherent utopianism of The Tempest coupled with all too fervent championing of his own theatrical theory laid bare the vanity of Schiller's endeavours. Furthermore, the new translation of the play turned out defective, as it was found to be coalesced with the 19th century canonical Polish version. Schiller's partisan aspirations raise additional doubts as to his motivations. Several central ideas of the play were lost in this staging, leaving one to doubt whether the utopic character of the play was been contaminated by the new hope the Soviet regime brought with it. Reviewing this production of The Tempest can provide insights into an interim period when cultural processes in Poland were moulding, a new Polish Shakespearean canon was but anticipated, and Kott's Shakespeare, Our Contemporary (1964) had yet to enter the stage.
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Polish translations of Restoration comedy in early Communist period: the cross-section of ideology and academy

63%
Cetera-Włodarczyk A., Pożar P.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2021
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vol. 24
|
issue 1
136-145
EN
The article sets out to explore the ideological complexity of the Polish reception of English Restoration Drama in the early Communist period, i.e. in the 1950s and beyond. With the relatively early influx of Shakespeare's repertoire popularized by strolling companies as early as the 16th century, the subsequent decades saw a steady decline of this cultural trend, leaving English Restoration drama entirely outside Polish theatrical experience for three centuries. However, the postwar period saw a surprising development of academic interest in Restoration comedy and even more so in the social processes which these plays were said to expose. Steeped in heavy Marxist jargon, the studies of English Restoration comedies foregrounded the analysis of the newly emergent capitalist relations, the hypocrisy and moral decay of the ruling elites, and the relevance of the new approach to the historical reading of literature. While the enterprise failed on theatrical grounds, the emergent translations can be said to exemplify an interesting case of ideological patronage which brought to light works entirely dismissed by previous ages and allowed them to sustain the initial propagandistic pressure.
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