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Metafizyka jako metateatralność? Do Damaszku I Augusta Strindberga

100%

Sokół L.

Pamiętnik Teatralny

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2016

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vol. 65

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issue 3(259)

135-150

EN

For a few decades now, various interpretations and readings of the To Damascus dramatic trilogy by Strindberg have been focusing either on the whole work or just on its first part; in this case, I side with the latter tactic. Firstly, I assume as obvious, though, at the same time, as profound and well argued, the proposition advanced by Egil Törnquist that the trilogy is a religious and metaphysical text as well. The character of the Invisible One (Den Osynlige), who is an imaginary representation of God, is essential for this line of thought, and for me, too, the character not making an appearance on stage is of paramount importance. I use the term “metaphysics” in its most widespread and predominant sense of the general theory of being, yet I reserve the right to make use of the specific sense described by the French philosopher Frédéric Nef, an author of a 2004 book on metaphysics, who writes under the entry for metaphysica specialis as follows: “it is divided into rational psychology, rational cosmology, and rational theology, which is a study of kinds of being (psychic, cosmic, divine).” Törnquist locates the metaphysical problematics in the characters of the drama, and his method might be described a “metaphysics through reference to topos, or better yet: topoi.” As we know, Strindberg projected the psyche and emotional distress of his protagonists, which usually meant also: his own, onto such personages as: Saul (Paul), Cain, Lucifer, the old-Scandinavian god Loki, the devil, Adam, Jacob wrestling with the angel (God), and so on. Events, clearly, are important as well, like the Jacob’s wrestling just mentioned as well as the story of the temptation and fall of man, which is probably dealt with in most detail in the first part of the drama, etc. Törnquist usually refers to rich scholarship on the drama and to his own, usually very incisive, intuitions. My task is, therefore, not to delineate yet another path through the myriad of Biblical topoi that are present in the Western culture. I am, on the other hand, preoccupied with the presence of metaphysics in the world presented in the drama, with the way it makes its appearance—through a kind of invasion or aggression. Perhaps the most evocative and violent example of this is what happens at the end of Scene 1, on a street corner, in Act I. Strange things are happening, indeed, things radically contrary to reason, that fill with utter terror the characters deemed to be real and sound of mind. What they are experiencing is something called mysterium tremendum and mysterium fascinans. In my conclusion, I go back to the issue of metatheatricality as elaborated by Tadeusz Kowzan in Théâtre miroir. Métathéâtre de l’Antiquité au XXI-ème siècle (2006) and express the opinion that metaphysics in drama and theatre may appear as metatheatricality. Am I right?

2

Metafizyka jako metateatralność? «Do Damaszku I» Augusta Strindberga

89%

Sokół L.

Pamiętnik Teatralny

|

2016

|

vol. 65

|

issue 3

135-150

EN

For a few decades now, various interpretations and readings of the To Damascus dramatic trilogy by Strindberg have been focusing either on the whole work or just on its first part; in this case, I side with the latter tactic. Firstly, I assume as obvious, though, at the same time, as profound and well argued, the proposition advanced by Egil Törnquist that the trilogy is a religious and metaphysical text as well. The character of the Invisible One (Den Osynlige), who is an imaginary representation of God, is essential for this line of thought, and for me, too, the character not making an appearance on stage is of paramount importance. I use the term “metaphysics” in its most widespread and predominant sense of the general theory of being, yet I reserve the right to make use of the specific sense described by the French philosopher Frédéric Nef, an author of a 2004 book on metaphysics, who writes under the entry for metaphysica specialis as follows: “it is divided into rational psychology, rational cosmology, and rational theology, which is a study of kinds of being (psychic, cosmic, divine).” Törnquist locates the metaphysical problematics in the characters of the drama, and his method might be described a “metaphysics through reference to topos, or better yet: topoi.” As we know, Strindberg projected the psyche and emotional distress of his protagonists, which usually meant also: his own, onto such personages as: Saul (Paul), Cain, Lucifer, the old-Scandinavian god Loki, the devil, Adam, Jacob wrestling with the angel (God), and so on. Events, clearly, are important as well, like the Jacob’s wrestling just mentioned as well as the story of the temptation and fall of man, which is probably dealt with in most detail in the first part of the drama, etc. Törnquist usually refers to rich scholarship on the drama and to his own, usually very incisive, intuitions. My task is, therefore, not to delineate yet another path through the myriad of Biblical topoi that are present in the Western culture. I am, on the other hand, preoccupied with the presence of metaphysics in the world presented in the drama, with the way it makes its appearance-through a kind of invasion or aggression. Perhaps the most evocative and violent example of this is what happens at the end of Scene 1, on a street corner, in Act I. Strange things are happening, indeed, things radically contrary to reason, that fill with utter terror the characters deemed to be real and sound of mind. What they are experiencing is something called mysterium tremendum and mysterium fascinans. In my conclusion, I go back to the issue of metatheatricality as elaborated by Tadeusz Kowzan and express the opinion that metaphysics in drama and theatre may appear as metatheatricality.

PL

Od kilku dekad różne interpretacje trylogii dramatycznej Strindberga Do Damaszku koncentrują się albo na całym dziele, albo tylko na jego pierwszej części; w tym przypadku jestem zwolennikiem drugiego rozwiązania. Po pierwsze, przyjmuję za oczywistą, choć jednocześnie głęboką i dobrze uargumentowaną, tezę wysuniętą przez Egila Törnquista, że trylogia jest również tekstem religijnym i metafizycznym. Dla tej linii myślenia kluczowa jest postać Niewidzialnego (Den Osynlige), czyli wyimaginowanej reprezentacji Boga, dla mnie jednak ogromne znaczenie ma również postać, która nie pojawia się na scenie. Używam terminu "metafizyka" w jego najbardziej rozpowszechnionym i dominującym znaczeniu ogólnej teorii bytu, zastrzegam sobie jednak prawo do posługiwania się specyficznym znaczeniem opisanym przez francuskiego filozofa Frédérica Nefa, autora wydanej w 2004 roku książki o metafizyce, który pod hasłem metaphysica specialis pisze następująco: "dzieli się ona na racjonalną psychologię, racjonalną kosmologię i racjonalną teologię, która jest badaniem rodzajów bytu (psychicznego, kosmicznego, boskiego)". Törnquist lokalizuje problematykę metafizyczną w postaciach dramatu, a jego metodę można określić jako "metafizykę poprzez odniesienie do toposu, lub lepiej: topoi". Jak wiemy, Strindberg projektował psychikę i emocjonalne cierpienia swoich bohaterów, co zwykle oznaczało również jego własne, na takie postacie jak: Saul (Paweł), Kain, Lucyfer, staroskandynawski bóg Loki, diabeł, Adam, Jakub wadzący się z aniołem (Bogiem) itd. Oczywiście ważne są również wydarzenia, takie jak wspomniane zapasy Jakuba, a także historia kuszenia i upadku człowieka, która jest prawdopodobnie najbardziej szczegółowo omówiona w pierwszej części dramatu itp. Törnquist odwołuje się do bogatej literatury na temat dramatu oraz do własnych, zazwyczaj bardzo przenikliwych, intuicji. Moim zadaniem nie jest zatem wytyczanie kolejnej ścieżki przez niezliczone toposy biblijne obecne w kulturze Zachodu. Zajmuję się natomiast obecnością metafizyki w świecie przedstawionym dramatu i sposobem, w jaki się ona pojawia – poprzez rodzaj inwazji. Być może najbardziej sugestywnym i brutalnym tego przykładem jest to, co dzieje się pod koniec sceny 1, na rogu ulicy, w akcie I. Dzieją się bowiem rzeczy radykalnie sprzeczne z rozumem, które napełniają całkowitym przerażeniem postacie wiarygodne i zdrowe na umyśle. Doświadczają one czegoś, co nazywa się mysterium tremendum i mysterium fascinans. W konkluzji powracam do zagadnienia metateatralności w ujęciu Tadeusza Kowzana i wyrażam opinię, że metafizyka w dramacie i teatrze może jawić się jako metateatralność.

3

Le vagabondage moderne dans le théâtre de Henri-René Lenormand

71%

Kaczmarek T.

Quêtes littéraires

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2014

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issue 4

76-84

EN

The motif of the wanderer is not new in the French theatre, but in the first half of the twentieth century due to the general crisis of values, some authors refer to it in order to display the plight of modern man. One of them is H.-R. Lenormand, an author not very well-known to a wider audience nowadays, who under the influence of Strindberg writes plays which refer to the expressionist aesthetics. He creates a lot of works in which he employs the technique of the station drama.. It is this form that allows him to focus on the evolution of the character and his metamorphosis. While in Les Ratés he shows buffoons heading for the brink of despair and finally their certain death, in L'Homme et ses Fantômes he focuses on the inner journey of the main character, who is looking for the reason for his suffering in his own soul.

4

Om det explicita och implicita i två översättningar av August Strindbergs 'Dödsdansen'

63%

Rosińska P.

Folia Scandinavica Posnaniensia

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2011

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vol. 12

245-258

EN

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Metafizyka jako metateatralność? Do Damaszku I Augusta Strindberga

Metafizyka jako metateatralność? «Do Damaszku I» Augusta Strindberga

Le vagabondage moderne dans le théâtre de Henri-René Lenormand

Om det explicita och implicita i två översättningar av August Strindbergs 'Dödsdansen'