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O “Pamiętniku Teatralnym” i jego redaktorach

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Kuligowska-Korzeniewska A.
Pamiętnik Teatralny
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2012
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vol. 61
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issue 1-2(241-242)
51–58
EN
The article consists of two parts which have been written from two different points of view. The first part is based on materials from Bohdan Korzeniewski’s home archive. Among the documents there is a typed manuscript that sketches out the periodical’s programme and contains a list of possible collaborators. This part is complemented with an account of Korzeniewski’s actions aimed at realising his vision. The second perspective is somewhat more personal. The author, being at the same time a collaborator of Pamiętnik Teatralny, recounts her most important meetings with the editorial board, finishing the article with a description of the party celebrating Bohdan Korzeniewski’s eightieth birthday.
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„Krakowska prowokacja”? O „Dziadach” Adama Mickiewicza w reżyserii Bohdana Korzeniewskiego

88%
Makaruk M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
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2019
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vol. 19
224-242
RU
This essay is an analysis and interpretation of Bohdan Korzeniewski’s June 1963 staging of Forefathers’ Eve in the Juliusz Słowacki Theatre in Krakow. Korzeniewski’s spectacle, named by Maria Czanerle ‘the most shocking thing ever done to Forefathers’ Eve’, with awe- -inspiring stage design by Tadeusz Brzozowski and Krzysztof Penderecki’s avant-garde music, did not earn a lasting place in the history of theatre. It received rather lukewarm reviews and did not gain the favour of actors, either. Despite being received enthusiastically by such distinguished critics as Marta Fik and Stanisław Marczak-Oborski, Korzeniewski’s Forefathers’ Eve has largely been forgotten. This essay is an attempt at reconstructing the performance based on the remaining theatrical copies, reviews and memories of those who collaborated on the production. The essay’s author poses the question about what part of Korzeniowski’s failure was due to the historical context and the impossibility to realize this concept in another reality an on another stage. As, indeed, Korzeniewski created his interpretation in 1953 and it was part of a secret ministry competition for the first postwar staging of Forefathers’ Eve. Analyzing the implicit signs present in the director’s concept, which refer to the reality of the war, occupation and Stalinist period, the author also asks how Polish romantic drama staging history would have unfolded if it was Korzeniewski and not Aleksander Bardini who staged Forefathers’ Eve in 1955 in the Polish Theatre in Warsaw.
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Dwie «Zemsty» Bohdana Korzeniewskiego

86%
Makaruk M.
Pamiętnik Teatralny
|
2021
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issue 1(277)
73-94
EN
This article discusses the history of Bohdan Korzeniewski’s work on Aleksander Fredro’s Revenge [Zemsta] at Teatr Polski in Warsaw from 1951 into 1952. When the theater director took over the management of Teatr Narodowy, rehearsals were halted. The author documents the traces of the unrealized production in order to juxtapose it with Korzeniewski’s 1953 staging of Revenge at Teatr Narodowy – not with the aim of reconstructing the former, but to investigate the latter and Korzeniowski’s approach to Fredro’s comedy. The perspective of cultural poetics (cultural history of theater) reveals Korzeniewski’s strategies and games, and, more generally, the functioning of Polish theater artists under Stalinism. Engaging with speculative history enables a nuanced look at Korzeniewski’s biography.
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