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Witkacy’s Paintings as Frozen Drama

100%
Żakiewicz A.
Estetyka i Krytyka
|
2013
|
issue 4(31)
73-78
EN
In this article the author applies Tadeusz Boy-Żeleński’s claim that Witkacy’s paintings are “theatre frozen on canvas” by examining the many characters who coexist in both his paintings and dramas. This is evident not only in the content of his later drawings and paintings when he was most productive with his dramatic literary output, but also in the subject matter of earlier art pieces before he even began the fruitful period of his dramatic works. Moreover, some of the images in his artwork reflect his own real life experiences. The author borrowing a phrase from Daniel Gerould claims that Witkacy creates a “unified world of imagination” in which various characters appear in multiple literary and art works.
2

Tłumaczenie a interpretacja. Kilka uwag o Szalonej lokomotywie Stanisława Ignacego Witkiewicza w przekładzie na język angielski

100%
Wesołowska M.
Rocznik Komparatystyczny
|
2014
|
vol. 5
p. 453-468
EN
Stanisław Ignacy Witkiewicz’s The Crazy Locomotive was published in 1968 in the collection of Witkacy’s dramas The Madman and the Nun and Other Plays translated into English by Daniel Gerould and C. S. Durer. As a translator and a researcher of Witkacy’s works, Daniel Gerould takes a double role. He interprets Witkacy’s play not only in his explicit comments published in his study Witkacy. Stanisław Ignacy Witkiewicz as an Imaginative Writer (1981) or in the introduction to The Crazy Locomotive, but also in his translation of the drama. The author of the article presents how Gerould’s explicit interpretation of The Crazy Locomotive as a catastrophic play, where the machine wreaks auto-destruction (which is not necessarily obvious in the Polish version), may influence the translation of the text into English. In her analysis of the Polish, French and English versions of the play, the author reveals different interpretational acts of the translators.
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