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Poza sceną, czyli jawne i niejawne w "Dybuku" Szymona An-skiego

100%
Lipska M.
Adeptus
|
2016
|
issue 7
EN
Offstage: The revealed and the concealed in An-sky’s The DybbukThe Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre. Poza sceną, czyli jawne i niejawne w Dybuku Szymona An-skiegoIzraelski teatrolog Shimon Levy opisuje twórczość Samuela Becketta, posługując się kategorią „offstage”, czyli tego, co znajduje się poza sceną, za kulisami. Kategoria ta doskonale nadaje się także do opisu fabuły Dybuka Szymona An-skiego. Akcja dramatu o wędrówce duszy przedwcześnie zmarłego kochanka opiera się na ciągłej grze jawnego z niejawnym, odkrytego z zakrytym, obecnego z nieobecnym. Zastosowanie kategorii „offstage” jako narzędzia analitycznego pozwala mówić o ukazanych w dramacie siłach nadprzyrodzonych przy zastąpieniu nomenklatury religijnej zestawem pojęć ze sfery teatru.
2
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Poza sceną, czyli jawne i niejawne w "Dybuku" Szymona An-skiego

100%
Lipska M.
Adeptus
|
2016
|
issue 7
21-35
EN
The Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre.
PL
Izraelski teatrolog Shimon Levy opisuje twórczość Samuela Becketta, posługując się kategorią „offstage”, czyli tego, co znajduje się poza sceną, za kulisami. Kategoria ta doskonale nadaje się także do opisu fabuły Dybuka Szymona An-skiego. Akcja dramatu o wędrówce duszy przedwcześnie zmarłego kochanka opiera się na ciągłej grze jawnego z niejawnym, odkrytego z zakrytym, obecnego z nieobecnym. Zastosowanie kategorii „offstage” jako narzędzia analitycznego pozwala mówić o ukazanych w dramacie siłach nadprzyrodzonych przy zastąpieniu nomenklatury religijnej zestawem pojęć ze sfery teatru.
3
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„Dybuk” według Arnsztejna: przekład czy adaptacja?

88%
Marszałek A.
Didaskalia. Gazeta Teatralna
|
2021
|
issue 163/164
250-282
EN
The text is an introduction to the first edition of one of the first Polish translations of The Dybbuk by Szymon An-ski. This version was the basis for the first Polish-language premiere of this play (Municipal Theatre in Łódź, 18 April 1925). The translator and director of the performance was Andrzej Marek (Marek Arnsztejn). Until now, this translation was considered lost. It was recently found in the Library of the Adam Mickiewicz University in Poznań. This article is a commentary to Arnsztejn’s translation, it also recalls the circumstances of the premiere (1925) and the re-launch of this production in 1932 (both at the Municipal Theatre in Łódź).
4
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On Guilt and Ghosts

88%
Abeliovich R.
Pamiętnik Teatralny
|
2020
|
issue 4(276)
161-170
EN
This paper reviews Grzegorz Niziołek thought-provoking book The Polish Theatre of the Holocaust (London: Methuen Drama Press, 2019), and the key questions and issues it addresses. Focusing on Polish perspectives, theatrical representations and performative reactions to the extermination of the Jews during WWII, the book analyzes six decades of theatrical creation. Within this scheme, the victims and perpetrators are casted in the role of actors, while the Polish people are allotted the role of passive spectators, witnesses to the atrocity. This review sheds light on the ethical and aesthetical implications of Niziołek’s study, by attending to the material aspects of the catastrophe, and its theatrical representations. It seeks to recuperate and integrate the Jewish perspective into the theatrical analysis.
5
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Filmowe dybuki: od żydowskiej legendy do polskiego koszmaru sennego

87%
Nowakowski J.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2016
|
issue 28
231-247
EN
The article discusses several screen adaptations of the drama Dybbuk or Between Two Worlds  by Szymon An-ski. Written on the basis of an old Jewish legend, An-ski’s play has provided inspiration for many movies. The four analysed works represent different cultural traditions and film genres and come from different decades of the cinema history. Diverse as they are, these four works emphasize different issues. They are: Dybbuk by M. Waszyński – the best Polish movie in Yiddish exploring the Jewish folklore; A Serious Man  by the Coen brothers, with a ‘dybbuk’ prologue that redefines their art towards the Judaic tradition, as well as two other works that are strongly characteristic of the film genres that they represent: The Possession  by O. Bornedal, using the poetics of religious horror, and the Polish thriller The Demon  by M. Wrona, drawing from the tradition of the national drama as defined by Wesele  [The Wedding ] by S. Wyspiański and its screen adaptations and travestations.
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