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1
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Teatralne role Edith Piaf

100%
Gajos M.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 1-2(257-258)
225-239
EN
Edith Piaf is one of the greatest icons of French culture in the 20th century. This exceptional singer was born in 1915 and died in 1963. Last year in December was the centennial of her birthday, an excellent occasion to take a closer look at the artist’s life and achievements. Today, the public remembers Edith Piaf mostly for her singing. She is still recognised as an unsurpassable master of vocal interpretation, endowed with an immediately recognisable, unique voice. But Edith Piaf was also a theatrical and film actress who had dramas and movie scenarios written specifically for her. Her acting accomplishments are impressive, even though in the minds of her fans she is still associated mostly with her singing career. The article aims at presenting Edith Piaf as a theatre actress. The productions in which Edit Piaf performed as an actress are presented from a diachronic and analytical perspective. Not only the plays written especially for Piaf by dramaturge Jean Cocteau and librettist Marcel Achard, in which she performed on stage, but also radio dramas in which she played have been taken into account. In addition, the study discusses the opinions about Piaf’s acting artistry, including those published in the French press.
2
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Kłopoty Molière’a w XVIII wieku

100%
Dębowski M.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
143-166
EN
The eighteenth century, postulating the bourgeoisie rebel against the privileges of the king and aristocracy, opposing the Church and religion, rejecting classicism, court art and bienséances (decorum), should have – or so it seems – reserved a place of prominence for Molière, who had criticised them all in his plays. Yet it was not so. Molière was played in the 18th century, to be sure, but much less than, for example, Voltaire, whose dramatic work is now obsolete. The censorship of the period regarded Molière with high suspicion. Marivaux did not like Molière; Rousseau condemned his works. Voltaire and Diderot wrote about him ambiguously. The most paradoxical was the position of the revolutionaries who admired Molière theoretically but did not put on his plays. One may, therefore, ask why those committed to the Enlightenment turned away from Molière. The number of factors that side-lined Molière’s comedies in theatre life is so great that it is difficult to name them all. Presentation of several fields of research that deal with the changes within the social, religious, and economic consciousness that were underway at the turn of the 17th and 18th centuries, factors affecting the way in which theatre licenses were granted in Paris in the Regency period and under the reign of Louis XV and Louis XVI, as well as the evolution of dramatic genres and performing arts bring us closer to providing such an answer, even though it obviously does not explain the issue fully.
3
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Koło ratunkowe – Molière w Le Théâtre du Soleil

100%
Hasiuk M.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
167-181
EN
Ariane Mnouchkine admitted in one of her interviews that, at the beginning, she had been simply hostile towards Molière and his legacy. Taking it into account makes her struggles with the oeuvre of Jean Baptiste Poquelin even more interesting. It is not accidental that the circumstances of both instances when Mnouchkine had a stab at Molière were similar. Both the film Molière (1978) and the theatre production of Tartuffe were realised at a time of serious problems that Le Théâtre du Soleil faced. And both productions were a lifesaver for the theatre. The screenplay for the film was based on the novel Life of Mr. de Molière by Mikhail Bulgakov. More importantly, however, the whole endeavour was for Mnouchkine a way to confront the heritage of her predecessors with what she was striving for. The outstanding man of the theatre was portrayed in a broad context that included his relationships with his theatre company, the epoch, society that was “barely emerging from the Middle Ages”, and power that revealed itself in the despotism of the king and the fanaticism of devotees. Mnouchkine made her Tartuffe take place in a setting resembling Arabic countries. In doing so, however, she did not attempt to stage Molière “in Arabic” but rather to bring up to date the image of social threat which the playwright in the 17th-century France had seen in zealots. The device she used had also to do with her conviction that making the setting more distant in time and place, a device applied to many different texts, often revealed the essence of the problem. The complexity of Mnouchkine’s attitude towards Molière clearly shows the problems with tradition understood as an act of passing something along. Its most important feature turns out to be the act of creating a space between generations that ensures creativity and development for both parties involved and enables them to transcend the natural bounds of death and deterioration.
4
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L’Arabe dans le théâtre d’Henri-René Lenormand : un personnage « exotique » ?

100%
GREGORIO A.
Planeta Literatur. Journal of Global Literary Studies
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2014
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issue 1. Europe - Maghreb: exchanged glances / L'Europe et le Maghreb: les regards croisés
69-84
FR
Chez Lenormand, la représentation de l’Afrique ne relève en rien de l’engouement passager ou de l’effet de mode. L’Autre, le colonisé, le renvoie presque douloureusement à sa position de Français colonisateur de métropole. Si son regard est fait de distance fascinée, de curiosité, de préjugés et de mauvaise conscience, quelle image son théâtre donne-t-il de l’Arabe, du Touareg ou du métis ? Est-il un personnage « exotique » ? Et surtout, quel sens donner à l’« exotisme » dans l’œuvre de Lenormand, notion qui a nourri d’importants débats littéraires et extralittéraires, et qui fait l’objet d’une réévaluation au XXe siècle ?
5
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Od uniwersalizmu do różnorodności. Uznanie różnicy kulturowej i rasowej we francuskich sztukach performatywnych

88%
Semenowicz D.
Didaskalia. Gazeta Teatralna
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2023
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issue 177
7-39
EN
The article shows the transition from the universalist idea to the idea of diversity in the practice of French theatre and dance institutions. It sets this transition in an ideological and historical context while it presents the most recent strategies of French cultural institutions and the impact of the opening up of the institutions on the contents and language of the performing arts. Citing the work of Nadia Beugré, Ana Pi, Rachid Ourmadane, Koffi Kwahulé, Dieudonné Niangouna, and Léonora Miano, among others, it shows what male and female Afroeuropean artists contribute to the socio-cultural order being built on diversity.
6
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Théâtres de société we Francji – salonowy eksperyment i laboratorium nowych reguł

88%
Olkusz P.
Pamiętnik Teatralny
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2018
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issue 4(268)
34-54
EN
Théâtres de societé became one of the favourite amusements of aristocracy, noblemen, and wealthy bourgeoisie of the 18th-century France. Some required substantial funding (as in the case of Duchess du Maine or Madame de Pompadour), though they often did without elaborate decorations and sophisticated costumes; nearly always they were organised by women, nearly always in connection with activities of their salons. The newfound passion for private theatres, organised with the audience of friends in mind, contributed to the weakening of the hierarchical structure of French society. Actors, often giving lessons in acting (and even acting with the powerful and privileged amateurs on stage) became guests of refined and sophisticated salons; discussions between aristocrats and playwrights, who composed some of their plays specifically with the théâtres de société in mind or simply assisted in staging their plays privately, became more common as well. Contrary to popular belief, théâtres de société were not just empty entertainment; they had an influence on the hierarchical changes within the 18th century society.
7
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Od zespołu do przedsiębiorstwa teatralnego. Oficjalne sceny Paryża XVIII wieku – rozwój i kontrola

75%
Olkusz P.
Pamiętnik Teatralny
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2018
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issue 1-2(265-266)
5-26
EN
The military and economic dominance of France in Europe waned in the 18th century, but paradoxically, that century was also the golden age of cultural influence of France on other countries of the Old World. A large number of courts established theatres that were often perceived as local versions of the Comédie-Française, because they replicated the same model of maintaining close ties between the court and the stage, understood as a place that was supposed to promote and reinforce the official model of civilisation. Yet at the same time, the Comédie-Française as well as other “official stages” of 18th-century France (the Opéra, Comédie-Italienne, and the Opéra-Comique later on) that enjoyed royal support (mostly through monopoly, direct subsidies, and sometimes through preferential terms and conditions of lending theatre halls) became increasingly effective in breaking their ties with Versailles and becoming bourgeois theatres to a larger extent. Growing competition from unlicensed private stages, which had been trying out different ways of circumventing the royal monopolies, forced the officially sanctioned theatres to seek new management solutions and new aesthetics. The search for form was very often obstructed by attempts made by Louis XV and Louis XVI to maintain royal control over the spectacles: though the monarchs themselves were not interested in theatre as such, they introduced a complex system of control and scrutiny. Thus, the official stages had to struggle with criticism from the audiences that demanded change, but they were restricted by organisational decisions being made externally. It was also the time when the conviction about conservatism of officially sanctioned stages, the Comedie-Française in particular, took roots. And though the stage would not, indeed, act as a motor of formal change, the ensemble was not to blame here. Eighteenth-century courts of Europe did not pay attention to the intricacies of the system of ties and connexions (between the court and the bourgeois audience, between the official stages and the unofficial ones) that had been shaping the theatrical life of the French capital of the period. Instead, they mostly relied on simplified and obsolete 17th-century beliefs about the theatre at the French court, while the theatre on the Seine was entering a completely new phase of development.
8
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Paradoks o konwencji: «Refleksje krytyczne» Jean-Baptiste’a Dubosa

75%
Olkusz P.
Pamiętnik Teatralny
|
2020
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issue 1(273)
7-24
EN
In 1719, Jean-Baptiste Dubos published an extensive dissertation titled Réflexions critiques sur la poésie et sur la peinture, in which he proposed a new kind of reflection on art. Although he drew on ancient theories, he chiefly introduced a modern perspective of personal perception and individual enchantment to his work, foreshowing sensualism. In Polish theatre studies, l’Abbé Dubos is known almost exclusively through Zbigniew Raszewski’s article Partytura teatralna [Theatre Score]; consequently, his ideas are reduced mainly to deliberations on the possibility of creating a record of stage performance. In fact, however, the eighteenth-century theorist was fascinated by the idea of such a score inasmuch as he saw it as a tool for showing the actor the direction of exploring the part, not in order to achieve a utopian faithfulness of the author’s intention, but rather to analyse the actor’s own personal freedom and search for the truth of the play. The article discusses the main narrative strategies employed by Jean-Baptiste Dubos in the treatise and presents the main area of his theatrical interests and his idea of the function of the mask in ancient theatre and in commedia dell’arte. It also outlines the relationship between Dubos’s concepts and 18th-century theory and practice of Parisian theatre.
9
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Théâtres de société we Francji: salonowy eksperyment i laboratorium nowych reguł

63%
Olkusz P.
Pamiętnik Teatralny
|
2018
|
vol. 67
|
issue 4
34-54
EN
Théâtres de societé became one of the favourite amusements of aristocracy, noblemen, and wealthy bourgeoisie of the 18th-century France. Some required substantial funding (as in the case of Duchess du Maine or Madame de Pompadour), though they often did without elaborate decorations and sophisticated costumes; nearly always they were organised by women, nearly always in connection with activities of their salons. The newfound passion for private theatres, organised with the audience of friends in mind, contributed to the weakening of the hierarchical structure of French society. Actors, often giving lessons in acting (and even acting with the powerful and privileged amateurs on stage) became guests of refined and sophisticated salons; discussions between aristocrats and playwrights, who composed some of their plays specifically with the théâtres de société in mind or simply assisted in staging their plays privately, became more common as well. Contrary to popular belief, théâtres de société were not just empty entertainment; they had an influence on the hierarchical changes within the 18th century society.
PL
W osiemnastowiecznej Francji théâtres de société stały się jedną z ulubionych rozrywek arystokracji, szlachty i zamożnych mieszczan. Niekiedy wymagały olbrzymich nakładów finansowych (jak u Księżny du Maine czy Markizy de Pompadour), często obywały się bez skomplikowanej dekoracji i wyszukanych kostiumów; niemal zawsze były organizowane przez kobiety, niemal zawsze łączyły się z aktywnością prowadzonych przez nie salonów. Ta moda na prywatne teatry tworzone z myślą o zaprzyjaźnionych widzach przyczyniła się do osłabienia hierarchiczności francuskiego społeczeństwa: gośćmi wykwintnych salonów stawali się aktorzy, nierzadko udzielający lekcji gry teatralnej (a nawet współwystępujący z możnymi amatorami na scenie), częstsze też stały się dyskusje między arystokracją a dramatopisarzami tworzącymi niektóre ze swoich utworów właśnie z myślą o théâtres de société, bądź jedynie współpracującymi przy prywatnych pokazach ich sztuk. Théâtres de société, wbrew wielu wyobrażeniom, nie były zatem pustą rozrywką – miały duży wpływ na zmiany hierarchii osiemnastowiecznego społeczeństwa.
10
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The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship

51%
Kullmann T.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2017
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vol. 15
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issue 30
147-159
EN
Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.
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