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1
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UP TO THE EYES (Po ludzkie slipia)

100%
Dziewulska M.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
120-123
EN
The authoress deliberates on the post-modern origin of a phenomenon, which she describes as 'the Gardzienice prophecy' (and which she regards as extremely complex and, consequently, with rather unclear components). For the purposes of a 'Baudelairean' analysis of photographs from past Expeditions she tests the instruments created by Barthes in 'La chamber claire' (e. g. the punctum, the antidotum). On the other hand, the authoress considers the description of the road to Gardzienice from Andrzej Stasiuk's 'Mokry grudzien' (Wet December) to be the most magnificent revelation of the poetic rift. It affects the very essence of the original 'Gardzienice' visual dramaturgy, and provides more perfect expression to the essence of poetic activity, 'the passage of emptiness'. The authoress proposes this image as the theme of reflections instead of the no longer topical vision of 'Gardzienice' perceived within the context of the former political system.
2
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THE THEATRE IN THE SPIRIT OF MUSIC - THE RIVER OF GARDZIENICE (Teatr z ducha muzyki - rzeka Gardzienice)

63%
Kosinski D.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
124-128
EN
In this essay the author tries to outline the stream of Polish theatre tradition to which - as he is convinced - the 'Gardzienice' theatre not only belongs, but also constitutes. This, as the author calls it, 'Polish theatre of musicality' was initiated by Adam Mickiewicz both in hist masterpiece - 'The Forefathers' Eve', and in his original philosophy of the 'tone' - specific value of musicality present not only in melody or rhythm, but also in human words, actions, landscapes and so on. The practice of creating theatre not from the texts and meanings, but from music and actions, of not writing for and on the stage, but composing a live event like a musical piece, was present in the works of Stanislaw Wyspianski, ideas and experiments of The Reduta theatre and performances by Jerzy Grotowski. But it was Wlodzimierz Staniewski and his company of Gardzienice, who regarded the idea and practice of musicality as the core of their work, developing new methods of creation and training. Being the heir of the tradition, in specific way summarising it, Gardzienice also gave birth to some new attempts and experiments, run by former members of the company. Thanks to it 'the theatre of musicality' can be seen as one of the most important and strongest streams of contemporary Polish theatre.
3
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'GARDZIENICE EXERCISES' AND CERTAIN ASPECTS OF THE FORM (KATA) IN THE TRADITION OF THE MARTIAL ARTS AND SPECTACLES IN JAPAN ('Cwiczenia gardzienickie' a niektóre aspekty formy (kata) w tradycji sztuk walki i widowisk w Japonii)

63%
Rodowicz J. M.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
136-142
EN
A first confrontation of the 'Gardzienice' training system, applied in natural conditions, with the system of spiritual exercises and practices in Japanese tradition. To a certain degree the text is a continuation of the article 'Przywrócone pokrewienstwo' (Restored Affinity), published in 'Didaskalia', no. 71 (2006).
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DRAMATURGY OF THE BODY. AN OUTLINE OF A RESEARCH PROJECT UPON THE EXAMPLE OF AN ANALYSIS OF SPINAL TRAINING AT THE CENTRE FOR THEATRE PRACTICES 'GARDZIENICE' (Dramaturgia ciala. Zarys projektu badawczego na przykladzie analizy praktyk cielesnych OPT

63%
Jablonska M.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
129-135
EN
Recognition of dissimilarity in acting technique of OPT 'Gardzienice' as a result of unique body formation (gardzienice body), which is a product of the long lasting training, is starting point of this paper. The dissimilarity reaches not only body formation but also performance composition built on physical activity and nonverbal signs, which become actual performance's message. Undertaken research perspective includes description of three levels of performer's physical existence in receiver's perception: biological (performer's bios), esthetical, iconic, which allows in the future to effectuate the performance analysis from the angle of corporal acts dramaturgy. This paper is focused on biological level - performer's bios. The body-use method of description based on Eugenio Barba's theatre anthropology sets forth the image of gardzienice body (as variant of performer's bios) and its meanings in performer and receiver perspective. The most recognisable elements of body formation on a biological level are: extraordinary absorption and exaggerated movement of spinal column, leading the movement out of loins, collective short distance movement synchronised by audible breathing, great frequency of tactile contact. They are the result of musicality and mutuality - the main principles of Gardzienice's training - executed in practice and reflected in existing of distinctive body practices such as: position of compact energy, group acrobatics, night running. Main meanings of performer's body formation which are: eroticism, risk, commitment, are, usually unconsciously, recognised and by means of emotional empathy and metakinesthesia evoke physiological response in receiver's body. As reflection of theatre work ethos they also force receiver to revaluate one's own existential attitude.
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INTRODUCTION (Dwa teatry - dwa swiaty)

63%
Kosinski D., Ireneusz G.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
61
EN
The authors introduce the outcome of a scientific conference 'Two theatres - two worlds' (10-12 May 2007), published in 'Konteksty'. Its fundamental iaim was to combining reflections on the accomplishments of the Reduta Theatre and the Centre for Theatre Practices 'Gardzienice'. A fitting occasion for such a double meeting was provided by the sixtieth anniversary of the death of Juliusz Osterwa (19 May 2007) and the thirtieth anniversary of 'Gardzienice'. The death of Osterwa, which, after all, ended the history of the Reduta Theatre, did not denote the end of the ideas, which he, Mieczysław Limanowski, and artists co-working with them attempted to implement. These ideas are to be found, interpreted and unravelled in their own ways in, i. a. the praxis and philosophy of 'Gardzienice'.
6
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THE PATH TOWARDS DISCOVERING MEANING IN THE MELTING POT OF CULTURES (Droga do odnalezienia sensu w tyglu kultur)

63%
Mankowska A.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
108-112
EN
The authoress evokes philosophers (including Jacques Derrida, Zygmunt Bauman, Martin Heidegger, and Michael Foucault), who while creating their intellectual systems tried to diagnose the condition of the post-Cartesian man torn between spirituality and corporeality, and submerged in endless discourse. She goes on to point out the philosophy of Friedrich Nietzsche and George Bataille as well as Mikhail Bakhtin's theory of the grotesque. All these thinkers stressed the possibility of rediscovering the path towards metaphysics and freedom. The 'Gardzienice' Theatre applied the grotesque in order to skilfully create a distance towards surrounding cultural excess. By annexing assorted beliefs and styles merged with ribald laughter it tried to provoke the collapse of the conscience, and by resorting to unadorned culture - to encourage a return to the primeval world of human spirituality. Friedrich Nietzsche indicated the moment of the fall of the tragedy as a time initiating the process of ridding the myth of all transcendence. Within this context the 'Gardzienice' spectacles endeavour, by creating a new type of drama, to generate an equally new mythical domain. In 'Bóg Nizynski' (God Nijinsky) the Wierszalin Theatre portrays the tragedy of a demented genius. As a post-Cartesian creature he experiences and believes in spiritual-corporeal unity and the cathartic might of the Absolute - the price is insanity. The contemporary anthropological theatre tries to discover meaning within a melting pot of assorted cultures. It is incapable, however, of reviving the old myths, since it is possesses the awareness and experience of post-modern dispersion. It attempts to build a horizon of senses based on a new myth, whose hero is man in the act of becoming, rent between insanity and recollections of sanctity. This moment of transgression can be grasped thanks to the distance emerging from the grotesque.
7
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TWO THEATRES - TWO WORLDS: DAY ONE (Dwa teatry - dwa swiaty: dzien pierwszy)

63%
Guszpit I.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
63-68
EN
A presentation of the origin of Juliusz Osterwa's 'Reduta' Theatre and Wlodzimierz Staniewski's 'Gardzienice', closely connected with accompanying historical circumstances. In the case of the Reduta Theatre, founded in 1919, they involved the shaping of the renascent Polish state, and for 'Gardzienice' - an attempt at seeking refuge from the absurdity of real socialism during the end stage of the Gierek era. The name of Osterwa's theatre referred to its seat (the Ball Rooms at the Wielki Theatre in Warsaw), the tradition of entertainment, and a bastion - a redoubt fort system. Facts from the history of the struggle for a new Poland are thus accompanied by those from the struggle for a new theatre. 'Gardzienice' dates back to 1977. The universally accepted symbolic date of its origin is St. John's Eve (24 June), a pagan festivity, and the eve of the celebrations of the Assumption of the Virgin Mary (15 August), derived from folk tradition. The political, manners and morals, and even weather information acquired from the press of the period shows how the ideas of artistic visionaries are born in the hubbub of daily life.
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WHAT HAS 'GARDZIENICE' TAUGHT ME (Czego nauczyly mnie Gardzienice)

63%
Dudzik W.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
69-72
EN
This sketch compares the activities of the theatres discussed at the Cracow conference on 'Two theatres - two worlds': the Reduta Theatre and 'Gardzienice'. The title refers to a statement made in 1925 by Stefan Jaracz, a former Reduta actor: What Has the Reduta Taught Me. The first part of the text asserts that Jaracz's concise characteristic of the interwar Reduta can be considered as apt also in the case of 'Gardzienice\'. Both companies attempted to establish a self-reliant theatre, taught how to work, created their own methods, established art laboratories, introduced musical spectacles, and featured actors who subsequently cultivated new methods of theatrical work; the two theatres also organised journeys (expeditions) to the Eastern Borderlands of the Republic. In other words, they were not merely artistic institutions but also social and educational initiatives (in addition, the Reduta had its own Institute, and 'Gardzienice' - an Academy of Theatre Practices). In a further part the author evokes his personal experiences and contacts with 'Gardzienice' which convinced him that Wlodzimierz Staniewski creates the most rapid theatre in the world (the spectacles are brief, extremely intensive and brimming with meanings difficult to decipher after seeing a single show), that work on a 'Gardzienice' spectacle never ceases (each is slightly different, thus rendering theatrological reconstruction extremely difficult), and, finally, that a theatre does not exist to be understood - it is there to offer the spectator poignant experience.
9
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THE TRAVELLING THEATRE (Teatr w podrózy. Wedrowanie jako poznanie)

51%
Ciechowicz J.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
69-72
EN
For persons of the twentieth century a journey becomes one of the most important spiritual experiences, the achievement of self-knowledge. The same holds true for the man of the theatre. The author compares two experiences of 'the travelling theatre': the Reduta Theatre ('The Itinerant Reduta') of the 1920s and the 'Gardzienice' Theatre Association more than fifty years later. The journeys made by the Reduta Theatre along the Eastern Borderlands were conceived as a large-scale undertaking, but lacked extensive descriptions: their most interesting testimony are letters written by Bronislaw Nycz, a student of Polish philology, to his fiancee. On the other hand, the rural wanderings of Staniewski's group were from the very onset carried out in the company of researchers: Osinski, Kolankiewicz, Morawiec, Pawluczuk, Burzynski, Guszpit..., who discovered not only Bakhtinean inspiration but also the notion of ensemble work, pursued at the Reduta Theatre. The expeditions themselves became something more than mere 'wandering': a way of life, a process of submerging oneself in reality, a return to the sources and literal qualities, achieved via the theatre and outside its range.
10
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THE EXPEDITIONS OF KONSTANTIN STANISLAVSKY AND WLODZIMIERZ STANIEWSKI (Wyprawy Konstantego Stanislawskiego i Wlodzimierza Staniewskiego)

51%
Kornas T.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
101-107
EN
The inclusion of the Moscow Art Theatre (MKhAT) and the Centre for Theatre Practices 'Gardzienice' into a current of joint artistic tradition poses a difficult task. The activity of Konstantin Stanislavsky and Wlodzimierz Staniewski is separated by an enormous time difference - almost a century (which for the theatre coincided with an age of basic transformations). The aesthetic dissimilarity of the spectacles and ethos of the two theatres does not favour proposing any sort of a parallel associated with mutual impact on artistic undertakings (naturally, in this particular case such influence could follow only one direction). Nonetheless, the article attempts to compare some of the artistic and research initiatives (connected with travels) conducted by Konstantin Stanislavsky and Wlodzimierz Staniewski in view of the fact that at times they were strikingly similar, and in certain instances outright identical, despite the different consequences derived by the two men. Apparently, Stanislavsky longed to work in the countryside (which he described in My Life in Art), in conditions similar to those enjoyed by the Centre for Theatre Practices 'Gardzienice'. The Moscow Art Theatre (and its studios) embarked upon expeditions into the distant province, and its spectacles made use of the songs, gestures, objects and costumes discovered in their course of these journeys...The Stanislavsky theatre organised also other ventures comparable to the 'Gardzienice' Gatherings, when village residents, folk artists, displayed their skills in the seat of the theatre. More, Stanislavsky tried to examine the extent to which his 'naturalistic' spectacles could exist in natural space (for instance, a park). Finally, both Stanislavsky (together with Sulerzhitsky) and Staniewski formulated exceedingly radical theatrical utopias connected with travelling and abandoning the traditionally conceived theatre.
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