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1

Gombrowicz - Interpretations

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Zolkos M., Napiontkowa M., Pawlowski M., Kusztelska M., Bulhak E., Sekiguchi T., Kuras M., Pietrek D., Zaleski K., Kuznicka D., Jarzebski J., Wilewska K., Kalemba-Kasprzak E., Ratajczakowa D., Koecher-Hensel A., Majcherek J.

Pamiętnik Teatralny

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2004

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vol. 53

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issue 1-4

592-767

EN

Productions of particular plays by Gombrowicz are considered in detail. Information about theatrical interpretations of 'Princess Yvonne' are given by:-M. Zolkos describing the ways Yvonne and Albertynka were portrayed in the productions directed by Halina Mikolajska (Princess Yvonne, 1957), Kazimierz Dejmek (Operetta, 1975), Anna Augustynowicz (Princess Yvonne, 1991, 1996), Grzegorz Jarzyna (Princess Yvonne, 1997), and Jerzy Grzegorzewski (Operetta, 2000). She concludes that the latest productions show the decomposition of traditional understanding of the body as being natural in opposition to the artificiality of costume; -M. Napiontkowa describing the world premiere directed by Halina Mikolajska in 1957; -M. Pavlovski who interprets the production directed by Vladimir Cvetanovski in Skopje in 1984; -M. Kusztelska describing the production directed by Beaunesne at Theatre National de la Colline in Paris in 1998; -E. Bulhak who recalls the Princess Yvonne that she directed at the Turkish National Theatre in Ankara in 1989 and the Turkish actor Tamer Levent, interviewed by Nese Yuce, who talks about the same production; -T. Sekiguchi discussing the production of Princess Yvonne directed by Jan Peszek at X Theatre in Tokyo in 1997. Introducing the considerations devoted to 'The Marriage', M. Kuras recounts the complicated history of Gombrowicz's attempts to publish and popularise his play. Then D. Pietrek describes the first German production of The Marriage, staged at Schiller-Theater in Western Berlin in 1968; -K. Zaleski reminisces about The Marriage he staged with a group of acting students in the gym of the State Academy of Theatre (PWST) in Warsaw in 1974; -M. Kusztelska describes the production of Marriage (Manage instead of Le Manage) directed by Daniel Martin at Theatre National de la Colline in Paris in 1998; -D. Kuznicka describes and analyses two versions of The Marriage directed by Grzegorzewski: in 1976 at the Polski Theatre in Wroclaw, and at the Narodowy Theatre in 1998. The reports devoted to Operetta begin with J. Jarzebski's essay titled Eroticism and Politics. The author analyses Operetta as a piece on sexual politics where costume signifies power and domination of the older men whereas nudity represents youth, nature, and anarchy. Then, K. Wilewska describes Italian productions of Operetta, starting with the world premiere of the play in 1969 at Teatro Stabile dell'Aquila; -E. Kalemba-Kasprzak and Dobrochna Ratajczakowa document the first Polish production of Operetta, staged by two student theatres: Nurt, and PARADOKS-BIS, in 1972 in Poznan; -A.Koecher-Hensel describes and analyses the famous Operetta directed by K. Dejmek in 1975 at the Nowy Theatre in Lodz and, finally, J. Majcherek examines the Operetta directed by M. Prus at the Dramatyczny Theatre in Warsaw in 1980.

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Gombrowicz in the Media

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Baniewicz E., Kulesza M.

Pamiętnik Teatralny

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2004

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vol. 53

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issue 1-4

785-815

EN

Two studies by E. Baniewicz and M. Kulesza discuss the presence of Gombrowicz and his works on TV and radio. Baniewicz describes and interprets all the adaptations of Gombrowicz's plays and fiction produced by the Polish TV. Despite a rather glum title of her text (We Are Not Always Sent into Transports of Delight), Baniewicz praises Ferdydurke directed by M. Wojtyszko, the Trans-Atlantyk directed by M. Grabowski, and most of all - J. Grzegorzewski's Operetta. Kulesza, in turn, takes a look at the history of Gombrowicz's presence on the air, starting - somewhat ironically - with a speech delivered in 1953 by the Communist politician J. Cyrankiewicz, then Deputy Prime Minister of Poland. Cyrankiewicz, whose words were being broadcast, viciously attacked Gombrowicz for his allegedly reactionary, decadent, and anti-Polish views expressed in the Diary, thus putting the writer on the blacklist of every censor in Poland. It was only after the October of 1956 that Gombrowicz could again be mentioned on the radio, but even then everything relating to his works remained subject to censorship until the collapse of the socialistic regime. Despite these limitations Gombrowicz began to appear on the air as a discussion topic in cultural programmes and documentaries while his literary works were presented in two forms: they were read aloud and performed in radio theatre. Kulesza gives a synthetic historical account of this phenomenon, paying much attention not only to its political context but also to its artistic and intellectual value.

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Gombrowicz in Thetre: Betwen West and East

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Kuharski A. J., Kumor A., Javelli J., Pietrek D., Ludawska J., Heed S. A., Samsel M., Oldenburg A., Walczak-Andersen E., Aszyk-Bangs U., Sobczak J., Predan A., Kiraly N., Smolakova V., Drzycimska T., Nueganen E., Badgonas V.

Pamiętnik Teatralny

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2004

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vol. 53

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issue 1-4

131-461

EN

Various studies and historical materials mentioned below concern the presence of Gombrowicz's works in theatres abroad. In a study 'Improvisation with a Corpse: The Theatre of Witold Gombrowicz Enters the 21st Century' Allen J. Kuharski takes a look at the future of Gombrowicz's theatre in English speaking countries by examining its past and present, and searching for analogies between the present state of the American and British theatre and the situation of theatre in Continental Europe in the 1960's. The author concludes that the influence of Lecoq's school of acting and some signs of interest in Gombrowicz among young theatre artists in Philadelphia and California justify the belief that, with some luck, there will be more of Gombrowicz in English speaking countries, if his works do not fall victim of anti-intellectualism currently prevailing in British theatre. The presence of Gombrowicz in France is illustrated by an interview with Jorge Lavelli. Inquired by A.Kumor, he talks about his experiences with staging 'The Marriage', 'Princess Yvonne' and 'Operetta', and the way Gombrowicz influenced his view of theatre. The interview is followed by Gombrowicz's correspondence with Lavelli and Jadwiga Kukulczanka, who, with George Sidre, translated 'The Marriage' into French as well as letters exchanged in 1969-1970 by Witold and Rita Gombrowicz with persons involved in the production of 'Operetta' at Theatre National Populaire: Jean Ruaud, and Jacques Rosner. According to Daniel Pietrek, Gombrowicz is one of the most popular Polish playwrights in Germany, and, for example, ,Princess Yvonne, - the most popular of Gombrowicz's plays - had 78 premieres there. This situation makes it possible for the author to describe Gombrowicz' presence in German theatre in more general terms. Pietrek distinguishes three phases of Gombrowicz's reception: from 1964 to 1970, from 1970 to 1990, and from 1990 to 2003. The first phase is the process of introducing the author and his works to the audience. Although understanding of Gombrowicz's plays proved difficult for the German audience there were three factors which had drawn attention to the Polish author: the Polish October of 1956, which in West Germany caused interest in contemporary Polish literature; the social revolt of 1968; and popularity of the Theatre of the Absurd. In the 70's and 80's Gombrowicz's dramas were interpreted primarily as posing the problem of personal identity, while the national background of the author became secondary and trivial. In the last decade of the 20th century Gombrowicz gained the position of a classic of modern literature. The history of staging Gombrowicz's plays in Sweden is presented by J. Ludawska in the context of the country's political, social, and cultural situation. The author interprets the first phase of interest in Gombrowicz, which took place in the 1960's, as a result of the collapse of the black-and-white political rhetoric characteristic for the 1950's, and the crisis of traditional individualism. Soon, however, the Swedish society became immersed in current political issues (Franco's dictatorship in Spain, the war in Vietnam, etc.), and the theatre artists were urged not only to present these issues on the stage but also to suggest concrete solutions to them. As these solutions tended to be oversimplified and radical, Gombrowicz came to be viewed as a reactionary and disappeared from Swedish theatres for a whole decade (1973-1983). In the 90's the interest in Gombrowicz has been rekindled by the publication of Diary (1953-1956) translated by Anders Bodegard. In turn, Sven Ake Heed takes a closer look at the history of staging 'Princess Yvonne', and 'The Marriage' in Dramaten, i.e. the Royal Dramatic Theatre in Stockholm. Heed describes and analyses two productions directed by Alf Sjoberg in 1965 and 1966, and compares them with two productions from 1995: 'The Marriage' directed by Karl Duner, and 'Princess Yvonne' directed by Ingmar Bergman. The possible influence of Gombrowicz on Bergman's interpretation of Shakespeare is investigated by M.Samsel who concentrates on Bergman's production of Hamlet from 1986 and shows its similarities to Gombrowicz's works. Acke Oldenburg reminisces about his experience of working on the set and costumes to 'The Marriage' directed by Sjoberg. Oldenburg's testimony is followed by Gombrowicz's correspondence with Sjoberg, the Arlecchino Agency, and Norbert Zaba. Ewa Walczak-Andersen presents the response of critics to all productions of Gombrowicz's plays in Denmark, and Urszula Aszyk-Bangs discusses the presence of Gombrowicz in Spanish Theatre. Although the author of 'Ferdydurke' was known to Spanish readers since 1968, his plays were not staged until the 1980's, due to the cultural politics of Franco's regime. The only drama by Gombrowicz which have gained interest of the Spanish theatre artists is 'Princess Yvonne'. The reception of Gombrowicz's plays in the theatres of Bosnia and Herzegovina, Croatia, and Serbia and Montenegro in 1970-2003 is discussed by J. Sobczak. To illustrate the way the Serbs and the Croats interpreted Gombrowicz as a political author, she describes the reaction of the Serbian and Croatian critics to 'The Marriage' directed by Jarocki in Novi Sad in 1981 and presented in 1982 in Zagreb. Based on press reviews, Alja Predan describes five productions of Gombrowicz's plays in Slovenia, Nina Kiraly describes and interprets the productions of Gombrowicz's plays in Hungarian theatres, and Vlasta Smolakova discusses the history of the Czech productions of Gombrowicz's plays in political context, paying much heed to the work of Petr Lebl. In an interview by Tatiana Drzycimska, Estonian director Elmo Nuganen talks about his experiences with staging 'The Marriage' in Torun, about the way he interprets the play, and about other Polish dramas. In the second interview Vladas Bagdonas, the Lithuanian actor who plays Henryk's Father in 'The Marriage' directed by Nuganen, explains the way he worked on his part, talks about the atmosphere of the rehearsals, and about his reflections on Gombrowicz's Diary.

4

Gombrowicz in Poland

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Morawiec E., Guczalska B., Dziewulska M., Korytkowska-Mazur A., Major R., Smigasiewicz W., Wojtyszko M., Bunsch J., Augustynowicz A., Zapasiewicz Z., K. D., Seweryn A., Peszek J., Koecher-Hensel A., Radziwillowicz J.

Pamiętnik Teatralny

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2004

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vol. 53

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issue 1-4

462-591

EN

Considering the problem of Gombrowicz's influence on the student theatres in Poland, E. Morawiec tries to identify Gombrowiczian motifs in some student productions, like, for example, 'Dumka on Hetman' (1968) or 'Introduction To...' (1970) of the 'Teatr 8 Dnia' (Eighth Day Theatre), and discusses 'The Polish Dream Book' (1970, 1973, 1974) and 'Operetta' (1978) by the STU Theatre, 'A Retrospective' (1973) staged by the 'Teatr 77' (77 Theatre) ensemble, and 'Halfway' (1976) staged by the Provisorium Theatre. The three studies mentioned below focus on the directors of the most renowned productions of Gombrowicz's works. B. Guczalska examines Jerzy Jarocki's productions of 'The Marriage', pointing out the major differences between the spectacles prepared in co-operation with Krystyna Zachwatowicz, and Jerzy Juk-Kowarski. She concludes that Jarocki becomes more and more preoccupied with the problem of transcendence and the metaphysical loneliness of the modern man. M. Dziewulska offers some suggestions concerning Jerzy Grzegorzewski's 'Operetta' and 'The Marriage' in the 'Narodowy' Theatre. She views both artists as similar in using conventions to free themselves from social authorities and conformity. A. Korytkowska-Mazur analyses 'Princess Yvonne' and 'The Marriage' directed by Krystian Lupa, emphasizing that in both cases Lupa concentrated on the subjective aspect of the plays. In turn 'the floor is given' to directors with experience in the Gombrowicz productions: R. Major explains the way he understands Gombrowicz's theatre, and describes 'Majoranka', the special kind of choreography devised by him for building dramatic situations in Gombrowicz's plays; W. Smigasiewicz talks about his approach to Gombrowicz's works and problems with adapting Gombrowicz's prose for theatre; M. Wojtyszko reminisces about the making of 'Ferdydurke' for the Polish TV theatre; J. Bunsch talks about the ideas that inspired him in Gombrowicz's plays each time he decided to stage them; A. Augustynowicz reflects on the concept of form of both productions of 'Princess Yvonne' she directed, and an ironic distance to one's own creations that comes from studying Gombrowicz. In conclusion, four renowned Polish actors: Zbigniew Zapasiewicz, Andrzej Seweryn, Jan Peszek, and Jerzy Radziwilowicz, comment on playing Gombrowiczian characters.

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Gombrowicz and Contexts

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Millati P., Majchrowski Z., Paczocha R., Komorowska M., Grys M., Ciechowicz J.

Pamiętnik Teatralny

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2004

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vol. 53

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issue 1-4

7-129

EN

In the six studies summarized below W. Gombrowicz is presented in selected contexts. Examining Gombrowicz's attitude toward theatre as an art form and as a form of life, Millati points out that although Gombrowicz claimed that he had never been a theatregoer and had taken no particular interest in theatre as an art form, he was not only convinced that social life resembled theatre and that people were in fact actors by nature, but also attempted to draw practical conclusions from this assumption. Based on testimonies of people who knew Gombrowicz personally, Millati reconstructs some of Gombrowicz's acting techniques and strategies. In a thorough analysis of Henryk's initial monologue in 'The Marriage', Z. Majchrowski points out the allusions and references to the tradition of Polish romanticism (Mickiewicz, Krasinski) and neo-romanticism (Wyspianski, Micinski), as well as to Paul Valery, Shakespeare, Calderon de la Barca, and Goethe - but, most of all, discusses the major difficulties arising when one wishes to stage the play. In turn R. Paczocha describes how Gombrowicz was perceived by two Polish periodicals: the professional 'Teatr' (Theatre) monthly published in Poland, and ' Wiadomosci' (News) published in London by and for Polish emigres. Pondering on the role of music in productions of Gombrowicz's plays, M. Komorowska not only describes and analyses the multitude of scores composed to 'Operetta' by such composers as K. Trow, T. Kiesewetter, H.M. Majewski, Z. Krauze, or K. Debski, but also pays attention to other works by Gombrowicz in which music seemed less obvious but came to play a significant role in some theatre productions like, for example, in 'The Marriage' directed by Lavelli in Paris, or the mini-opera 'Barefoot Joe'. Complementing this essay M. Gmys, concentrates on the opera itself and analyses both the scores and librettos inspired by 'Princess Yvonne', and 'The Marriage'. He has also undertaken the interpretation of 'Yvonne, Prinzessin von Burgund' composed by Boris Blacher, 'Die Trauung' by Volker David Kirchner, and 'Iwona' by Zygmunt Krauze. A story of the only theatre in the world named in honour of Witold Gombrowicz is told by J. Ciechowicz. The Municipal Theatre in Gdynia was named after Gombrowicz in 2000, thanks to the initiative and efforts of the theatre's manager, Julia Wernio. The official christening took place on March 11, and since then, the theatre organises on that day annual sessions called 'Tea at Gombrowicz's', which are accompanied by various artistic events.

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On 'The Continent of the Third Day of Creation':Gombrowicz and Keyserling

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Fiut A.

Ruch Literacki

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2005

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vol. 46

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issue 2(269)

167-182

EN

This essay is an attempt at comparing Witold Gombrowicz's and Hermann Keyserling's views on the Latin American identity. While the Estonian philosopher, whose work Gombrowicz praises in his Diary, blends depth psychology, philosophy and biology to produce in his South American Meditations a kind of phantasmatic, palaeontological psychoanalysis, Gombrowicz is skeptical of genetic and cultural conditioning and focuses instead on interpersonal relations, which are driven by the desire for power and domination. Both writers point indirectly to the limitations of racist, nationalist and postcolonial premises of theories of national character.

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ME OR MY PICTURE? SOCIOLOGICAL-PHILOLOGICAL DIMENSION OF SELF-CREATION (Ja czy mój obraz? Socjologiczno-filologiczny wymiar autokreacji)

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Kowal G., Sztalt K.

Przegląd Filozoficzno-Literacki

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2010

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vol. 9

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issue 3(28)

299-312

EN

The authors of the paper examine the phenomenon of self-creation as a universal element of culture that has always existed among human beings. It has both positive and negative aspects. The paper shows that it is impossible for a human being to be free from the way the social pressure influences the roles she plays, the masks she wears and the self-images she creates. At the same time, they underline the relationship between social perception of a person and the efficacy of her actions. In order to develop their point, the authors use examples of great personalities of the literature: Thomas Mann, Sartre, Gombrowicz, and Slowacki. They contend the main problem is how to find a balance between self-creation and being true to oneself and one's convictions, a balance between self-creation and the ability to be independent in one's attitudes and judgments. 'Brother, you will never get free from the society, you has come from it and there are no abstractions that can help you' (Witkacy).

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Gombrowicz - Interpretations

Gombrowicz in the Media

Gombrowicz in Thetre: Betwen West and East

Gombrowicz in Poland

Gombrowicz and Contexts

On 'The Continent of the Third Day of Creation':Gombrowicz and Keyserling

ME OR MY PICTURE? SOCIOLOGICAL-PHILOLOGICAL DIMENSION OF SELF-CREATION (Ja czy mój obraz? Socjologiczno-filologiczny wymiar autokreacji)