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Teatr w oku kamery. Przyczynek do teorii rejestracji przedstawienia teatralnego na przykładzie „Duszyczki”

100%
Świdziński W.
Didaskalia. Gazeta Teatralna
|
2022
|
issue 171
143-167
EN
The paper is an attempt to theoretically examine the complex phenomenon of film recording of a theatrical performance. It is an extremely important issue, one that is becoming more and more clearly recognised, yet one that is rarely reflected upon in theatre or film studies. Using Jerzy Grzegorzewski’s The Little Soul (Duszyczka) as an example, the paper discusses three basic types of theatre recordings, i.e. the technical recording, recording of a performance and its television adaptation. Their most important aspects, including differences and similarities as well as strengths and weaknesses, are discussed in relation to the categories of time, space and style. The introductory theoretical outline formulated in this way is primarily intended to help shape the audience’s informed perception of these recordings.
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„Dojechałaś do końca, kochanie”. O dojrzewaniu i umieraniu teatru

72%
Żurawski M.
Didaskalia. Gazeta Teatralna
|
2023
|
issue 174
186-202
EN
Duszyczka (A Little Soul) by Tadeusz Różewicz was the penultimate production staged by Jerzy Grzegorzewski and at the same time the director’s last production, included in the repertoire of the National Theatre for seventeen years after his death. The author, a theatre historian and archivist, researcher of Grzegorzewski’s work and a multiple viewer of Duszyczka, attempts to describe the life of the play, which despite being deprived of the director’s care, nevertheless retained the shape given to it by the author to the end. He draws attention to how the aging of the performance, both in the metaphorical and quite literal sense (the physical aging of actresses and actors, the wear and tear of the stage objects) may have affected its reception. To this end, he confronts the surviving archival documentation of the performance with the personal experience of a multiple viewer. Despite the author’s declared reluctance towards this methodology, the article can be categorised as part of the current of the so-called affective archive.
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