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Teatr Narodowy Jerzego Grzegorzewskiego

100%
Kuźnicka D.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
338-359
EN
Jerzy Grzegorzewski took over the management of the Narodowy Theatre in Warsaw on 1 January 1997, when the building was re-built after the 1985 fire. He took this post as an outstanding artistic personality that had been exciting the imagination of theatre audiences with his novel staging formulas that conveyed the message of cultural breakdown, disintegration of the individual and the crisis of values. Working out a theatrical language that would adequately express these ideas meant that certain conventions had to be negated and many widely accepted models cast away, which caused numerous interpretational difficulties and misunderstandings, and the audiences sometimes rejected his productions for this reason. Before Grzegorzewski became head of the Narodowy Theatre, the artistic community had debated about what the future of the special stage that was being rebuilt should be. Presenting his programme, Grzegorzewski harked back to Stanisław Wyspiański. He wanted a theatre whose essential features would be art, metaphysics and tradition. The premiere of Noc listopadowa (‘The November Night’) in 1997 stirred a discussion in which Grzegorzewski’s supporters voiced their approval for the revision of stereotypical notions about national myths while his critics considered it to be a treasonous attack on the national culture. The production additionally sparked a more general debate concerning the role of classical theatre repertory. Grzegorzewski was the artistic manager of the Narodowy Theatre for six seasons, from 1 January 1997 until the end of the 2002/2003 Season. He resigned before his term of office ended. In this period, the theatre gave 29 premieres on two stages: the big Bogusławski Stage, and the small one of the Sala przy Wierzbowej. Grzegorzewski himself prepared 11 productions at the time, i.e. from one to three premieres per season. In creating a unique stage idiom, sometimes based on traditional conventions and sometimes going against them, Grzegorzewski worked within a sphere of contradictions between a need for developing his own language and a need to communicate with his audience. He attacked emotions and the intellect, demonstrated possibilities of looking at the reality from various points of view, and strived to compel his audiences to get a different perspective on some generally accepted beliefs. He analysed the common horizon of awareness stressing what was open and liberating in the Polish culture and urging to open one’s eyes to modernity. During his term at the Narodowy Theatre, the postulates that theatre be more in touch with the rapidly changing reality were being formulated with increasing force and clarity. There appeared directors and companies that satisfied these expectations. In comparison with their accomplishments, the wise, aesthetically refined theatre by Grzegorzewski seemed cool and aloof, while Grzegorzewski himself came to be viewed as a classic rather than as an avant-gardist. The multitude of artistic and ideological issues revealed through Grzegorzewski’s creative work at the Narodowy usually overshadowed the accomplishments of his organisational talents.
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Instrumenty muzyczne w scenografiach Jerzego Grzegorzewskiego. Wieloznaczności i nierozstrzygalniki

88%
Kuźnicka D.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 1(245)
98–112
EN
Introduction of musical instruments or their representations onto the stage of Polish dramatic theatres is a rarity. Productions by Jerzy Grzegorzewski are an exception to that rule. Musical instruments and their parts, as well as other objects related to music making were an integral element of the director’s artistic universe. Through many-dimensional associations and various modes of their appearance, they pointed to the dynamics of Grzegorzewski’s artistic imagination, indicated various conceptual fields and set the aesthetic and intellectual horizons. The authorial theatre of Jerzy Grzegorzewski, who mostly designed the settings to his productions by himself, presents the world as being multidimensional, unstable, moved by interplay of opposing forces, dark and yet beautiful. Such a vision was shaped by complex, artfully constructed structures of meaning whose character is best grasped by the concept of open form. The stage design was one of the key elements that created this form. The director set representations of musical instruments and their parts into multidimensional orders of meanings evoked by his theatre productions. He pointed to various aspects of materiality of these objects, to their functionality and the sphere of their cultural associations, with the symbolic order included. yspiański’s Wedding at the Stary Theatre in Cracow in 1977. Grzegorzewski appreciated texts in which music was made part of the structure not only as songs but also in the form of poetic organisation of the spoken word, its rhythm and sound orchestration. The principle of constructing the open form with musical instruments as its elements reached the high point in Grzegorzewski’s deconstructionist strategies, especially in Derridean undecidables.
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„A jeżeli tego miasta nie ma”. Dialog o Arkadii w teatrze Grzegorzewskiego

88%
Dziewulska M.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
165-180
EN
The production of Tadeusz Różewicz’s "Duszyczka" (‘A Little Soul’) put on by Jerzy Grzegorzewski at the Narodowy Theatre in 2004 was preceded by other adaptations of the poet’s non-dramatic pieces that were staged by the same director. The scripts to two of them – "Śmierć w starych dekoracjach" (‘Death in Old Scenery’, 1978) and "Złowiony" (‘Caught’, 1993) – included fragments of the poem ‘Et in Arcadia ego’, a trait they shared with Duszyczka, which had numerous consequences. As a result, a peculiar interplay, spanning a quarter of a century and different registers, developed around the motif of Italian journey and the mythof Italy. In it was encoded one of the major themes of the 20th century, because Różewicz treated his questions about the existence of something we call spiritual world as a challenge to Eliot’s symbolist poetics.
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W sprawie partytury teatralnej

88%
Żurawski M.
Pamiętnik Teatralny
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2018
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issue 1-2(265-266)
99-112
EN
The paper addresses some methodological and technical issues involving the process of reconstructing a theatrical production based on its surviving documentation and other archival materials as well as the working out of the so-called documented and critical score. With that in mind, the author confronts the premises and assumptions of the Schillerean theatrology (Zbigniew Raszewski, Jerzy Timoszewicz) and Bédierean text-editing (Konrad Górski, Zbigniew Goliński) with solutions proposed by performative studies (Tomasz Kubikowski, Diana Poskuta-Włodek) and contemporary scholarly editing (Maria Prussak, Krzysztof Mrowcewicz). The paper is a part of a theoretical supplement to Mateusz Żurawski’s doctoral dissertation, Edycja krytyczna scenariuszy autorskich Jerzego Grzegorzewskiego (‘A critical edition of authorial scenarios by Jerzy Grzegorzewski’) written under the supervision of Dr. Habil. Tomasz Kubikowski and Dr. Habil. Krzysztof Mrowcewicz at the Institute of Literary Research of the Polish Academy of Sciences (2017).
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„…rozwiązania, które proponuję, są niepełne…”. Cztery scenariusze studenta Grzegorzewskiego

75%
Karow J.
Didaskalia. Gazeta Teatralna
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2023
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issue 174
134-156
EN
This article is a discussion of four adaptations that Jerzy Grzegorzewski prepared during his studies at the Directing Department of the State Higher School of Theatre in Warsaw. The works, which were prepared based on The Literary Life of Thingum Bob, Esq. by Edgar Allan Poe, An Episode of the Reign of Terror by Honoré de Balzac, King IV by Stanisław Grochowiak, and The Balcony by Jean Genet, have not yet been analysed more extensively in research on the director’s work. Adaptations in the form of typescripts are documents of work that probably have not been staged. This is a special type of content, very rarely taken into account in research on theatre archives. The aim of the analysis was to analyse the various operations that Grzegorzewski used in his adaptations and to reconstruct the staging potential recorded in them. This procedure is consistent with W.B. Worthen’s approach in which the tension between the literary and the performative identity of a work is the focus of interest.
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Ocalenie nie musi być śmiercią

75%
Kwaśniewska M.
Didaskalia. Gazeta Teatralna
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2023
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issue 174
157-185
EN
In the first part of the article, the author critically refers to her book Pytanie o wspólnotę. Jerzy Grzegorzewski i Jan Klata (The question of community. Jerzy Grzegorzewski and Jan Klata). She looks at her own feminist reading of Grzegorzewski’s performances through the prism of Audre Lorde’s essay The Master’s Tools Will Never Dismantle the Master's House and looks at the number and function of women in the institutions he managed. She also notes that the last performance, On. Drugi powrót Odysa (He. The Second Return of Odysseus), was Grzegorzewski’s only production based on a script written by a woman. At the same time, she sees in it yet another emancipatory potential. The subject of her father’s alcohol addiction, raised by Antonina Grzegorzewska and staged on the national stage by him, can be understood as a stage coming-out of an alcoholic and his daughter as a co-addict. Putting forward the thesis that the play operated on the poetics of ugly feelings described by Sianne Ngai, Kwaśniewska analyses its reception, wondering why it failed to cause a debate about the normalisation of drinking in Polish theatre and urges us to start such a discussion now.
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