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Praca postpamięci w Kartografie Juana Mayorgi

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PL
The Cartographer of Juan Mayorga was inspired by a visit to Warsaw in 2008. The author went on a ‘walk through an invisible Warsaw’, as he himself described it. It was a journey which followed the places pictured in photographs from the ghetto, which Mayorga saw at an exhibition at the Nożyki Synagogue. I was able to find them. Since photographs play an ‘essential role as a medium of postmemory’, as stressed by Marianne Hirsch, one of the leading researchers on postmemory processes in her paper The Generation of Postmemory, I would like to consider the means by which the photographs from the ghetto have initiated the effect of (affiliative) postmemory on this contemporary playwright (born in 1965), who has no connection to the Holocaust either through his family or even national background. I would also like to explore their effect on the dramatic developments of The Cartographer which take place within two time frames – Warsaw in 1940 as well as contemporarily.
EN
The present article focuses on three issues. The first one is the analysis of the drama Himmelweg, inspired by the events that took place in the ghetto of Terezin by Spanish playwright Juan Mayorga. The second problem discussed is a critical look at reviews that document the reception of this performance in the world, particulary referring to the one directed by Katarzyna Kalwat at the Juliusz Słowacki Theater in Cracow in 2011. And finally, the author describes one of the classes of Contemporary Spanish Theater course which was dedicated to this particular drama and performance. The special guest was the drama director. The conclusion stresses the complexity and relevance of this work, interpreted as a contemporary morality as well as the educational and intellectual benefits incurred by the workshop.
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