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Więcej niż tło. Muzyka Pawła Mykietyna w teatrze Krzysztofa Warlikowskiego1

100%
Rudnicka J.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 3(42)
119–140
EN
The article is devoted to the role and functions of Paweł Mykietyn’s music in the theatre of Krzysztof Warlikowski. The modified version of music classification in the theatre proposed by Patrice Pavis serves as a starting point for the considerations. Providing the examples of certain performances, I describe each function as well as the characteristics of Paweł Mykietyn’s theatrical music. It turns out that in the case of Warlikowski’s theatre one cannot see music as an addition – music is an inseparable element in the process of establishing the meanings in each staging.
2
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Adaptacja jako twórcza praktyka w polskim teatrze współczesnym. Krystian Lupa – Krzysztof Warlikowski – teatr krytyczny

88%
Sordyl A.
Postscriptum Polonistyczne
|
2011
|
issue 2(8)
43-60
EN
Adaptation of different literary texts is one of the important practices in Polish contempo-rary theatre after 1989. Adaptations are being undertaken by the creators of the authorial theatres, directors of the repertory theatres and young artists who began their professional career in the theatre in the late nineties and after a year 2000. The article discusses three different types of adaptory practices. Krystian Lupa's adaptations are a kind of creative dialogue with literature that becomes a base for individual and evolving esthetics of his own theatre. Krzysztof Warlikowski struggles with the tradition and exceeds it. Directors repre-senting critical theatre use classical dramatical and epic texts to build a dialectical discourse with Polish “ready¬ made world”.
3
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The Dark Continent: «African Tales by Shakespeare» and the Experience of Transitional Community

75%
Sosnowska D.
Pamiętnik Teatralny
|
2021
|
issue 3(278)
73-97
EN
This text is an analysis of Krzysztof Warlikowski’s 2011 production, African Tales by Shakespeare, tracing the project of community taken up in the performance. The central thesis takes this to be neither a national community nor a dispersed, intersectional coalition, as Bryce Lease has formulated the difference between Polish political and traditional theater, but rather a transitional community—unstable, unsuccessful, and rooted in the experience of political transition. The author, by invoking references to the visual arts present in the performance, points to other community projects emerging from the experience of transition while showing how, when appropriated for the purposes of performance, their meanings change radically. In the masculine, phallic, and violent world of African Tales, art and philosophy born of the experience of femininity are lost, twisted, and forgotten. Among the most important threads of analysis, however, is the way racialization and racism function in the play. From this perspective, the problematic status of the community the play establishes is most clearly seen: as a community of phantasmic, aspirational, transitional whiteness.
4
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Meaningless acts: migratory aesthetics in Krzysztof Warlikowski's and Paweł Miśkiewicz's dystopian adaptations of The Tempest

75%
Kowalcze-Pawlik A.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2021
|
vol. 24
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issue Special_Issue
121-138
EN
This essay discusses two post-1989 adaptations of Shakespeare's The Tempest in the Polish theatre that use text distortion, fragmentation, and intertextuality as ways of addressing the difficult heritage of World War II. Applying the notion of migratory aesthetics in a theatrical context mobilises the interpretive potential of contemporary theatre as an act of recalling a traumatic past. Generational trauma is addressed and processed through the productions of Krzysztof Warlikowski's Burza (2003) and Paweł Miśkiewicz's more recent Burza Williama Szekpira (2018). These two productions are analysed according to strategies typical of traumatic recall, i.e., dissociation and repression, to reflect on the dystopian elements in The Tempest, aspects already addressed by Jan Kott in his pre-1989 interpretations of the play.
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