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1

W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki

100%

Zdunik M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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vol. 18

200-210

RU

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism'.

EN

Three one-act plays – 'The Elevator', 'The Rebellion' and 'The Freud' – written by Wiesław Gorecki are analysed in the paper. These plays were premiered in 1934 by a theatre group Mikroscena, founded by Tadeusz Kudliński. In my opinion, Wiesław Gorecki’s dramas are examples of modern aesthetics (as defined by Richard Sheppard). We can read these works as a poetic drama ('The Elevator'), the Ibsenesque psychological theatre ('The Fraud') and a game with scenic illusion in the style of Pirandello ('The Rebellion'). Finally, I created a new term for Goreckis’ plays: 'miniature, light and bourgeois modernism.

2

Portret „teatrała”. Tadeusz Kudliński – krytyk...

72%

Łubieniewska E.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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vol. 18

104-112

RU

Tadeusz Kudliński remained in the memory of Cracovians, above all, as a theatre critic and the author of books dedicated to this topic, which have been republished many times. Serving the function of an educational mission, they combined a harmonious perspective of a historian, researcher, critic, polemicist and apologist, who was also a great story-teller. The role of a ‘theatre man’, which he assumed, also included contacts with amateur theatre, discussions with audience and cooperation with the Theatre Lovers Club. Views on art which had clashed in the preceding century, were clearly reflected in the monographs and collections of reviews written by the author, for whom the history of the theatre was, in fact, the history of drama. For years, Kudliński consistently carried out his ‘theatre lesson’. It revolved around numerous issues – from the description of various theatrical aesthetics, through the search for ‘a Polish style’ of performance, to the characterisation of experimental groups (e.g. Grotowski’s or student theatre). The critic placed experiment on the side of cultural life, on no account in the popular theatre, therefore, he criticised all Polish directors from the second half of the 20th century who staged ‘experimentally’, especially classics. Being a traditionalist and a supporter of theatrical illusion, he attacked Brecht’s model of epic performance, glorifying ”the process of actor transformation”, although he emphasised that it doesn’t have to ”concern only reality.” He provoked, irritated – and taught, which can be confirmed by the fact that his books about theatre are still widely read nowadays.

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O teatrze i kulturze dwa teksty Kudlińskiego

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Gajda K.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2018

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vol. 18

192-199

RU

The first text (Teatralne przewidywania, ”Miesięcznik Literacki” 1942) concerns mainly the theatre, while the second one (O cyrkulacji piękna, „Tygodnik Powszechny” 1945) basically relates to cultural issues. They complement each other. Due to the common motif of social perception of creative work, they are significant for a more general reflection upon socialartistic phenomena in the collective life of a given society. The reality of war and occupation are not directly visible in Kudlinski’s views, as he emphasised, above all, the ideologicalorganisational aspect of theatrical life in the upcoming years. Taking into consideration folk theatre, professional and artistic-amateur theatre, he was convinced that they should be somehow combined, but remaining distinct. He regarded this option as a potential implementation of ”the idea of harmonious circulation of beauty by Norwid”. From this perspective, restoring value to folk art corresponds to the concept of circulation of artistic phenomena and understanding creation as «encouraging one another to work», and as «a flag on the tower of man’s work», stressed by the author of Promethidion, That is how Kudliński turned his work into a kind of art manifesto in the predictable realityof postwar years.

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3 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Gajda K.

1 Zdunik M.

1 Łubieniewska E.

3 2018

W kręgu Tadeusza Kudlińskiego: Wiesław Gorecki

Portret „teatrała”. Tadeusz Kudliński – krytyk...

O teatrze i kulturze dwa teksty Kudlińskiego