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1
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RETURNS (Powroty)

100%
Tybon L.
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2008
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vol. 62
|
issue 2(281)
34-35
EN
The author of this succinct article, fascinated with local communities in the Land of Sandomierz, intended to demonstrate the manner in which they faced the necessity of defining their future in altered conditions.
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MY PROVINCE (Moja prowincja)

100%
Szpilka W.
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2008
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vol. 62
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issue 2(281)
40-43
EN
The metropolis and the province are the figures of an existential situation rather than a description of material reality. It is not surprising, therefore, that the same place may be evaluated differently. A black hole where all is lost will become a territory full of life. The accounts by Andrzej Stasiuk portraying a Europe from the very peripheries of the world show just how radical such a reversal can be. Focused on the opposition of interest to us, we continue to labour on the demarcation of the actual boundary between its components. The metropolis and the province, life and death, the intense and the weak, the dark and the lucid, the open and the closed, the happening and the recollected, all these categories introduce order into reality but also conceal and, even more so, lose an existence that cannot be expressed with their assistance. The continuum, transition, enclosure, and otherness of the same, as well as the horrendum of the metropolis-province comprise the flaw of ethnographic reflection closely adhering to life and experiencing reality.
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THE 'PROVINCE' FROM AN ANTHROPOLOGICAL POINT OF VIEW. A REFLECTION FROM THE PERSPECTIVE OF CULTURAL COMMUNICATION DILEMMAS ('Prowincja' z antropologicznego punktu widzenia. Refleksja z pespektywy dylematów komunikacji kulturowej)

100%
Robotycki C.
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2008
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vol. 62
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issue 2(281)
7-13
EN
The terms 'province' and 'provincial' describe not only a place but also a state of mind or culture. An analysis of the semantic field of this concept indicates its contradictory associations and annotations. The contemporary communication-related organisation of society renders the term in question less useful for anthropological analyses. Peripheral environments and their culture are better described by the 'local quality', universally applied in anthropology ad sociology. Today, the 'province' is a category encountered in the belles letters, where it shall remain.
4
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THE PROVINCE - BETWEEN THE BACKWATER AND THE STICKS. THE CONFESSIONS OF A PROVINCE DWELLER (Prowincja - miedzy zasciankiem a zadupiem. Zeznania prowincjusza)

100%
Bialek B.
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2008
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vol. 62
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issue 2(281)
36-39
EN
'It is worth knowing where the boundary between the metropolis and the province, the backwater and the sticks actually runs' - wrote the author while analysing the problem of the centre and the periphery during the 'In Praise of the Province' session. In doing so, he proposed abandoning a division into that which is central, i. e. connected with the great agglomeration, and that which is provincial, i. e. located outside the city. The era of globalisation coincides with a decline of the institution of the traditional province, which is actually situated within ourselves, similarly to an awareness of the centre of the world in which we reside. It is strictly up to us whether we live in the 'sticks', which the author considers to be dull and encumbered with complexes, or whether we live in the very centre, emphasising that which is essential for our daily life and enhancing its value.
5
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THE PARADOX OF THE PROVINCE (Paradoks prowincji)

100%
Czaja D.
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2008
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vol. 62
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issue 2(281)
28-33
EN
The point of departure for this article is composed of two brief texts by Federico Fellini and Slawomir Mrozek referring to the phenomenon of the province. Upon their example the author depicted the titular paradox of the province: the fact that in order to actually perceive the province and put it to creative use one must abandon it and view it from a temporal and spatial distance. In this artistic phenomenology of the province the myth of departure encounters the myth of the return. In both texts the province reveals itself as a true and animating source of creativity.
6
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THE RETURNS OF ODYSSEUS (Powroty Odysa)

63%
Jopek J.
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2008
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vol. 62
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issue 2(281)
76-79
EN
'This is a theatre, and not a private flat! This is a private flat but also a theatre!'. Words uttered in the second half of the spectacle 'On. Drugi powrót Odysa' (He. The Second Return of Odysseus) focus on three important themes of the last production staged by Jerzy Grzegorzewski: turning the boundary between the private and the 'political' in art into a problem, indicating the meta-theatrical dimension of the spectacle and, finally, referring to a concrete experience and historical moment. In June 1944 Tadeusz Kantor showed 'Powrót Odysa' (The Return of Odysseus) in a private flat in 3 Grabowskiego Street in Cracow at the time of the German occupation. The presented sketch is an attempt at following Kantor's traces in the Jerzy Grzegorzewski staging and at discovering an answer to several questions: what links 'Powrót Odysa' from 2005 with the version from 1944? What is the significance of the drama and Wyspianski? Finally - probably the most important question of all - why did Kantor act as the patron of such a difficult and bold declaration, intent on settling accounts?
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ETHNOGRAPHIC REMNANTS (Etnograficzny remanent)

63%
Wajda A.
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2008
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vol. 62
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issue 2(281)
82-85
EN
The author wrote about his first contacts with Polish folk art, cooperation with Prof. Reinfuss, which left a trace in the form of two documentary films about folk art ('Ceramika ilzecka' / Pottery from Ilza/1951/ and 'Zaproszenie do wnetrza' /Invitation Inside/, 1978) as well as notes from many museums all over the world, where he drew interesting exhibits.
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ANDRZEJ WAJDA. ETHNOGRAPHIC REMNANTS. AN EXHIBITION (Andrzej Wajda. Etnograficzny remanent. Wystawa)

63%
Szczurek M.
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2008
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vol. 62
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issue 2(281)
80-81
EN
The authoress describes an exhibition held at the Ethnographic Museum in Cracow, showing the less known side of Andrzej Wajda - his connections with ethnography. The exhibits originate from assorted periods in the director's life and display his years-long interests, initiated by a meeting with Prof. Roman Reinfuss, who collected and catalogued valuable art works that survived the war in the environs of Cracow and in the region of Podhale.
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THE ETHNOGRAPHIC NOTES BY ANDRZEJ WAJDA (Etnograficzne zapiski Andrzeja Wajdy)

63%
Pilichowska B.
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2008
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vol. 62
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issue 2(281)
86-93
EN
While attending film courses Andrzej Wajda did not foresee himself as a director of feature films but considered the grotesque cinema and educational movies. The authoress recalls the director's notes from 1948, made during his stay in Ilza, which he then used for his first documentary film 'Ceramika ilzecka' (Pottery from Ilza, 1951). She also recalls a list made by Wajda in 1952, entitled 'Projekty filmów dokumentalnych' (Projects of documentary films), containing 19 titles with several ethnographic projects.
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Spotkanie centrum z prowincją w działalności Dymitra Tuptały

51%
Mazuś M.
Świat i Słowo
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2012
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vol. 10
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issue 2(19)
257-269
EN
The goal of the article is to present the unique meeting between Kiev – a Russian metropolis and a cultural centre of the beginning of the 18th century – with a Russian province – the town of Rostov. This meeting realized in the ministry of Dymitry Tuptalo – a famous graduate of the Kiev-Mohylan Collegium who is known as Dymitry of Rostov. First of all, the author explains why Kiev and Rostov are shown as a metropolis and province. The huge discrepancy in education, social level and religious items between Kiev and Rostov had affected Dymitry’s work since he became a bishop of the Rostov diocese in 1702. Secondly, the article describes how Dymitry of Rostov tried to make the Russian province and centre closer to each other. These attempts were reflected in Dymitry’s ministry. The author develops the thesis that Dymitry was aimed at turning Rostov into a Kiev of northern Russia. Thirdly, specific examples of Dymitry’s work are given. Sermons, letters, reprimands were an inherent part of his ministry. The author underlines the importance of the discussion between Dymitry and the Old Believers who lived in the diocese. The polemics inspired Dymitry to write a polemical book agianst the Old Believers. Apart from this, there is a description of the school in Rostov founded by the bishop and its meaning for the whole Rostov area. In the conclusion, the author tries to answer if the measures took by Dymitry were effective enough to eliminate the differences between Kiev and Rostov. There is also a question whether such an elimintion is good. The author suggests theses trials may lead to standardization which can be achieved improperly, disturbing different regions in their own development.
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Kuszeni przez nierealne – nieestetyczna prawda o prowincji w wybranych wierszach Andrzeja Bursy

51%
Piotrowska-Grot M.
Świat i Słowo
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2012
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vol. 10
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issue 2(19)
237-246
EN
Expression „small towns” at the first moment is associated to us with pleasurable thoughts about comfortable life without any problems. That places are almost perfect, but in second opinion that kind of towns don’t really exist. That is only our imagination, stereotype, nice pictures from American movies. Senses not often wins with magic of stereotypes, but in literature sometimes appear some relists who are trying to find truth about world – in its ugly, unhappy face. The one of them is Andrzej Bursa, cold cursed poet – cynical critic of our everyday. In my paper I tried to oppose his vision of province against to his opinion about big cities, to show how original is his approach to the subject, and his battle with mendacity. The truth shown in poems – Town and Warsaw – Phantom – is unsightly and it doesn’t fit readers in a good mood, but it is the highest, unfortunately steel exotic, value. According to Bursa good side of ugliness is authenticity which we can find in small towns. Big cities attract us, but there is a trap - they aren’t real. It is a reference to Boudiliard’s theory about reality and simulations. Man from Bursa’s lines have to choose between life in kind of dream in the city and realistic, ugly province. Both of them pose obstacles and have some good and bad sides, but they are only opposition to nothingness, which is the biggest fear for modern people.
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Profetyczne (od)czytanie prowincji: Jerzy Stempowski – Esej berdyczowski

51%
Bernacki M.
Świat i Słowo
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2012
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vol. 10
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issue 2(19)
191-203
EN
The idea of Marek Bernacki’s article is to interpret Berdichev Essay by Jerzy Stempowski, the classic of Polish essay writing in 20th century. The author also dedicates a lot of attention to the town, which becomes ”the main character” of the text. Bernacki reminds that Berdichev used to be an important trade centre in 18th and 19th century Europe, as well as a religious centre for both catholics and Jews. There are also references to Andrzej Bursa’s poetry in the article. The author notices that even though Bursa’s nonconformist poems (The Town, Saturday) were created approximately at the same time as Stempowski’s Berdichev Essay, the attitude of both writers is radically different. Bursa sees only stagnation, slowdown and lack of prospects in the provincial world of real socialism, while Stempowski notices ”the pictures of future” and ”designs of future things” in provincial Berdichev from the beginning of 20th century. These, as an expert essayist, he exposes to work of memory, imagination and mind. Europe being pushed to the sidelines after 1945, new idols (and marxism as a ”new religion”) as well as the growth of social anarchy are the three issues described by Stempowski, which, according to Bernacki, ought to stimulate a reflection in a contemporary reader as well.
13
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'COMING BACK HOME. THE ITALIAN EXPERIENCE OF TARKOVSKI AND KANTOR' (Powrót do domu. Tarkowski i Kantor)

51%
Benedyktowicz Z.
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2008
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vol. 62
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issue 2(281)
14-27
EN
The topic of the presentation is an analysis of the specific perception of Europe by two great artists from the East: Andrei Tarkovski (Nostalgia 1983) and Tadeusz Kantor (Wielopole, Wielopole, 1980, a theatrical spectacle staged as part of the Florentine programme at Teatro Regionale Toscano, Florence). The motif of the return home is inscribed into the Italian cultural landscape and experiences. The next problem is the inclusion of local, own cultural tradition into the universal entity. Both works share the motif of coming back home, nostalgia, the experiencing of the province, an epiphany of poor reality, and the significance of 'lowest rank regions'. Analysing the structure of those motifs and imagery as well as their concurrence with the essence of the symbol (a confirmation of identity, a token) the author considers the message contained in both visions - cinematic and theatrical - and its meaning for the contemporary European dialogue. This is a meaning concurrent with the ideas of an anthropological-cultural and European insight, aimed at searching for, and discovering unity in diversity.
14
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THE ACTOR'S BODILY EXPRESSION IN THE TADEUSZ KANTOR THEATRE OF DEATH IN THE PERSPECTIVE OF THEATRICAL DANCE (Cielesna ekspresja aktora w Teatrze Smierci w perspektywie tanca)

51%
Krolica A.
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2008
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vol. 62
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issue 2(281)
71-75
EN
An attempt at comparing the Pina Bausch Tanztheater Wuppertal with the works of Tadeusz Kantor from the period of the Theatre of Death, examined from the vantage point of work with the actor, direction methods, the structure of the spectacle, and the rejection of the categories of time and plot. The central theme, however, is the actor, who by rejecting verbal expression communicates with the spectators primarily by resorting to his body and physical presence. The actors' body articulates assorted emotions by means of controlled tension. Similar techniques of the 'use' of the body are discernible in Chaplin's silent movies and modern dance from the early twentieth century. The corporal form of expression appears to be quite natural for theatrical dance, and in this case - for the Pina Bausch Tanztheater, but such an interpretation of the problem within the context of Kantor's work appears to be a new and tempting research aspect.
15
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'THE DEAD CLASS' BY TADEUSZ KANTOR IN THE FILM OF ANDRZEJ WAJDA AND IN 'KADYSZ' (KADDISH) BY JAN KOTT ('Umarla klasa' Tadeusza Kantora w filmie Andrzeja Wajdy i 'Kadysz' Jana Kotta)

51%
Chodzewicz F., Dziewulska M., Kloczowski P., Morawinska A., Palikot J., Stangret-Kantor M.
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2008
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vol. 62
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issue 2(281)
45-58
EN
A register of a conversation held at the Warsaw 'Zacheta' Gallery about a new edition of Jan Kott's book on Tadeusz Kantor as well as Andrzej Wajda's DVD version of the spectacle 'Umarla klasa'.
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TOWARDS FLORENCE. THE DISCOVERY OF TRACES. TADEUSZ KANTOR AND THE 'CRICOT 2' THEATRE ABROAD 1968-80 (Ku Florencji. Odkrywanie sladów. Tadeusz Kantor i Teatr' Cricot 2' zagranica 1968-80)

51%
Zarzecka N.
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2008
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vol. 62
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issue 2(281)
60-70
EN
The text recounts the beginnings of the foreign career of the Cricot 2 Theatre and its founder, Tadeusz Kantor. The authoress recalled the localities of the first tours abroad and the artist's other performances, together with the persons and festivals that contributed to his growing popularity as well as that of his company in Italy and the United Kingdom. The reader accompanies Kantor on his artistic journeys, starting with International Artists Meetings in Vela Luka (Yugoslavia, 1968) and successive tournées In Italy, France and England ('Kurka wodna' /The Water Hen/, Rome 1969, Nancy and Paris 1971, Edinburgh1972; 'Nadobnisie i koczkodany' /Beauties and Baboons/, Edinburgh 1973 and Rome and Paris 1974, 'Umarla klasa' /The Dead Class/, Rome 1978) to recollections of the artist's happenings performed outside Cricot 2, although sometimes involving actors from his company ('Szafa' / Wardrobe/ after Witkacy's 'W malym dworku' /In a Small Manor House/, Baden-Baden 1966, a series of happenings shown in Bled in 1969 and recorded in D. Mallow's film 'Säcke, Schrank und Schirm', participation at I Atelier International des Recherchés Théâtrales in Dourdan near Paris, 1971). The article makes special mention of Achille Perilli and Richard Demarco, who continued the presentation of the Tadeusz Kantor Theatre, and the exhibitions accompanying the theatre's performances abroad. The authoress discussed more extensively the Florence Programme (1979/1980), which led to a new spectacle: 'Wielopole, Wielopole' (premiere in Florence on 23 June 1980), as well as assorted recent art undertakings (exhibitions, publications, symposia), making it possible to take a closer look at the breakthrough in the history of the Cricot 2 Theatre, which, as it later became apparent, inaugurated the last decades of its activity.
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I WAS TADEUSZ KANTOR'S ASSISTANT (Bylem asystentem Tadeusza Kantora)

51%
Wajda A.
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2008
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vol. 62
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issue 2(281)
59
EN
The director described how for a single day he became Tadeusz Kantor's assistant while recording the spectacle 'Umarla Klasa' (Dead Class). Concluding, he reflects that an assistant may be a genius creating all that the director conceives but he will never receive his due praise.
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THE PROVINCE IN THE MOST RECENT POLISH AND GERMAN LITERATURE AND IN THE CONTEMPORARY POLISH AND GERMAN LITERARY CRITICISM (Problem prowincji w literaturze polskiej, niemieckiej i serboluzyckiej)

38%
Kledzik E.
Porównania
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2009
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vol. 6
149-164
EN
The article presents an analysis of the topos of the province in Polish and German literature after 1989. In spite of different historical and literary sources, the turning point of the fall of the Berlin wall marks the beginning of the surprising career of this literary figure which, according to the authoress, is connected to the postcolonial profile of the literatures after the breakthrough. The topos of province in literature studies and literary criticism has different functions: as an affirmation and source of national identity (the Polish 'borderland' and German West Prussia) and a test of its anti-community, postmodern character (in Stasiuk and Tokarczuk's works) and a tint of Western German quasi-identity. The proposed model for the understanding of the texts of the region is focused around the person of the narrator and the categories of the (anthropological) point of view.
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