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Nowe przestrzenie subiektywności. Radiowy genotyp dramaturgii współczesnej

100%
Kopciński J.
Pamiętnik Teatralny
|
2019
|
issue 2(270)
23-40
EN
According to Jacek Kopciński, the dramatic discourse itself, released from the regime of textual structure and traditional arrangement, has become the protagonist of new Polish dramaturgy. The author argues that the dramatic collages, assemblies and hybrids, recorded in the form of linguistic streaming, reflect the way in which people communicate in a mediated reality. The chief characteristic of this process is multi-channel transmission, which the author associated with new technologies of sound recording and its broadcasting and reception in a radio play (5.1 surround sound system). A comparison of the poetics of contemporary drama with works written especially for the radio (by Tomasz Man or Krzysztof Czeczot) reveals some surprising similarities; most importantly, the deep subjectivisation of the represented world of the play. When analysing works by Mariusz Bieliński (and mentioning the works of Zyta Rudzka, Artur Pałyga, Weronika Murek and Mateusz Pakuła), the author puts forward a thesis about the radio genotype of the new Polish drama, which is rarely staged, but is often performed in the Polish Radio Theatre.
2

„Bez pamięci” — od doświadczenia pokoleniowego po różnorodności wspomnień (na wybranych przykładach dramatów i filmów polskich)

100%
Baluch W.
Miscellanea Posttotalitariana Wratislaviensia
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2016
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vol. 4: POKOLENIE — TRANSFORMACJA — TOŻSAMOŚĆ Gardzienickie czytania teatroznawcze… i nie tylko
17-23
EN
This article outlines the perspective of the development of Polish drama after 1989, when the totalitarian system was replaced with the ideas of liberal democracy. The main terms that define the scope of issues under investigation and the selection of dramas include ‘memory’ and ‘generational experience.’ The reflections begin with stating the inadequacy of previous cultural models and discourses with reference to the new socio-political reality that began in Poland after 1989. Further on, selected dramas of the most prominent playwrights of the 20th century: Tadeusz Różewicz and Sławomir Mrożek are analysed. Based on their example it is proven that the language of Polish drama from the communist period actually transfers ancient linguistic forms from the pre-war period and from the 19th century. However, in the 1990s the old masters could no longer find a language which would render the experience of people living in the period of transformation. It is achieved only a decade after the system transformation in Poland when at the beginning of the 21st century an anthology of young Polish drama entitled Porno generation is published. It marks the beginning of an artistic attitude that is characterised with a close contact of a play’s subjects with the presented reality. This attitude leads to one of the branches of modern dramaturgy based on a free usage and combination of various styles and elements of both literature and culture while simultaneously revealing personal engagement in the reality created in artistic activity. I will discuss dramas by Dorota Masłowska and selected Polish films of the last decade: All that I love, Yuma, and Motor as representative examples of this type of artistic activity.
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