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Teatr jako esej o człowieku. O wczesnej twórczości Rudolfa Zioły w latach 1983–1989

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Juszczak B.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

2019

vol. 19

275-284

'Psie serce' (1983), 'Mały bies' (1985), 'Oni' (1985) and 'Republika marzeń' (1987) are the four very important performances directed by Rudolf Zioło in Krakow. They clearly mark the scope of both formal and thematic search in the early period of the artist’s work. The literary prototype that Zioło is faithful to, becomes only a pretext for discussion with the audience about the surrounding reality and social inequalities, as well as the mechanisms behind evil. According to the reviews which have been preserved, Zioło’s performances made in Krakow in the period 1983–1989, were usually received enthusiastically and evoked a lot of emotions. His skill for building a deep psychological motivation of characters and constructing stage activities on the basis of an in-depth analysis will be a distinguishing feature of Zioło’s theatre for many years. Additionally, a strong stage realism, strengthened by scenographic solutions, will be a starting point of a grotesque, deviation and talking about difficult life situations and humanity. In his opinion, it is only the theatre after 1989 that becomes liberated from alternative functions.

'Psie serce' (1983), 'Mały bies' (1985), 'Oni' (1985) and 'Republika marzeń/ (1987) are the four very important performances directed by Rudolf Zioło in Krakow. They clearly mark the scope of both formal and thematic search in the early period of the artist’s work. The literary prototype that Zioło is faithful to, becomes only a pretext for discussion with the audience about the surrounding reality and social inequalities, as well as the mechanisms behind evil. According to the reviews which have been preserved, Zioło’s performances made in Krakow in the period 1983–1989, were usually received enthusiastically and evoked a lot of emotions. His skill for building a deep psychological motivation of characters and constructing stage activities on the basis of an in-depth analysis will be a distinguishing feature of Zioło’s theatre for many years. Additionally, a strong stage realism, strengthened by scenographic solutions, will be a starting point of a grotesque, deviation and talking about difficult life situations and humanity. In his opinion, it is only the theatre after 1989 that becomes liberated from alternative functions.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Juszczak B.

1 2019

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Teatr jako esej o człowieku. O wczesnej twórczości Rudolfa Zioły w latach 1983–1989