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EXIT FROM THE SHADOW (Wyjscie z cienia)

100%
Balus W.
|
2009
|
vol. 63
|
issue 3(286)
32-35
EN
As a rule, it is difficult to capture the traces of a decision made by a young artist about his entry into the 'adult' world of art. 'Veranda' by Wyspianski - his early, 'borderline' work - encourages the reader to delve deeper. The interior of Wyspianski's veranda is secure and tamed but leaving it carries some sort of a threat. Crossing the threshold denotes a step into the unknown. Perhaps this will be the beginning of a march into the realm of light and warmth or of something quite the opposite - a fall into a precipice...
2

WYSPIANSKI AS AN ISSUE OF POLISH MODERNISM (Wyspianski jako problem polskiego modernizmu)

51%
Walas T.
Teksty Drugie (Second Texts)
|
2008
|
issue 3(111)
11-27
EN
The starting point for this essay is an observation that new conceptualisations of Polish modernism that have been appearing since the late 1990s (Nycz, Bolecki, and others) usually tend to neglect, or at best clearly marginalise, the output of Stanislaw Wyspianski - otherwise, the central figure of the Young Poland (i.e. Polish modernist) literature. The authoress attempts to find an answer to the question 'why', by disclosing an inner dynamism of two concurrent facets of Polish modernism: the strictly modernist(ic) and the neo-romanticist ones, positioning Wyspianski at their point of contact, knot-tying spot.
3

Child: a mystery. Stanislaw Wyspianski's 'A girl in front of a pitcher with flowers'

51%
Balus W.
Teksty Drugie (Second Texts)
|
2007
|
issue 6(108)
198-207
EN
S. Wyspianski's painting 'Dziewczynka przed dzbankiem z kwiatami' (A girl in front of a pitcher with flowers) shows a completely concentrated girl observing a jug standing in front of her on the table. Much in the manner Chardin did in 18th century, the Polish artist intended to create an intimate scene of contemplation of an object. Using a psychological term, a condition of this sort should be named an 'act of attention'. Thus, the child so shown becomes a person having an internal life, a phenomenon mostly neglected at the turn of 20th century, as usually, children tended to be perceived as entirely spiritually dependent beings. The visual juxtaposition of the head and the jar is close to Schopenhauer's text from'Memorabilien, Briefe und Nachlassstücke'. The German thinker compared the human head to a vessel whose content was inaccessible to observers. The girl is watching the jug, touches it gently with her hand, but the thinking processes in her mind remain completely unknown. The painting poses a question of the nature of child and the limits of cognising other human beings.
4
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ANTIQUE DRAMAS OF STANISLAW WYSPIANSKI - ANALYSIS OF DRAMA 'ULYSSES' RETURN'. 3

51%
Filinova M.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 3
484-514
EN
The final part of an extensive analysis of Wyspianski's drama 'Ulysses' Return'. The authoress is studying symbolics represented in Wyspianski's drama by Itaka, the land which is sinking under Ulysses' feet, and which is predestinated to be the place of his self - recognition. The authoress is studying also the influence of Nietzsche's philosophy on resistance movement 'Mloda Polska' (Young Poland) and also on Stanislaw Wyspianski. Her extensive study in a Jubilee Year of Stanislaw Wyspianski succeeded in introducing this important Polish artist to the Slovak public and maybe also inspire theatrical producers to pay attention to his plays.
5
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ANTIQUES DRAMAS OF STANISLAW WYSPIANSKI - ANALYSIS OF DRAMA 'ULYSSES' RETURN. 2

51%
Filinova M.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 2
175-215
EN
In the second part of the extensive analysis of drama of the extraordinary Polish dramatist Stanisław Wyspianski the 'Ulysses' Return', the authoress reveals the philosophical content of the text. She is investigating Wyspianski's relation to Homer's epos Ulysses. She is in detail dealing with acting of Wyspianski's Ulysses, examining him from the perspective of maleficence of his deeds, dealing with incentives of his guilt, patricide, but also with a unique Wyspianski's presentation of God.
6

STANISLAW WYSPIANSKI, NON OMNIS MORIAR

51%
Sadlik M.
Ruch Literacki
|
2007
|
vol. 48
|
issue 4-5
461-471
EN
This year's 100th anniversary of Stanislaw Wyspianski's death may well be an occasion to revisit the mostly forgotten publications whose authors paid tribute to the great dramatist. What is striking about the vast outpouring of occasional verse, elegies, poetic obituaries, personal reminiscences, essays and studies is their uniformly lofty tone and high-flown patriotism. The true significance of all those commemorative tributes exceeds their documentary role as a record of the solemn atmosphere and patriotic grandeur of Wyspianski's funeral. They played a major role in creating a handful of stereotypes and giving shape to the Wyspianski myth, which determined the reception of his work for decades to come, especially in the interwar period.
7
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ANTIQUE DRAMAS OF STANISLAW WYSPIANSKI - ANALYSIS OD DRAMA 'ULYSSES' RETURN'

51%
Filinova M.
Slovenské divadlo (Slovak Theatre)
|
2007
|
vol. 55
|
issue 1
75-98
EN
On the occasion of a hundred year anniversary of an excellent Polish painter and dramatist Stanislaw Wyspianski's death, the Polish parliament declared a year of 2007 to be the Year of Wyspianski. The editorial office of the Slovak Theatre is commemorating this anniversary by publishing a singular thesis work of Martina Filinova, who had focused on analysis of antique dramas of Stanislaw Wyspianski 'Ulysses' Return' and 'Achillies'. In the first part of her study the authoress is summarizing the dramatist fate, exploring the pecularities of his relation to antique topics. The continuation related to Wyspianski's interpretation of Homer's myth will be published in the next issue.
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