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Arlekin Bohomolca i Poliszynel Duranty’ego. O humorze uwolnionym od obowiązków

100%

Waszkiel H.

Pamiętnik Teatralny

2015

vol. 64

issue 3-4(255-256)

126-142

The article draws attention to Harlequin’s presence in Polish theatre and his later gradual disappearance from the stage. Two comedies by Franciszek Bohomolec, Arlekin na świat urażony (1756) and Nieszczęśliwe przypadki Panfila (1783), are analysed in detail. Composing the first of them, the outstanding comedy writer was still enchanted by commedia dell’arte (watched in Italy and at the Operalnia in Warsaw) and, additionally, drew inspiration from the traditional folk interplays. In later years, having become a champion of royal reforms and a supplier of didactic comedies for the public theatre, he succumbed to the rules and didacticism of the Enlightenment. The example of the two closely related comedies by Bohomolec is a forceful demonstration that Harlequin was expelled from Polish drama and theatre very quickly, even during the lifetime of the first generation of “national” comedy writers. The grass-roots-level, plebeian comedy in Poland all but disappeared; its traces could only be found in humorous gags incorporated into nativity plays (szopkas). It was not so in Western Europe, where the Harlequin character, driven out of the “serious” theatre, flourished in the puppet theatre—as fair-market and plebeian as himself. In 1861, at the Tuileries Garden in Paris, Louis Éile Edmond Duranty (1833–1880) established his puppet theatre. Among the twenty-four surviving dramas by Duranty featuring Pulcinella, Pierrot and Harlequin characters, there is one strikingly resembling some motifs of Bohomolec’s Arlekin na świat urażony, even though it is more than a century later; it is entitled Polichinelle retiré du monde. The comparison of these three versions of the same motif (two versions by Bohomolec and one by Duranty) confirms the hypothesis that the Enlightenment, in its didactic and moralising fervour, thwarted the development of plebeian comedy. However, whereas in Western Europe the spirit of commedia dell’arte found its refuge in the fair-market puppet theatre, in Poland the gag proved to be effective, and thus we do not have a Polish Pulcinella.

Komedia dell’arte w Warszawie

63%

Korzeniewski B.

Pamiętnik Teatralny

1954

vol. 3

issue 3/4

29-56

Complemented by an introductory essay, this critical edition gathers ephemeral prints relating to the performances by two troupes of Italian dell'arte comedians who visited Warsaw in 1748–49 and 1754. Based at the Saxon court in Dresden, the troupes accompanied the Polish King Augustus III during his stays in Warsaw, performing at the court theater. The prints are programs – and at the same time scripts – of twelve comedies from 1748–49 and five from 1754. The most valuable document is Polish program/script of the play Prostak oszukujący franta (Il goffo ingana il furbo), staged in 1754, as it lists the cast, including D’Arbes, one of the most famous Italian actors, who performed all over Europe. The original prints from the Załuski Collection in the National Library were burnt alongside other documents of Polish cultural history by the German occupation authorities during World War II. The publication contains their faithful copies, made by the author before the war. The author discusses the importance of these documents for research on the performances of Italian troupes at European courts and the beginnings of professional theater in Poland.

Poprzedzona wstępem krytyczna edycja ulotnych druków odnoszących się do przedstawień dwóch zespołów włoskich komediantów dell’arte w latach 1748–1749 i 1754 w Warszawie. Zespoły, przebywające stale na dworze saskim w Dreźnie, towarzyszyły królowi Augustowi III w czasie jego pobytów w Warszawie i występowały w teatrze dworskim. Druki są programami, a zarazem scenariuszami, dwunastu komedii z lat 1748–1749 i pięciu z roku 1754. Najcenniejsza wśród nich jest polska wersja Prostaka oszukującego franta z 1754 roku, ponieważ umieszczono w niej nazwiska aktorów, w tym D’Arbesa, jednego z najsłynniejszych włoskich artystów, występującego w całej Europie. Oryginalne druki, pochodzące ze Zbiorów Załuskich w Bibliotece Narodowej, zostały spalone wraz z innymi dokumentami historii kultury polskiej przez niemieckie władze okupacyjne w czasie II wojny światowej. Autor publikuje ich wierne odpisy, które sporządził przed wojną. Omawia znaczenie tych dokumentów dla badań zarówno nad występami włoskich zespołów na dworach europejskich, jak i nad początkami teatru zawodowego w Polsce.

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2 Pamiętnik Teatralny

1 Korzeniewski B.

1 Waszkiel H.

1 2015

1 1954

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Arlekin Bohomolca i Poliszynel Duranty’ego. O humorze uwolnionym od obowiązków

Komedia dell’arte w Warszawie