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«Nowy Donkiszot» albo Pornografia nowoczesności: O zapomnianym dramacie Jerzego Żuławskiego

100%
Dudek M.
Pamiętnik Teatralny
|
2020
|
issue 1(273)
163-184
EN
This article interprets Jerzy Żuławski’s Nowy Donkiszot (The New Don Quixote), an unfinished drama that has never been studied to date. On the formal level, the text may well be Żuławski’s boldest experiment as a playwright; it can be situated in the vicinity of Stanisław Wyspiański’s and Tadeusz Miciński’s theatre projects. But Nowy Donkiszot is above all an extremely interesting judgment of modernity: through a reinterpretation of the figure of the knight errant present in Polish literature, and in dialogue with Wyspiański’s The Wedding, Żuławski diagnoses the impotence of his contemporary intelligentsia in the face of the Revolution of 1905 and exposes the soporific effect of the nascent cultural industry. In the play, the modern Don Quixote undergoes an evolution: from an idealist, a utopian fantasist and revolutionary fighter, through a search for happiness in illusion and the role of a “Hamletic” hedonist, to a critical pornographer of modernity. The pornographic code, elevated to the rank of the construction principle of the play, is a literary strategy allowing the playwright to critically penetrate reality, here metonymically represented by an entertainment establishment in Rome.
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Psyche zrzuca kajdany: Teatr łódzki w listopadzie 1918

100%
Kuligowska-Korzeniewska A.
Pamiętnik Teatralny
|
2018
|
vol. 67
|
issue 3
137-145
EN
The Polski Theatre in Łódź headed by Franciszek Rychłowski opened the new 1918/1919 season with a production of ’Eros i Psyche’ (Eros and Psyche) by Jerzy Żuławski. The play, written in 1903 and performed in Łódź during the anti-Russian socialist revolution of 1905, took on new relevance as Poland regained independence. The metaphor of Psyche, a princess imprisoned by an evil king whom she then defeated and killed, freeing herself from her shackles thanks to her steadfastness and willpower, resonated with both the audience and one of the critics, who wrote about waking up “to a new, free life.”
PL
Nowy sezon 1918/1919 Teatr Polski w Łodzi pod dyrekcją Franciszka Rychłowskiego otworzył 9 listopada sztuką Jerzego Żuławskiego Eros i Psyche. Napisana w 1903, a w Łodzi grana uprzednio w dniach antyrosyjskiej i socjalistycznej rewolucji 1905, teraz, w chwili narodzin Polski niepodległej brzmiała wyjątkowo aktualnie. Metafora Psyche – królewny, uwięzionej przez złego króla, którego pokonuje i zabija, własną wolą i mocą uwalniając się z kajdan i więzienia – okazała się nośna i dla publiczności, i dla krytyka, piszącego o przebudzeniu „do nowego, wolnego życia”.
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