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Rufin Morozowicz (1851 – 1931). Legenda polskiego teatru

100%

Uljasz A.

Przegląd Nauk Historycznych

2021

vol. 20

issue 1

159-190

Comedian Rufin Morozowicz (1851–1931) is an actor and singer – a legend of Polish operetta. He also achieved an output as a dramatic artist, theater director and director. It happened that he performed successfully in comic operas. At the beginning, he played in Warsaw garden theaters and in the so-called province. He worked in traveling acting groups. In the period 1875–1878, he was an actor of the Municipal Theater in Krakow. In 1881, he was employed at the Government Theaters of Warsaw. Since then, he has been permanently professionally connected with Warsaw. He worked as an actor until 1927. He was the most famous actor in the Morozowicz family. His most legendary roles are Menalaus in Jacques Offenbach’s operetta Beautiful Helena and John Styx in the operetta by the same composer Orpheus in Hell.

Komik Rufin Morozowicz (1851–1931) to aktor i śpiewak – legenda polskiej operetki. Osiągnął dorobek również jako artysta dramatyczny, dyrektor teatru i reżyser. Zdarzało się, że występował z sukcesem w operach komicznych. Z początku grał w warszawskich teatrach ogródkowych i na tzw. prowincji. Pracował w objazdowych zespołach aktorskich. W okresie 1875–1878 był aktorem Teatru Miejskiego w Krakowie. W 1881 r. otrzymał angaż w Warszawskich Teatrach Rządowych. Od tego czasu na stałe związał się zawodowo z Warszawą. Wykonywał zawód aktora do 1927 r. Był najbardziej znanym aktorem z rodziny Morozowiczów. Jego legendarne role to Menalaus w operetce Jacques’a Offenbacha Piękna Helena i John Styx w operetce tego samego kompozytora Orfeusz w piekle.

Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego

61%

Poskuta-Włodek D.

Przestrzenie Teorii

2015

issue 23

The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s,created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.

The first wave of feminism in Poland consisted of a wide range of events. All women who were educated, independent, and professionally active and successful were regarded as feminists (regardless of their self-identification). Women of the theater, i.e., playwrights, directors, actresses and scenographers, who occupied themselves with “womanly subjects” in the 1920s and 1930s, created feminist theater which was important though it did not last long. In numerous feminist performances, theatrical productions dealt with subjects such as women in control of their own sexuality and bodies, women’s full participation in life, as well as economic independence and equal rights for women. Feminists in Polish theater, for example, Zofia Modrzewska, Maria Morozowicz-Szczepkowska, Irena Grywińska and Marcelina Grabowska, were typically not treated seriously by male critics, who were condescending, scornful, and unable to transcend their male perspective.

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1 Przegląd Nauk Historycznych

1 Przestrzenie Teorii

1 Poskuta-Włodek D.

1 Uljasz A.

1 2021

1 2015

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Rufin Morozowicz (1851 – 1931). Legenda polskiego teatru

Zmowa kobiet? Inscenizacje feministyczne w polskim teatrze dwudziestolecia międzywojennego