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Julian Lewański o staropolszczyźnie Leona Schillera i Kazimierza Dejmka

100%
Kuligowska-Korzeniewska A.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 2(246)
86-99
EN
Using Julian Lewański’s essay “Leona Schillera prace nad teatrem staropolskim” (Pamiętnik Teatralny 1955 No. 3–4) as a starting point the author undertakes to analyse the way the most outstanding researcher of old Polish drama perceived the work of this drama’s most outstanding directors. While evaluating Leon Schiller’s achievements in this respect Lewański had been working on his anthology of old Polish dramas, which would then becomecanonical. Thus, it is not surprising that the scholar paid attention to various historical inaccuracies found in Schiller’s productions. On the other hand, however, he did notice and appreciate the director’s efforts to “form a Polish theatrical style. ”Lewański looked at Kazimierz Dejmek’s old Polish productions from a different point of view as he participated in their inception as a consultant or scenario co-author. Without doubt, the collaboration was fruitful and beneficial for both parties. It made the productions richer, but it also broadened the researcher’s horizons. At the end the author recalls a conversation she had with Lewański in 1998.The scholar, over eighty years old at the time, talked with approval and enthusiasm about the novel production of “Historyja o chwalebnym Zmartwychwstaniu Pańskim” that was being prepared by Piotr Cieplak.
2
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Między dramatem a widowiskiem. Nie tylko Juliana Lewańskiego zmagania z teatralnością

100%
Morawski P.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 2(246)
19-37
EN
The text constitutes an attempt at looking at Julian Lewański’s “Dramat i teatr średniowiecza i renesansu w Polsce” from the perspective of historiography’s entanglement in categories contemporary to the historian. Thus, it addresses the question of whether it is justified to apply terms like “theatre” or “drama,” as well as the criteria of artistry or work of art, to Renaissance and especially medieval culture. I try toshow that there is, indeed, some correlation between what Lewański was writing about and what theatre he had been watching and that it coloured the glasses through which he viewed the reality of spectacles in medieval and Renaissance Poland. I also try to show how the conceptual framework of literary criticism determined the image of theatricality emerging from the book. Finally, I try to put Julian Lewański’s research practice in a broader perspective of twentieth-century medieval theatre studies. As it happens, the history of research on spectacles of medieval Europe is a history of struggles with the theatre contemporary to the researchers, a history of how modern categories, e.g. drama or theatre, have been projected onto a completely different cultural formation.
3
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„Nije na pjesniku da se klanja kralju”. Pozicija disidenta u hrvatskoj teatrologiji – slučaj Ivšić

88%
Petranović M.
Poznańskie Studia Slawistyczne
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2014
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issue 6
EN
The paper discusses the position of Croatian playwright Radovan Ivšić in Croatian theatre historiography, before and after the independence of Croatia in the nineties. The research results point to three major phases in Ivšić’s reception in Croatian theatre historiography – the rejection, acceptance and canonization.
4
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Il professionismo delle attrici: stato degli studi e nuove domande

63%
Megale T.
Italica Wratislaviensia
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2019
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issue 10.2
15–36
EN
In the second half of the 16 th century, the arrival of women on the stage caused a revolution, the effects of which extended to the entirety of modern society. A troupe on the move and always at risk, faced with waves of condemnation, the women actors, nomads by trade, were preceded by a diffidence that was both twofold and simultaneous: towards the principal makings of professional work in the theatrical arts and towards the moral qualities of which they had been regarded as the heralds, not individually but as a social group. The process of deconstructing the artistic identity of these pioneering actresses, who tended to be equated with harlots or to their opposites, that is, virgin actresses, was not limited to the first appearance of women on the professional scene, but, rather, it became a long-standing historical category. The article is concerned with removing prior moral judgments that were stratified over the actresses and freeing the historiographic field from preconceived viewpoints; it is concerned with dismantling misogyny and anachronistic sidelong glances. Between masks and prejudices regarding the perturbing aesthetic perception represented by the entrance of women into the world of art, distinguishing that which separates the actress’s profession from sexual adventures, talent from reputation, art from seduction, is essential to provide new historiographic categories and new coordinates to the study of the commedia dell’arte. In this way, other past experiences come to light: the launch towards professionalism, the role of marriage, and the violence that women underwent are a few of the problematic issues to reconsider and overcome based on prior documentary studies.
IT
Nella seconda metà del Cinquecento, l’arrivo delle donne in scena provocò una rivoluzione i cui effetti si estesero all’intera società moderna. Sommerse da un’ondata di condanna, le attrici, nomadi per mestiere, furono precedute da una doppia e simultanea diffidenza: verso le potenzialità precipue dell’arte teatrale professionistica e verso le qualità morali di cui sono state ritenute portatrici non singolarmente, ma come gruppo sociale. Il processo di decostruzione dell’identità artistica delle attrici pioniere, assimilate alle meretrici o al loro rovescio, ossia all’attrice vergine, non si è limitato al primo apparire del professionismo femminile, bensì è diventato una categoria storica di lunga durata. Si tratta qui di rimuovere i preventivi giudizi moralistici stratificati sulle attrici e sgombrare il campo storiografico da posizioni preconcette, di smantellare misoginia e anacronistici sguardi obliqui. Fra maschere e pregiudizi circa la perturbante percezione estetica rappresentata dall’ingresso in arte della donna, distinguere ciò che separa il mestiere di attrice dalle vicende sessuali, il talento dalla reputazione, l’arte dalla seduzione è essenziale per dare nuove categorie storiografiche e nuove coordinate allo studio della Commedia dell’Arte. Vengono così alla luce altri vissuti e altre esperienze: l’avvio verso la professione, il ruolo del matrimonio, la violenza subita sono alcuni nodi problematici da riconsiderare e vagliare sulla scorta di preventive indagini documentarie.
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Dyrektorka: Przyczynek do (nie)biografii Wandy Wróblewskiej

63%
Morawski P.
Pamiętnik Teatralny
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2020
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issue 3(275)
75-103
EN
This article analyses the rules of including female theatre managers in theatre history. A speculative biographical profile of Wanda Wróblewska, the founder and manager of Teatr Ziemi Mazowieckiej [Masovian Land Theatre], serves here as a tool for revealing and problematizing the expectations towards female narratives that are intended as an alternative to the patriarchal model dominant in historiography. Like most travelling theatres, Teatr Ziemi Mazowieckiej was run by women – a fact that invites a feminist perspective into the discussion of the theatre’s history. It can be easily inscribed in an alternative historiographic model that emphasizes building relations with the audience and thetheatre’s social activity, while refraining from singling out masterpieces or constructing artistic hierarchies. Wróblewska’s speculative biography is also a catalyst for the question about the possibility of going beyond the narrative, which always becomes a form of power discourse.
6
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Od sociálně-demokratické spirituality k socialistickému realismu: koncept lidovosti v myšlení Jindřicha Honzla o divadle

38%
Kunderová R.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 1
188-215
EN
The study examines the concept of "the popular" in the thinking of theatre director and theorist Jindřich Honzl (1894–1953). By analyzing his essays and articles, the essay describes the changes in Honzl's approach to the popular as reflected in his critical writing during his theatre career and as placed within the context of politics and theatre history. Based on the discussion of existing Czech theatre historiographic literature about Honzl (the majority of which was published before 1989), the study offers novel findings and connections, many of which have been ignored, often for ideological reasons. The essay brings a close study of Honzl's sources of inspiration, from the beginnings of his work in the era of the so-called proletarian theatre, especially by embedding Honzl's thinking in the social democratic ideology and his knowledge of post-revolutionary Soviet theatre until 1925. The essay subsequently offers a characterization of the changes in Honzl's understanding of "the popular" during his Poetism and Surrealist phases, as well as after the Second World War, when he converted to Socialist Realism.
CS
Studie zkoumá koncept lidovosti v myšlení divadelního režiséra a teoretika Jindřicha Honzla (1894–1953). Prostřednictvím analýzy jeho studií a článků autorka pojmenovává proměny pojetí lidovosti v Honzlově uvažování během jeho divadelní kariéry a zasazuje je do divadelně-historického a politického kontextu. Na základě diskuse s dosavadní českou divadelně-historiografickou literaturou o Honzlovi, jejíž většina byla publikována před rokem 1989, přináší studie poznatky a souvislosti, které byly dosud – nezřídka z ideologických důvodů – opomíjeny. Autorka se podrobně zabývá Honzlovými inspiračními zdroji na počátku jeho divadelní činnosti v období tzv. proletářského divadla, zejména ukotvením Honzlova myšlení v sociálně-demokratické ideologii a jeho obeznámeností s porevolučním sovětským divadlem do roku 1925. Následně charakterizuje proměny Honzlova chápání lidovosti divadla v průběhu jeho poetistického a surrealistického období a po konci druhé světové války, kdy se přiklonil k socialistickému realismu.
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