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Witkacy na wrocławskich scenach lalkowych

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Suszczyński K.

Pamiętnik Teatralny

2017

vol. 66

issue 1-2(261-262)

165-198

Given the rich history of dramas by Stanisław Ignacy Witkiewicz in puppet theatre (27 productions since the Second World War), the author focuses on the shows put on in Wrocław. The first two productions using puppets as means of theatrical expression premiered, almost concurrently, half a century ago: one was put on by the Zespół Amatorski Klubu Oławka (Juwenilia, prem. Nov. 1966), while the other was prepared by the outstanding puppet theatre soloist Andrzej Dziedziul (Twój powszedni morderca [Your Everyday Murderer], prem. 1966). The forgotten show by Dziedziul introduces Witkacy’s dramaturgy into professional puppetry. His subsequent play, inspired by the playwright’s juvenilia, the drama Kurka wodna (The Water Hen), and letters written by Stanisław Witkiewicz Senior to his son (Glątwa [The Hangover], prem. 2 March 1973) acquired international recognition, promoting not only Polish puppetry but also Witkacy’s dramaturgy, which was gaining popularity at the time. In the 1980s, the managing director of the Wrocławski Puppet Theatre, Wiesław Hejno in cooperation with the designer Jadwiga Mydlarska-Kowal and the composer Zbigniew Piotrowski put on one of the most outstanding puppet plays based on a piece by Stanisław Ingacy Witkiewicz, i.e. Gyubal Wahazar (prem. 13 March 1987). The show, addressed to adult audiences, was admired for the visual qualities and novel construction of the puppets as well as for remarkable performances by the puppeteers. The play garnered numerous awards at festivals in Poland and abroad and ran for twelve seasons. Hejno had another go at Witkacy, again in cooperation with Mydlarska-Kowal and Piotrowski, when he staged Komedia dla mamy i taty [A Comedy for Mommy and Daddy] (prem. 7 Jan. 1996), which was inspired by the dramas that Stanisław Ignacy Witkiewicz had written as a child. The puppet show was meant for children, but the world it represented proved attractive for older audiences as well. Even though the multiplicity of plastic means of expression proved a bit confusing for some viewers, Komedia was regarded as one of the best of those rare puppet shows that Hejno put on for younger audiences. A puppet show based on a drama by Stanisław Ignacy Witkiewicz was performed at Wrocław Branch of the Ludwik Solski National Academy of Dramatic Arts in Cracow in the 1990s. The Puppetry Department diploma performance of ONI [They] was put on by Hejno, Mydlarska-Kowal, and Piotrowski. Eight years later, Witkacy returned onto the stage of the Academy’s theatre in the company of other playwrights when Aleksander Maksymiak in cooperation with Jadwiga Mydlarska-Kowal prepared a diploma performance titled Natrętny Książę. Seans dadaistyczno-surrealistyczny według Georges’a Ribemont-Dessaignes’a, Eugene Ionesco, Tristana Tzary i Stanisława Ignacego Witkiewicza [The Importunate Prince: A Dada and Surrealist Séance According to Georges Ribemont-Dessaignes, Eugene Ionesco, Tristan Tzara, and Stanisław Ignacy Witkiewicz] (prem. 10 Feb. 2000). Based on photographs, articles, reviews and other publications appearing both in daily press and in specialised periodicals, the author describes the puppet shows and analyses them thoroughly, focusing on the puppet theatre repertory addressed to adult audiences, which is rare in puppet theatre studies.

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1 Pamiętnik Teatralny

1 Suszczyński K.

1 2017

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Witkacy na wrocławskich scenach lalkowych