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SocGoldoni. “Il servitore di due padroni” nell’interpretazione di Krystyna Skuszanka

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Kwaśniewska-Urban P.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2019

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vol. 19

194-208

RU

The following paper is devoted to the performance of Carlo Goldoni’s comedy The Servant of Two Masters, which was staged in Teatr Ludowy (the Ludowy Theatre) in Nowa Huta. The play, which was directed by Krystyna Skuszanka, is set in the history of the Polish reception of Goldoni’s comedy. The analysis of remarks and comments, which were published by Polish reviewers who watched the play in Nowa Huta in 1957, as well as Italian reviewers who saw the performance a few months later in the Venetian Biennale, is an attempt at showing some basic discrepancies regarding the reception of the play and answering the question about the cause of such differences. In such a short form it is not possible to investigate all the intricacies of reading Goldoni in Poland in the period 50s–60s from an anti-ideological perspective, or to determine a broader historical-cultural context. The paper is only a section of in-depth research conducted by the author.

PL

Niniejszy artykuł traktuje o realizacji scenicznej komedii Carla Goldoniego Sługa dwóch panów wystawionej w Teatrze Ludowym w Nowej Hucie. Spektakl wyreżyserowany przez Krystynę Skuszankę zostaje osadzony w historii polskiej recepcji komedii wenecjanina. Przedstawiona w artykule analiza uwag i komentarzy publikowanych przez polskich recenzentów, którzy Sługę widzieli w Nowej Hucie w marcu 1957 roku, oraz włoskich recenzentów, którzy oglądali spektakl kilka miesięcy później na weneckim Biennale, jest próbą ukazania zasadniczych różnic w odbiorze przedstawienia oraz odpowiedzi na pytanie o ich przyczynę. W tak krótkiej formie nie sposób przyjrzeć się wszystkim zawiłościom odczytywania Goldoniego w Polsce w latach pięćdziesiątych i sześćdziesiątych XX wieku przez pryzmat (anty)ideologiczny ani nakreślić szerszy kontekst historyczno-kulturowy, tekst jest wycinkiem pogłębionych badań prowadzonych przez autorkę.

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Truffaldino - sługa dwóch żołądków

100%

Kwaśniewska-Urban P.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

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2017

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vol. 17

40-52

PL

Truffaldino – servant of two stomachs Abstract The article treats about the relationship between one of Carlo Goldoni’s first plays – Servantof Two Masters – and the tradition of commedia dell’arte. The key to the search for commonpoints was the character of a servant Truffaldino whose constant hunger links him to hispredecessor zanni. Thanks to a never-before carried-out analysis of Brighella’s zibaldoni andzanni and Goldoni’s comedy in the context of vocabulary, metaphors and lazzi referring tofood and hunger, it can be observed how much the contemporary plays of the Venetian writerare related to the old theatrical tradition. Keywords: Carlo Goldoni, comedy, hunger, commedia dell’arte, settecento

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„Nie idzie tylko o poziom przekładu – osobowości nie mniejsza tu przypada rola”. Listowna współpraca Zofii Jachimeckiej z Mieczysławem Brahmerem

100%

Kwaśniewska-Urban P.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

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2023

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issue 47 – Biografie tłumaczy

66-93

EN

The purpose of this article is to complete the portrait of Zofia Jachimecka, who went down in history as an entertainer in one of the most important salons of Interwar Kraków and a model for the great portraitists, with her professional profile, most often presented either in residual form, or all together omitted from works focusing on the translator. The article presents an analysis of Zofia Jachimecka’s professional correspondence with Professor of Romance Studies Mieczysław Brahmer, who worked closely together from 1950 on the publication of the Polish translation of Goldoni’s comedies in the Ossolineum National Library series (Goldoni 1951, 1951, 1971), and later maintained social and professional contact for many years. The collaboration between the editor of the Goldoni editions and the translator, very well documented in the surviving correspondence (found in the Scientific Library of the PAAS and the PAS in Kraków archives and Jagiellonian Library manuscript collection), goes beyond the project and develops into a long-standing exchange of reading experiences, workshop and repertoire choices, comments on works sent to each other, as well as information on literary and repertoire news, which clearly show that in many fields it was Jachimecka, and not Brahmer, who assumed the role of the expert on Italian and French literature. According to the letters, Brahmer tries to help the translator to, among other things, find a publisher for the Pirandello dramas she translated, while Jachimecka repeatedly suggests Italian readings to the professor, and helps him find his way through the maze of contemporary literature. The article draws attention to the considerable issue of cooperation in resolving financial matters and Brahmer’s intermediation not only in the negotiations of remuneration for the translator for the volumes prepared jointly, but also when the professor was not directly involved in the project. The article is supplemented by an appendix presenting a compilation of Jachimecka’s theatrical translations.

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2 Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

1 Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

3 Kwaśniewska-Urban P.

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1 2019

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SocGoldoni. “Il servitore di due padroni” nell’interpretazione di Krystyna Skuszanka

Truffaldino - sługa dwóch żołądków

„Nie idzie tylko o poziom przekładu – osobowości nie mniejsza tu przypada rola”. Listowna współpraca Zofii Jachimeckiej z Mieczysławem Brahmerem