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1

Fantom, światło, fragment. Schulz w teatrze cieni

100%

Hoppe B.

Schulz/Forum

|

2017

|

issue 10

PL

Cinnamon Shops (2014), directed by Robert Drobniuch, is a performance based on the technique of shadow theater. The stage is dark and empty – the actor playing Joseph lights his face with a powerful flashlight. In the back, one can see a paper curtain with moving phantom figures summoned by Joseph from his memory. His story is accompanied by live music (clarinet). The paper world created by Joseph consists of long past histories. The script, including passages from Schulz’s fiction and letters, focuses on two motifs: fascination with the Father and mythologization of childhood. The performance is not a complete, finished vision of Schulz’s universe, but a patchwork of fragments, glimpses, and images.

2

Schulz niesceniczny?

100%

Hoppe B.

Schulz/Forum

|

2019

|

issue 13

102-108

PL

Many theater reviewers consider Cinnamon Shops and the Sanatorium under the Sign of the Hourglass to be unspecific, impossible to translate into the language of the theater. Paradoxically, Schulz's theater reception is still growing, new performances, happenings and performances are created. The question arises whether today, in the era of post-dramatic theater, there is still a category such as “indecency” or should literary works be divided into those that can be shown in the theater and those that are not suitable for it. The article confronts the embarrassing concept of “indecency” on the example of Bruno Schulz's prose. It juxtaposes the harmful voices of critics with the rich theatrical reception of his work. It is an attempt to cleanse Schulz's work of accusations of indecency as a category now obsolete, anachronistic.

3

VIII Międzynarodowy Festiwal Brunona Schulza w Drohobyczu

100%

Hoppe B.

Schulz/Forum

|

2018

|

issue 11

189-190

PL

For the eighth time, the town of Drogobych hosted International Bruno Schulz Festival. The topic was the place, approached by participants in a number of original and unique ways. The town itself was an important, but by no means the only place taken into consideration. During the festival, Drogobych became not just the site or background of many events, such as presentations, concerts, performances, and meetings with writers, but it was indeed much alive. The very fact that the participants could visit Schulz’s hometown must have been an extraordinary experience for them.

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Fantom, światło, fragment. Schulz w teatrze cieni

Schulz niesceniczny?

VIII Międzynarodowy Festiwal Brunona Schulza w Drohobyczu