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Konfrontacje rosyjsko-polskie w dramatach Gabrieli Zapolskiej

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Mazurek H.
Acta Polono-Ruthenica
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2014
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issue 19
111-118
EN
In the article were subjected analysis and interpretation three dramas of the writer, treating about Russian-Polish relationships under the annexation. Zapolska broke in them stereotypes in portraying mutual relations Poles and Russians. Hostile reposition marked mostly the representati- ves of the tsarist power. It was returned by Poles. However usual people looked for agreements. The contribution of Zapolska was also creation of the Russian gendarme figure about human features, which in the face of Poles tried not to be cruel and unfair. Russian-Polish confrontations reflecting in dialogues of the representatives of both nations are the determinant of the dramaturgy of Zapolska arts, steer the run of the action, proclaim in itself dramas in the drama, because the main intrigue is holds beyond the scene.
2
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Prolog i epilog. 0 sztukach Na dnie Maksyma Gorkiego i F ranek Rakoczy Władysława Orkana

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Mazurek H.
Acta Polono-Ruthenica
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2011
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vol. Tom 1 Nr XVI
103-111
EN
Both of the works unites the same way of exhibition of the people of the margin social. AtGorki at Orkan are there the poor occupants of the hostel which despite the material fall show theinterest of the matters of the spirit. They speak about freedom, human nature and the sense of thehuman existence.In both arts we were found similar figures convergent situations and events. However thedifferences arises the time of writing both works and their literary convention. The realistic dramaOn the bottom came into being before the revolution 1905, therefore dominate the atmosphere ofthe expectation on changes. Orkan writes his poetical drama, simbolistical - realistic after 1905year. Through the defeat of main hero and the fiasco of his plans of improvement of life of thepoor shows the end of the hope for better future.
3
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Wizerunek Polki w twórczości Mariny Cwietajewej

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Mazurek H.
Acta Polono-Ruthenica
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2009
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vol. Tom 1 Nr XIV
137-146
EN
Cvetaeva was always intrugued with her Polish roots. She had no chance of meeting her mother’s moher so she used her poetic imagination to create her grandmother’s portrait in her poetry. Personal characteristics such as: extraordinary beauty, pride, self-restraint rebellious facial expression or secret of life are fund in Polish female characters in Her works (e.g. princess Izabela Czartoryska, Marina Mnishek). Mnishek is the most complex and controversial personality. Out of contrariness so typical of Cvetaeva, while creating the Mnishek’s image the poetess focused on positive characteristics and opposed stereotypes connected with this character, which always characterised artistic expression of the poetess. Another feature of her poetry was identification with her female characters and creation of imaginary, usually ideal life attitudes.
4
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Z MYŚLĄ O NOWOCZESNEJ SCENIE. PROPOZYCJE POCZĄTKUJĄCYCH DRAMATOPISARZY UKRAIŃSKICH

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Mazurek H.
Acta Neophilologica
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2002
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vol. IV
85-92
5
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Dymitr i Maryna. Dramaturgiczne uzasadnienie wątku w sztukach rosyjskich XIX stulecia

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Mazurek H.
Acta Polono-Ruthenica
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2008
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vol. Tom 1 Nr XIII
89-97
EN
The author analyses historical drama devoted to the period of confusion in the history of old Russia. Authors such as: A. Pushkin, A. Chomiakov or A. Ostrovsky also turned their attention to the relationship of the False Dimitri with Marina Mnishech, the daughter of Sandomierz province governor who helped the false tsar in his march on Moscow. The coronation of Marina awakened fears of Russians and hope on the part of the Polish since this could enable to gain control over Russia.Many playwrights make a mention of this important event, but not always is it the base for construction of their plays. The purpose of this paper is to show the plays in which plays the motif of Dimitri and Marina is essential, and, without which the architectonics of the plays would be disrupted, this motive appeared there only due to the political and historic role it played.
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