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Księga Twarzy. Rysunki Brunona Schulza w Bystrzycy Kłodzkiej

100%
Wasąg M.
Schulz/Forum
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2019
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issue 13
191-212
PL
Bruno Schulz’s drawings in which we may find the faces of his friends and colleagues, the students and teachers of the Drogobych high school, have been scattered. Most of them perished during World War II. Some of those which have been preserved now belong to private collections. Thanks to a favorable coincidence, some pencil sketches by Schulz have been found in such a collection. They show an intriguing young woman, Stanisława Szczepańska, who in 1934-1936 worked as an unpaid teacher at the Drogobych high school. There she met Schulz who drew her portraits during school breaks as well as during lessons, when he would come in, take a seat in the last row, and draw her face. Until now little has been known about Szczepańska. After so many years it is worth disclosing a secret: who was she? What happened to her later? How did it happen that Schulz noticed her? How was it possible to save the drawings? The present paper provides answers to these and many other questions as the author has made an attempt to show how Szczepańska’s biography became a part of Schulz’s artistic heritage. Pencil sketches definitely belong to a more general project of the Drogobych artist as exercises in portraying faces both in drawing and fiction. Studying faces was very important to Schulz. In his work, the drawing practice and fiction are closely related to each other. To find out more about them, it is essential to find and save Schulz’s scattered works. This postulate has been articulated in the paper supplemented with the reproductions of Schulz’s sketches and photographs from the Hoffmann family collection. The portraits of Szczepańska tell a unique story – about charm, the art of seeing, and Schulz’s Book of Faces.
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“Ja już podarłem kilka swoich sztuk…”. From the personal archive of Adam Tarn

100%
Wasąg M.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2022
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vol. 64
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issue 1
255-275
PL
W archiwum osobistym Adama Tarna (1902–1975) – pierwszego redaktora naczelnego miesięcznika „Dialog”, tłumacza, krytyka, powieściopisarza, dramaturga – znajdują się zapiski z luźnymi pomysłami do utworów dramatycznych, notatki do nieukończonej książki o Czechowie, a także niewielkie próby literackie – poprawiane, odkładane i na powrót rozwijane. Materiały te udostępniane dzięki uprzejmości spadkobierców są cennym świadectwem procesu twórczego i ewolucji pisarstwa redaktora naczelnego „Dialogu”. W kontekście debiutanckiej i jedynej ukończonej powieści Tarna Obraz ojca w czterech ramach (1934) intrygującym utworem jest zachowana w archiwum nieukończona powieść Kameleon. Artykuł charakteryzuje materiały znajdujące się w archiwum osobistym Tarna. Pozwala wniknąć w jego „wewnętrzne laboratorium” pisarskie i odczytać je m.in. w perspektywie biograficznej. Datowanie zgromadzonych materiałów można przyjąć jedynie orientacyjnie. Najwcześniejsza zachowana próba prozatorska zapisana po francusku pochodzi prawdopodobnie jeszcze z okresu międzywojennego. Ostatnie zapiski pochodzą z okresu emigracyjnego po 1968 roku, kiedy Tarn pracował nad nieukończoną książką o Czechowie.
EN
The personal archive of Adam Tarn (1902–1975), the first editor-in-chief of the Dialog monthly and a translator, critic, novelist, and playwright, includes notes with loose ideas for plays, notes to his unfinished book on Chekhov, and minor literary attempts, which he corrected, set aside and later expanded. This material, which Tarn’s heirs kindly offered me for study, constitutes a valuable proof the creative process and the evolution of the writing of the Dialog’s editor-in-chief. In the context of Obraz ojca w czterech ramach [Father’s Image in Four Frames] (1934), Tarn’s début novel and the only one he completed, the novel Kameleon [Chameleon] is an intriguing item in the author’s collection of unfinished works. In this article I shall discuss the material contained in Tarn’s personal archive. This study offers an insight into his “internal laboratory” of writing and enables one to read it from, e.g., the biographical perspective. The dating of the collected material can be only approximated. The earliest surviving prose attempt written in French probably came from the interwar period, while the final notes were composed during his émigré period after 1968, when Tarn was working on his unfinished book on Chekhov.
3
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Cień Ameryki „Zwykła sprawa” Adama Tarna i „Dwunastu gniewnych ludzi” Sidneya Lumeta

100%
Wasąg M.
Didaskalia. Gazeta Teatralna
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2021
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issue 166
37-68
EN
The article has an interdisciplinary character. It combines biographical, historical, literary, dramaturgical, and film themes. Adam Tarn’s Common Business (Zwykła sprawa) is a drama which undoubtedly played an important role in the period of socialist realism together with the performance directed by Erwin Axer. In the article, the significance of Tarn’s work, which was awarded at the 1st Festival of Polish Contemporary Arts in the early 1950s, is shown against the background of the cultural policy pursued in the People’s Republic of Poland. The writer’s nine-year stay in America has been presented in the perspective of the emigration-related origin of the Common Business.The proposed juxtaposition of Tarn’s debut drama and Sidney Lumet’s Oscar-winning film Twelve Angry Men (screenplay by Reginald Rose) reveals the complex political context in which each of the works appeared. The 1949 New York Foley Square Trial of 11 members of the National Board of the CPUSA (Communist Party USA), which ‘was the best known legal proceeding against a communist party’, has been indicated as the direct inspiration for Tarn’s play.
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