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Wielka Dama Oświecenia. Księżna Izabela Czartoryska w blasku teatru, teatralizacji i mediów

100%
Kadulska I.
Pamiętnik Literacki
|
2021
|
vol. 112
|
issue 2
89-109
PL
Artykuł omawia aktywność teatralną, aktorską i edukacyjną księżnej Izabeli z Flemmingów Czartoryskiej, małżonki Adama Kazimierza Czartoryskiego – oświeceniowego dramaturga i teoretyka. Panegiryk dedykowany jej 19 listopada 1765 podczas uroczystości otwarcia Teatru Narodowego uczynił ją patronką polskiej sceny. W oparciu o źródła przedstawiono w artykule jej aktorski udział w występach scenicznych, obecność na widowni scen krajowych i europejskich, planowanie repertuaru, inspirowanie dramaturgów, kształcenie aktorów Szkoły Kadetów i Teatru Narodowego. Zwrócono uwagę na jej sceniczne emploi. Prześledzono znaczenie jej relacji z publicznością teatralną. W konkluzji: wszystkie formy wczesnych doświadczeń teatralnych Czartoryskiej stały się podstawą do stworzenia przez nią w siedzibie rodowej w Puławach ośrodka narodowej kultury.
EN
The article discusses the theatre, acting, and educational activity of Izabela Czartoryska, née Flemming, the wife of Adam Kazimierz Czartoryski—a dramatist of the Enlightenment and a theorist. A panegyric dedicated to her on November 19th, 1765, during The National Theatre opening ceremony, made her the patroness of the Polish stage. As based on authoritative sources, the paper depicts her acting on stage, presence among the Polish and foreign theatre audience, planning of the programme, inspiration of dramatists, education of actors of School of Chivalry and of The National Theatre. The text also focuses of Izabela’s stage acting profile and traces her relation with the audience. In conclusion it is stated that all forms of Czartoryska’s early acting experience formed a basis for her creation in the family residence of Puławy a centre of national culture.
2

Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

100%
Chlebowski P.
Studia Norwidiana
|
2013
|
vol. 31
117-135
EN
The article points to a genological clue that has not yet been noticed in studies of Quidam. The clue – situating the pictorial art of description on the side of tableaux vivants – leads genological findings in a direction that is different from the one that has been followed up till now: it allows one to see the structure of the work in a different perspective, first of all connected with the idea of a synthesis of arts, with a strong visual and theatrical emphasis. The author, pointing to a connection between Quidam and the poetics of tableaux vivants, not only wants to broaden the genological spectrum by adding new, unknown areas, but also tries to understand its enigmatic plot structure, within which there are two contradictory factors: power and atrophy, synthesis and analysis, fragmentation of the plot and concentration on one event, reduction and excess.
3
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Quidam wobec poetyki żywych obrazów. Przyczynek do genologii poematu

100%
Chlebowski P.
Studia Norwidiana
|
2013
|
vol. 31
117-135
EN
The article points to a genological clue that has not yet been noticed in studies of Quidam. The clue – situating the pictorial art of description on the side of tableaux vivants – leads genological findings in a direction that is different from the one that has been followed up till now: it allows one to see the structure of the work in a different perspective, first of all connected with the idea of a synthesis of arts, with a strong visual and theatrical emphasis. The author, pointing to a connection between Quidam and the poetics of tableaux vivants, not only wants to broaden the genological spectrum by adding new, unknown areas, but also tries to understand its enigmatic plot structure, within which there are two contradictory factors: power and atrophy, synthesis and analysis, fragmentation of the plot and concentration on one event, reduction and excess.
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