Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 11

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Enlightenment drama
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Pourceaugnac – Dreynar – Niedole przybysza

100%
Kencki P.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 3(263)
43-52
EN
Franciszek Bohomolec wrote his comedies first for theatre shows put on by Jesuit schools and then for the national stage founded by King Stanislaw August Poniatowski. In the first of these phases, the Jesuit poet often adapted works by playwrights who are now classics. One of the authors particularly favoured by him was Molière. Since the Society of Jesus did not allow female characters on stage (the actors performing in the shows were the boys studying in the Jesuit schools), Bohomolec was forced to remodel some motifs, characters and their motivations. Taking Molière’s Monsieur de Pourceaugnac for adaptation, he decided to replace the reason why the title character arrived in the capital. Pourceaugnac travelled from Limoges to Paris to marry a woman who was in love with another man, whereas his Polish counterpart, Dreynar, comes from Wrocław to Warsaw to accept an inheritance from his uncle. In Molière’s play, the misfortunes that befell the good-natured newcomer were concocted by the couple rightfully defending their love. In Bohomolec’s case, the culprit is a relative who is anxious not to lose claim to the inheritance. Dziedzic chytry [A Wily Heir], because this is the title of the Polish adaptation, is thus provided with a message quite different from Molière’s original. The Polish version conveys avarice, hostility towards the stranger, and not a small dose of cynicism. The undeserved indignities and grievances visited upon the newcomer situate the play among the literary works which present an overabundance of human misery, the most emblematic of them being Justine by Marquis de Sade. Since the comedy by Bohomolec is an interesting one, it seems justified to make it available to the readers. With that aim in mind, the present edition and an introduction to it have been prepared.
2
Content available remote

Archipelag Marivaux. Wyspa niewolników – Wyspa Rozumu – Kolonia

100%
Olkusz P.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 3(263)
84-104
EN
One of the important and widespread motifs in the French culture of the first half of the 18th century, from painting to literature, was that of imaginary voyages: voyages imaginaires. Marivaux makes frequent use of it in his work, most notably in his three comedies: L’île des Esclaves, L’île de la Raison, and La Nouvelle Colonie ou la Ligue des femmes (or Colonie, in its later version). All the three plays, set on islands, may be called comedies of manners, but we can find a conscious social reform proposal in them, too: Marivaux would thus be a proponent of abolishing slavery and of equal rights for women. And though such a reading should not dismissed, it seems more appropriate to analyse the works as exercises in imagination. They are utopias, from the point of view of Marivaux and his times, impossible to become a reality and thus belonging to a world of fantasy, which is not to say that they did not influence the consciousness of the 18th-century French. This “conceiving of the inconceivable” let the contemporaries go beyond their limits and break away from schematic thinking, perhaps contributing to political and social change more effectively than a rational critique would.
3
Content available remote

„Melpomeny podrzucone dziecię” oraz „grand monstre”. Porównanie dramatycznej architektoniki dzieł Wojciecha Bogusławskiego Herminia, czyli Amazonki oraz Izkahar, król Guaxary

100%
Stachuła D.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 3(263)
16-42
EN
The text approaches the problems of music-dramatic work of Wojciech Bogusławski in a new way by examining it from the standpoint of opera studies. The article analyses relations between opera libretto and melodrama in the work of the father of the Polish theatre. By taking Albert Gier’s thesis about the paradigmatic shape of the opera libretto and the so-called open drama as its starting point, the article applies the method of hypothesis cross-validation to emphasise blurriness of generic boundaries of the two dramatic forms. New light is shed on the libretto of Herminia, czyli amazonki [Herminia, or the Amazons] as it is considered from the point of view of melodrama poetics, whereas Izkahar, król Guaxary [Izkahar, the King of Guaxara] is examined from the perspective of libretto studies. The results of the study thus conducted indicate strong similarities between the two dramatic forms at the level of structure and ideas (musicality of both dramatic forms, the mosaic-like quality of the space and time, tableaux vivant, strongly hyperbolised emotional states, high affectation, lieto fine, the use of an epic prototype, a preference for composing group scenes and deploying crowds on the stage) as well as at the philosophical and anthropological level (the collapse of the classical paradigm, the “Biedermeier tragedy” quality, negation of the internal/external opposition, the problematics of theodicy).
4
Content available remote

Nieświeska komedyja Skanarela

100%
Kencki P.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 4(264)
83-95
EN
Among the comic characters created by Molière, three are special: Scapin, Mascarille, and Sganarelle. The comedies that feature them found their way to Old Polish stages, being performed either in the original language or in Polish translation or adaptation. The oeuvre of Franciszka Urszula Radziwiłłowa contains Polish adaptations of three plays by the French playwright. Besides Les précieuses ridicules and Les amants magnifiques, there is also Le médecin malgré lui translated by the duchess into Polish as Gwałtem medyk. The comedy shows Sganarelle’s adventures as he is forced to play a doctor. Sganarelle appears in several plays by Molière. Inasmuch as in the first of them (Le médecin volant) we see a rather typical wily servant, he takes on more individual qualities in later comedies, becoming characteristically cowardly and imprudent. The edition of the Polish adaptation by Duchess Radziwiłłowa provides a chance to take a look at Sganarelle and other stock characters that can be regarded as Harlequin’s close relatives. Thus, the introduction to the edition focuses on these characters in Molière’s work, setting them side by side with some insights about Harlequin, who appears in the Duchess’s plays several times. Additionally, the introduction traces out the reception of Le médecin malgré lui in Poland in the first half of the 18th century and examines Radziwiłłowa’s translating techniques. The conclusion stresses the metatheatrical aspect of Sganarelle as an archetypal comedian.
5
Content available remote

„Takie samo miejsce” dla „orłów i komarów Parnasu”, czyli jaki dramat (i jaki teatr dla tego dramatu) zaprojektowali nasi oświeceni

100%
Ratajczak D.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 3(263)
5-15
EN
The intent of the article has been to demonstrate how goals set by Polish Enlighteners for the theatre and the assumptions they shared, coupled with the circumstances and conditions of theatre entrepreneurship at the time, led willy-nilly to the formation of a popular theatre and the development of analogical popular drama. For it would be a gross misunderstanding to treat this theatre and drama as a highly artistic enterprise, even though the resultant institution was flexible enough to be able to put on other kinds of shows as well. Nonetheless, such attributes as the theatre’s educative and utilitarian qualities, i.e. that it was politically engaged, responsive to the current realities of life, programmatic, entertainment-oriented, and willing to perform for a broad spectrum of audiences, are indeed marks of its popular character. A pragmatic approach to the stage was reinforced by the royal subsidies as well. In this situation, a new profession of the repertory supplier emerged, represented not only by Jan Baudouin or Franciszek Zabłocki, but also by numerous other authors who tried their hand at playwriting, even though they had not been involved in writing literature before. And since the theatre audiences were quickly gaining autonomy and soon started making their own demands, it became clear that the neoclassical aesthetic was bound to give way to non-classical tendencies. What emerged was a generally popular form of theatre enterprise that became a major influence on the ensuing development and evolution of the 19th-century stage. The intent of the article has been to demonstrate how goals set by Polish Enlighteners for the theatre and the assumptions they shared, coupled with the circumstances and conditions of theatre entrepreneurship at the time, led willy-nilly to the formation of a popular theatre and the development of analogical popular drama. For it would be a gross misunderstanding to treat this theatre and drama as a highly artistic enterprise, even though the resultant institution was flexible enough to be able to put on other kinds of shows as well. Nonetheless, such attributes as the theatre’s educative and utilitarian qualities, i.e. that it was politically engaged, responsive to the current realities of life, programmatic, entertainment-oriented, and willing to perform for a broad spectrum of audiences, are indeed marks of its popular character. A pragmatic approach to the stage was reinforced by the royal subsidies as well. In this situation, a new profession of the repertory supplier emerged, represented not only by Jan Baudouin or Franciszek Zabłocki, but also by numerous other authors who tried their hand at playwriting, even though they had not been involved in writing literature before. And since the theatre audiences were quickly gaining autonomy and soon started making their own demands, it became clear that the neoclassical aesthetic was bound to give way to non-classical tendencies. What emerged was a generally popular form of theatre enterprise that became a major influence on the ensuing development and evolution of the 19th-century stage.
6
Content available remote

Aktorowie początkowi

88%
Dębowski M.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
270-288
EN
The title of the article is borrowed from the incipit of the part of Myśli o pismach polskiech (‘Thoughts on Polish Written Works’) that Prince Adam Kazimierz Czartoryski devoted to the first actors of the National Theatre. Czartoryski mentions three names there: Świerzawski, Truskolawska (actually, Truskolaska), and Owsiński. This was the first generation of Polish dramatic actors who performed on the Warsaw stage in the 1765–1775 decade, which is the period concurrent with successes of the greatest stars of European stages: Eckhof in Germany, Garrick in England, and Lekain in France. They were the performers who in the mid-eighteenth century consistently strived at achieving a greater depth of stage acting, which included perfecting the style of declamation characteristic for the “French school.” Adam Kazimierz Czartoryski as a co-founder of the National Theatre along with the Warsaw cultural elite of the period (e.g. Emanuel Murray), who watched their performances during their voyages abroad, considered this style of acting to be exemplary and advised the Polish actors to imitate it. Contemporary research on the style of play of the three “initial actors” does indeed make it possible to recognise in their creations characteristics of the “French school,” advised by “men of taste,” the characteristics that started fading away as the second generation of the National Theatre actors came to the fore at the beginning of the 19th century.
7
Content available remote

Tradycje Sceny Narodowej

88%
Kencki P.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
258-269
EN
The Narodowy Theatre may not boast uninterrupted operation as a public institution and its name changed on numerous occasions, yet it may boast continuity of its tradition. The Narodowy Theatre continues to carry on the mission entrusted to the company of Actors of His Majesty’s Polish Comedies in 1765 as a programmatically Polish theatre. Tradition of the National Stage includes also the repertory written specifically for its purposes. The acting traditions seems equally important. Today’s actors of the National Theatre may boast the professional pedigree going back to the 18th century. Keeping all this in mind the author of the article argues for three theses. Firstly, all subsequent professional public theatres operative during the reign of King Stanislaw August comprise a single phenomenon, united by the same idea, viz. the National Stage. Secondly, one can discern in the phenomenon of the National Stage the tradition of Old-Polish theatres and, therefore, of former national stages. Thirdly, the present-day Narodowy Theatre can be treated as a continuation of the National Stage, whose traditions can be found in other Polish theatres as well.
8
Content available remote

Z rodziną komedii do „rodzinnej Europy”

88%
Ratajczak D.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
85-98
EN
The text discusses a challenge that the eighteenth-century European civilisation posed for generations of the Polish Enlightened and some consequences of their decisions. In fact, there was no alternative for them: in order to become part of the European civilisation and the progress whose path had just been set they had to bring about a multifaceted transformation of the Polish society dominated by noblemen, to make a turn that would completely change its world view, mentality and customs. Because one cannot be a part, and then heir, of the Enlightenment without being modern. And so the Polish enlightened elites fashioned their theatre as a transforming medium based on French models and classicist aesthetic—the most modern in Europe and most suited to their general educational intentions. The task of nationalising the progress was undertaken by Prince Adam Kazimierz Czartoryski, whereas the standard of comedy was proposed by a Jesuit playwright, Franciszek Bohomolec. The main burden of modernisation was to be borne by comedy, due to its qualities being the genre most suitable for the purpose. “The familial Europe” (a reference to memoirs by Maria Czapska) serves here as a metaphor of the cultural situation. On our way to our “familial Europe” we were accompanied by a whole family of comedies of several intertwining lineages: the didactic comedy “of purpose”, the emotional comedy, the comedy of manners, the aristocratic comedy, and political comedy.
9
Content available remote

Od Les Fâcheux do Natrętów

88%
Kencki P.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
7-36
EN
The premiere of Natręci by Józef Bielawski took place on 19 November 1765 at the Saxon Operalnia in Warsaw. The night on which the Actors of His Majesty’s Polish Comedies performed the comedy for the first time made history as marking the beginning of the National Theatre’s operation. The author of the article draws our attention to the fact that, contrary to widespread opinion, Natręci is not an adaptation of Les Fâcheux by Molière, even though the French playwright’s comedy served Bielawski as a source of inspiration. The second important finding is that Bielawski’s comedy is not a piece championing the Enlightenment. A thorough analysis reveals that Natręci is a satire on both the Sarmatians and the cosmopolitans. Yet the playwright’s sympathies are with the former. It may be assumed that the playwright added the paratexts referring to the Enlightenment programme of reforms on King Stanislaw August’s request. The article discusses in detail other pieces by Bielawski (including his second comedy, Dziwak), makes reference to the key French contexts (the oeuvres by Molière and Destouches), as well as to the history of the National Theatre and its repertories at the onset of its operation, and, finally, recounts the subsequent history of Les Fâcheux and Natręci on the Polish stages, including Piękna Lucynda by Marian Hemar (as a twentieth-century adaptation of Natręci).
10
Content available remote

Krakowiacy i Górale jako nowa Odprawa posłów greckich

88%
Kruczyński A.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
289-296
EN
The author conducts an analysis of Cud by Wojciech Bogusławski with an eye to its connexions with Odprawa posłów greckich (‘The Dismissal of the Greek Envoys’) by Jan Kochanowski. It reveals not only some similarities regarding the ideological discourses constituting the grounds of the two plays, but also parallels concerning the plot and functional similarities of some episodes, e.g. the act of stealing cattle that opens up the perspective for revenge. Wojciech Bogusławski knew Odprawa posłów greckich and appreciated its subject matter as being of paramount importance at the eve of the Kościuszko Uprising. Yet he saw no possibility of putting it on for the audience that had radically different aesthetic expectations. Later on in his article, the author draws attention to the ambiguity of Bardos, the major character of Cud whom Bogusławski created for himself. At a metaphorical level, Bardos is a popular leader, a magician who by a presumed miracle saves his nation from bloodshed and mad vengefulness. Cud, much like Odprawa, is an appeal for national unity in the face of danger. In Bogusławski’s case, the appeal is supplemented with a call for enlightened charismatic leadership, which according to the author, is closely linked with the advice that Jean-Jacques Rousseau had for the Poles in his Considerations on the Government of Poland. The inspiration of Rousseau could also explain the authorial emendation to the original title (Cud mniemany—‘The Pretended Miracle’), made in Lvov in 1796.
11
Content available remote

O korzeniach sceny narodowej w przedoświeceniowej działalności teatrów jezuickich

75%
Mieszek M.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 3-4(255-256)
99-125
EN
The aim of the article is to trace how the experiences and achievements of Jesuit drama (especially that of the second half of the 18th century) influenced first productions of the national stage. The correlations of the two theatres are apparent at many levels. A similar understanding of what theatre is for, ennoblement of classicist genres of drama, adaptation of pieces by foreign playwrights (Molière, Voltaire), programmatic and intentional presence of patriotic and civic content in the dramas, or application of similar means of artistic expression are but a few issues discussed in the article. The process whereby Jesuit plays became more and more classicist in form was a response to the changing internal and external circumstances. In the 18th century, the Jesuit college theatre was meant to encourage active participation; in other words, it was not focused solely on propagating religious content, but aimed at educating a good citizen and accented secular values. On the other hand, enunciations made by Jesuit dramatists of the period in forewords and dedications to their works reflect their evolving mindset, erudition and changing reading lists. The examples proffered in the article provide evidence that the college theatre was a source of ideas and formal solutions for the national stage, constituting one of its major pillars.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.