Results found: 2

Search results

Search:
in the keywords: Grzegorz Wiśniewski

Sort By:

Limit search:

Abiekt uwięziony w języku: Współczesne inscenizacje mitu Fedry w teatrze polskim – Kleczewska, Zadara, Wiśniewski

100%

Budzowska M.

Pamiętnik Teatralny

2020

issue 1(273)

51-70

This article presents a comparative analysis of three contemporary stagings of the myth of Phaedra: by Maja Kleczewska (Teatr Narodowy, Warsaw 2006), Michał Zadara (Narodowy Teatr Stary, Kraków 2006), and Grzegorz Wiśniewski (Teatr Wybrzeże, Gdańsk 2019). The theoretical framework refers to the abject quality of the character of Phaedra and its representation in language. The author analyses the directors’ interventions in literary texts reworking the myth of Phaedra: strategies ranging from multiplication, through modification, to annihilation of the dramatic text. In Kleczewska’s intertextual staging, which juxtaposes different plays addressing the theme, the text and the language become less important than the actors’ physicality. Zadara’s ironic theatre deconstructs the discursive formation of Racine’s classical tragedy, while retaining it as the main subject of the performance. Wiśniewski returns to Rancine’s language, but tries to transcend it, counterbalancing it with quiet, restrained acting, enhanced by strong musical phrases. The three stagings resonate with the concept of the theatre as a laboratory of crisis, here: of the crisis of the abject.

Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź-Textual Authority, the “Director's Cut”, and Theatre Status

100%

Cieślak M.

Multicultural Shakespeare: Translation, Appropriation and Performance

2018

vol. 17

issue 32

69-80

Grzegorz Wiśniewski’s 2012 Richard III in Teatr Jaracza in Łódź was a very successful production with critics and audiences alike. At the 2012 Gdańsk Shakespeare Festival it won the Golden Yorick, a prestigious Polish award for the best staging of a Shakespearean play in the season. Wiśniewski, a renown Polish theatre director and professor at the National Film School in Łódź, has his own way of understanding theatre, its role in culture, and Shakespeare’s place in it. Wiśniewski believes in the theatre of the middle path, as he calls it, that is neither classical/conservative, nor radically avantgarde. He wants to attract wide audiences and offer them intellectual and well-balanced cultural entertainment. Without diminishing the weight of such cultural and literary icons as Shakespeare, he vivisects texts to make productions that can easily speak to a contemporary audience. This paper analyzes Wiśniewski’s Richard III to show how the director manages to achieve balance between his own auteur power, the authority and complexity of Shakespeare’s text, and theatre’s cultural mission.

Refine search results

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Pamiętnik Teatralny

1 Budzowska M.

1 Cieślak M.

1 2020

1 2018

Search results

Abiekt uwięziony w języku: Współczesne inscenizacje mitu Fedry w teatrze polskim – Kleczewska, Zadara, Wiśniewski

Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź-Textual Authority, the “Director's Cut”, and Theatre Status