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Cztery noty o Witkacym

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Degler J.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 4(260)
113-139
EN
The monographic issue of Pamiętnik Teatralny (1985, vols 1–4) devoted to S. I. Witkiewicz on the centennial of his birth, an occasion noted in the UNESCO Calendar of Anniversaries of Great Personalities and Events, featured a text by Jan Kott which comprised six Notes. Each of them had a title and indicated possible sources of inspiration of some works, i.a. The Water Hen, which is ridden with motifs characteristic for modernist dramaturgy, e.g. Lulu by Frank Wedekind. Kott concluded his notes by asserting: “Witkacy the modernist, the historical, anachronistic and decadent one, is still waiting for his director and for his appearance on stage.” It has been fifteen years since Jan Kott passed away on 23 December 2001. These four notes have been written in his memory. 1. Did Witkacy Intend to Return to the Tropics? On 9 April 1918, Maria Witkiewiczowa, Witkacy’s mother, sent a postcard to her friend, Leon Chwistek’s sister, reporting that she had received a letter from her son in Petrograd with the news that he was planning “to return to Poland or to travel to Sumatra.” Enclosed with the letter was the now famous “Multiple Portrait” photograph. Witkacy’s travel with Bronisław Malinowski to the tropics, which began in June 1914 and ended in October of the same year when Witkacy arrived in Petrograd, was an important experience for Witkacy and influenced his painting and other creative work (stories of several of his plays were set in the tropics). Though fascinated with tropical wildlife and nature, like Gauguin and several other artists, he decided not to go to Sumatra; instead, he returned to Poland in July 1918 and described his Ceylon experiences in the reportage “Podróż do Tropików” (‘A Voyage to the Tropics’) that appeared in Echo Tatrzańskie (1919). 2. The Puzzle of Prologue to Pentemychos i Jej Niedoszły Wychowanek The Jadwiga Witkiewiczowa archive contains a single page with a German-language piece of verse which is a fragment of the prologue of the now lost play Pentemychos i Jej niedoszły wychowanek (‘Pentemychos and Her Would-be Pupil’). Witkacy wrote it at the beginning of 1920 and sent its copy to Jarosław Iwaszkiewicz in September 1921 suggesting that it be put on for the opening of the Elsynor Theatre founded by members of the Skamander group. There was, however, no actress to perform the “wonderful female part,” and only the premiere of The Pragmatists took place (29 Dec. 1921). In 1922, while in Zakopane, Witkacy met Ms. Eckert of Hamburg; he gave her a copy of The Water Hen, and she promised to recommend it to a theatre producer in Hamburg. Probably the hope for success of her mission spurred Witkacy to entrust one of his friends with translating Pentemychos i Jej niedoszły kochanek into German. The anticipated Hamburg premiere never panned out. The surviving fragment of the Prologue is probably a part of the aforementioned translation. 3. Witkacy “Honeycombed with Childishness,” or a DIY Way of Improving One’s Kaleidoscope Witkacy had a great sense of humour and exceptional acting talents; he liked putting on a show to spice things up for himself and his friends; he had been known to surprise those around him by making “monstrous faces” and acting in an unconventional way. He had been a passionate collector since childhood. He collected walking sticks and various curios, which he put in his “albums of curiosities.” He was always on the lookout for fun. His favourite toy was a kaleidoscope. He wrote a detailed manual on how to improve it so that anyone could change the images it produced whenever they liked. 4. Grotowski and Witkacy As a student of the Cracow theatre school, Jerzy Grotowski planned to put on The Shoemakers at Wawel in the school year of 1958-59. The school authorities did not approve, and as a result, Grotowski dropped out of school and went to Opole where he became the artistic manager of the 13 Rzędów Theatre. In his first productions, he harked back to the tradition of the Romantics and to Witkacy (i.a. in Kain). When the editorial board of Teatr asked him whose portrait he would hang up in his directorial office, Grotowski replied that it would be of four “martyrs” of the theatre: Artaud, Witkacy, Meyerhold, and Stanislavsky. He was also interested in Witkacy’s theatrical experiences during his stay in Russia in 1914–1918. This issue is, however, still open, requiring archival research.
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Połknięty czas. Stare kobiety w dramatach Tadeusza Różewicza

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Guderian-Czaplińska E.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
105-118
EN
The article is an overview of old women portrayals in dramas by Tadeusz Różewicz with the intent of establishing how the image of the title character of "The Old Woman Broods", considered to be the turning point in the playwright’s oeuvre in respect of this motif, was shaped. In earlier plays, old women are mostly housewives, functioning as substitute mothers and feeders who affirmatively support other people’s lives. Gradually, however, images of old age systematically pushed away from the social field of vision begin to appear ("Gone Out" and "The Little Garden of Eden"), emphasised by their subversive variants that portray oldwomen as paradoxically powerful, as in "Metamorphoses". In his subsequent works, Różewicz abandons stereotypical images of womanhood in favour of the increasing independence of female characters, and the Old Woman constitutes their mostradical variant as she is, unexpectedly, the one most fiercely attached to the fullness of being. References to Gaia, the primal goddess, have been made clear byhow the inside and the outside, absorbing and discharging (giving birth), and the qualities of youth and old age are combined and mixed in her resulting in a vision of a peculiar monster who – for her exceptionality and ability to set her own rules against all established norms (which are abided by the other characters even in the face of the imminent end of the world) – is the hope for new life. Finally, however, the Old Woman’s body becomes a sign of degeneration, signifying the end of civilisation and culture: on Różewicz’s diagnosis, despair and death turn out to be stronger then the urge to live and breed.
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Matka Witkacego. Tragedia rodzinna – zagłada człowieczeństwa w człowieku

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Sokół L.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 4(260)
15-32
EN
The Mother (1924), one of the most highly valued plays by Witkacy, is sometimes considered to be a family drama, or a family tragedy or grotesque. It has been widely praised for its brilliant inventiveness and shocking avant-gardism. In 2016 it is worthwhile to refocus on its grim prophetism, which has been forgotten. Witkacy’s catastrophism has not become trivial or out-dated, quite the contrary. Witkacy himself confirms the adequacy of classifying The Mother as a family drama by openly using other family dramas in his play: Ghosts by Ibsen, and—which may be less obvious—The Ghost Sonata by Strindberg. What sets these family dramas apart is their eeriness; they feature vampiric motifs; they expose the secrets and putrid decay hidden behind the façade of a happy bourgeois home that has lost all flavour of tragedy and thus belongs to the category of grotesque. In all of the dramas, what is real turns out to be often a false appearance hiding motivations which can be summed up as metaphysical. The analysis of the Eely family in Witkacy goes further than to show a crisis, or downfall, of the bourgeois world; it aims at showing the downfall of man, and of humanity in a human being. The downfall is gradual. At first, the world starts fading away, and all that has been stable and solid is disintegrating. A rejection of the values and principles of the world as we know it becomes something done easily and unabashedly, and the humanity of man degenerates and withers away. To put it in Witkacy’s own terms, religion, art, and philosophy will die away one by one, and what comes next could be called dehumanisation. The Mother brings a concrete vision of the downfall. Leon proclaims that a prophet of today may be a scumbag. What he means is that the link between moral virtues, represented in the past by the prophet whose dignity and authority were conferred by God, and the merits of his prophesy or mission has been severed. A today’s prophet can be a despicable and contemptible person, and yet his prophesy may still be valid and true. Leon Eely, despite his fiendishness, is still aware of the sheer scope of the imminent doom, and he wants to prevent it. His chances of success are miniscule. People who are de facto human, i.e. Individual Beings sensitive to metaphysics, will perish forever, replaced by people only nominally human whose whole existence is reduced to the processes of production, consumption and reproduction, people who hate metaphysics of any kind and are just post-human, “mechanised” individuals. Leon Eely will pass away into nothingness. After a squad of “ex-people” executes him in an act of revolutionary justice, even his corpse will disappear. Nothing will remain.
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„Żadnej metafizyki. Idioci!” Teatr postdramatyczny – ateizm – polityka

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Kościelniak M.
Pamiętnik Teatralny
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2017
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vol. 66
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issue 1-2(261-262)
199-208
EN
In the article “‘No Metaphysics. Idiots!’” Marcin Kościelniak undertakes a reading of Tadeusz Różewicz’s open theatre, particularly The Interrupted Act and The Card Index, in accordance with the sequence defined in the subtitle: postdramatic theatre, atheism, and politics. Following a suggestion put forth by Mateusz Borowski and Małgorzata Sugiera that we look at the theatrical project underlying The Interrupted Act from the perspective of postdramatic theatre, the author points out that Hans-Thiers Lehmann’s conception of the postdramatic is based not only on aesthetic but also on political criteria, and the latter are as important and fundamental as the former. This makes it possible to pose the question about the epistemological and axiological criteria underlying the decay of dramatic form in Różewicz’s open theatre. Citing passages from Różewicz’s poetry and referring to interpretations by Ryszard Nycz and Aleksander Fiut, the author proposes that we see the political grounds of Różewicz’s postdramatic theatre in his atheism. Following this lead, the author views the central aesthetic categories of both postdramatic theatre and Różewicz’s open theatre, i.e. “the here and now,” reality in place of an illusion, as political gestures as well (rejection of metaphysics, materialism). In this light, the “brutal realism” proclaimed by Różewicz is as much about drawing the theatrical spectacle closer to performance as it is about the lack of transcendence. The author seizes upon the opinions expressed by Jan Błoński and Małgorzata Dziewulska who accused Różewicz of being too fond of decay, as it is precisely the most valuable quality of his creative work. “Różewicz as an atheist, materialist, and realist—this is a stupendous source of his art,” Kościelniak states and proposes that we reclaim the subversive potential of Różewicz’s theatre, which consists in its being radically apart from the dominant Romantic and Christian tradition of Polish theatre.
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O dramatach Różewicza i metafizyce bycia

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Ratajczakowa D.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
7-36
EN
The text brings an attempt to grasp a basic set of conditions determining the dramatic work by Tadeusz Różewicz, the greatest Polish playwright of the second half of the 20th century. I set aside postmodernism as being insignificant as far as Różewicz’s plays and the proposed interpretation are concerned; I also leave off the viewpoint of avant-gardes because Różewicz has never been anavant-garde poet, even though it is obvious that avant-gardes are partly responsible for the condition of contemporary art. There are three basic contexts that I bring up in my reading: the first is the act of overcoming and discarding the traditional metaphysics of substantive being, concurrent with the emergence of new metaphysics of existence which has made it possible to grasp the hitherto overlooked truth of ordinary being and to ask about its sense; secondly, there is the situation of an author and his or her work after the end of the arts and letters when the old frameworks of poetry and theatre are in ruins; and thirdly, there is the total deficit of meaning, aggravated additionally by the totalitarian regime. In his search for the meaning of life – a meaning of small proportions, ordinary and absolutely conditional – Różewicz must concentrate on an individual being that exists in this regime, with the influence it exerts on how the meaning is sensed, whether it is lacking or misapprehended. He does so using forms that are for various reasons crippled, negated, or amalgamated, because the only forms that he has at his disposal are burdened with tradition and he tries to scrape off their veneer. He does not care about their canonicity and aesthetic categories, but it is obvious that for Różewicz the question about the meaning of life includes the question about the sense of creating. Faced with the ruin of meanings and values, he has found his chance to restore meaning by turning to the human body, to what has been inscribed in it by both nature and culture, which is to say that it is a turn towards both physiology and writing. Generally speaking, Różewicz’s (not only dramatic) work is the furthest reaching consequence of the process overriding various traditions in life and art and the process of looking for substitutes for the things that have been lost beyond saving.
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Witkacy – nasz współczesny

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Degler J.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 4(260)
7-14
EN
Czesław Miłosz was wrong about Stanisław Ignacy Witkiewicz when he predicted in his Traktat moralny (‘A Treatise on Morality,’ Twórczość 1948 No. 4) that “Not for a hundred years, I guess, | Will his books ever come to press” [“W ciągu najbliższych stu lat chyba | Nikt w Polsce jego dzieł nie wyda”]. Next year a 26-volume edition of S. I. Witkiewicz’s Dzieła zebrane (‘Collected Works’) will be completed, and thus all of his surviving texts (including seven volumes of correspondence) will be available in critical edition. Banned in 1949–1955, Witkacy was reclaimed for Polish culture in the process of political change in 1956. He has been with us ever since, surprising us with how often his oeuvre bears on the present. His work has the extraordinary capacity to renew meanings and to resonate with what is happening at a given moment, in changing political, social, and artistic contexts. There appears to be a definite pattern to the post-war reception of his oeuvre: there is a surge of interest in it whenever an important event followed by some major political shift occurs (December 1970, August 1980, December 1981, June 1989). The stage history of The Shoemakers, the most outstanding political play by the dramatist, considered to be on a par with The Undivine Comedy by Zygmunt Krasiński and The Wedding by Stanisław Wyspiański, confirms that assertion. One of the main characters of the play is Gnębon Puczymorda (Pugnatsy Jawbloatski in Daniel Gerould’s translation), an embodiment of the vices of Polish nobility which Witkacy thought to have caused the downfall of Poland in 1794 and whose remnants he still detected in the social and intellectual life of Poland. Witkacy described and attacked them fiercely in his 1936 study Niemyte dusze (‘Unwashed Souls’), though, probably due to this fierceness, no publishing house decided to publish it in his lifetime. The historiosophy of Witkiewicz turned on a vision of happiness enjoyed by the whole of humanity that, however, terrified him because he assumed it would be achieved in an egalitarian, perfectly well organised society resembling an anthill where there was prosperity, equality, and justice but no room for any expression of individualism. Such society would necessarily eradicate what Witkacy believed to constitute the essence of our humanity, i.e. the ability to experience metaphysical feelings. He tried to warn us of the impending danger, even though he realised that the process was irreversible. Nevertheless, Witkiewicz thought it was an artist’s duty to try to stop or at least slow it down. This was the role he ascribed to his art. On 18 September 1939, Witkacy committed suicide. Czesław Miłosz emphasised the symbolic significance of this final gesture of life in the second stanza of Traktat moralny: “He deemed death to be so splendid | That what he’d begun, with a razor he ended” [“Śmierć uznał za rzecz tak zaszczytną | Że to, co zaczął, skończył brzytwą”].
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Chińska porcelana

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Prussak M.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
37-46
EN
The article uses the example of The Card Index by Tadeusz Różewicz to pose some questions concerning the identity of a literary text that exists in several authorial versions, which in turn forces one to pause and think which of these versions should be a basis for a critical edition or interpretation of the work. The case of The Card Index is particularly complicated because as many as three different texts in which the recurring Card Index is the key element exist; there are two manuscript versions published as autograph reproductions, and a video footage, published on DVD, of open rehearsals to the unfinished production of Kartoteka rozrzucona (‘The Scattered Card Index’). Interpretation of the drama must take the interrelatedness and complementariness of these versions into account.
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Wczesna dramaturgia Stefana Żeromskiego w świetle jego fascynacji teatrem

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Sobieraj T.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 1-2(257-258)
173-193
EN
The article offers a context-bound interpretation of two early dramas written by Stefan Żeromski, i.e. Grzech (‘The Sin’) and Dramatu akt pierwszy (‘A Drama’s First Act’), which remained unpublished and were never staged during his lifetime. The texts were only discovered in 1945 and 1959, respectively. Żeromski had been fascinated with theatre throughout his life, which is evident, for example, in his unfinished essay Pochwała sztuki teatru (‘Apology for the Art of Theatre,’ 1924) or in his answer to the survey prepared by Przegląd Warszawski about the Narodowy Theatre in Warsaw, reopening at the time. His views are reminiscent of ideas propounded by the founder of the national stage, Wojciech Bogusławski, as well as of all the views formulated throughout the 19th century that emphasised the social and patriotic mission of Polish theatre. The artistic imagination of the writer had been shaped by the conventions of the 19th-century theatre, based on stage illusion, the principle of psychological verisimilitude and requirements of natural acting expression. By professing the primacy of declamation and poetic word in theatre, Żeromski sided with literary theories of drama. Grzech and Dramatu akt pierwszy (which remained unfinished) both exhibit the author’s knack for dramaturgy. They both combined novelty as to subject matter and treatment of social problems with some conventions of the 19th-century drama and theatre, driven by dramatic illusion and the action that was shaped in a certain manner so as to generate certain stage effects. The first ever production of Grzech, supplied with a new ending written by Leon Kruczkowski, put on in 1950 is an interesting episode in the history of Polish theatre life in the middle of the 20th century, bearing testimony to its ideological and political limitations.
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"Kartoteka", czyli bohaterka

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Krakowska J.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
47-78
EN
The premiere of "The Card Index" (26th March 1960) directed by WandaLaskowska is the starting point for the analysis that leads in three directions,the first being a generational narrative that is built into the drama and excludesany feminine experience, the second – a historical narrative of the Polish People’s Republic period in which the presence of female directors seems to nothave been noted sufficiently, and finally the third is the process of introducingvanguard drama onto the Polish stages after 1956, which was not as easy as isgenerally thought. Repertory novelties, from Brecht to Witkacy, were introduced into theatre mostly by female directors, who took the artistic and political risks it involved. The category of “generation” brought up in the context o "fThe Card Index" – a subject of lively discussion provoked by productions of theplay in the next decades as well – prompts one to ask whether Hero could be,or could have been, Heroine instead and how the female subject was portrayedin the arts, cinema especially, of Polish People’s Republic period.
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Śmietnisko kultury i wieczna kobiecość

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Koecher-Hensel A.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
119-164
EN
The article traces out the origins of The Old Woman Broods, emphasising the significance of the visual dimension of the text – “a tachist drama”,to use Szajna’s expression – where an important role is played by the opposition between open and closed space. Major productions of the drama are then examined, starting with the acclaimed premiere of the play directed by Jerzy Jarocki at the Współczesny Theatre in Wrocław in 1969, followed by other notable attempts to translate the intricate structure of the drama into the language of the stage: at the Schauspielhaus in Cologne in 1971, directed by Aleksander Bardini; at the Jaracz Theatre in Łódź in 1974, staged by Ewa Bułhak and Jerzy Grzegorzewski; at the Narodowy Theatre in Warsaw in 1978, directed by Helmut Kajzar; and at the Studio Stage of the Norwid Theatre in Jelenia Górain 1995, directed by Andrzej Bubień. Additionally, the overview includes two productions where fragments of the drama and its title character constitute an essential part of the performances: the monodrama Stara kobieta ("The Old Woman") featuring Irena Jun at the Studio Theatre in Warsaw in 1988, and Jaim jeszcze pokażę. Hommage à Różewicz ("I’m Gonna Show Them Yet. Hommage à Różewicz") put on by Piotr Lachmann at the Poza Video-theatre in Warsaw in 2012.
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Na ołtarzu literatury. Symbolika ofiary w "Pułapce" i "Do piachu"

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Szczukowsk D.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
239-252
EN
Tadeusz Różewicz’s dramas are deeply infused with criticism towards existing dialects and cultural practices. In "The Trap" and "Bite the Dust", the author undertakes to examine the problem of sacrifice and the set of its connotations and imagery centred around Christian symbolism. Różewicz rearranges this symbolism, shaking up the petrified meanings and, thus, redefining the traditional categories of sacred and profane.
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Opium nieszkodliwe teatru, czyli o «Tragedii Eumenesa» Tadeusza Rittnera

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Brzozowska S.
Pamiętnik Teatralny
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2022
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issue 2(281)
57-82
EN
According to Zbigniew Raszewski, Tragedia Eumenesa (The Tragedy of Eumenes) was one of Tadeusz Rittner’s worst plays. The present article engages polemically with this opinion. It evokes favourable reviews that followed the play’s 1920 premiere at the Juliusz Słowacki Theater in Kraków, as well as Lesław Eustachiewicz’s positive assessment from 1961. It also revisits the reviews of the 1922 flop at the Reduta Theater, which, paradoxically, reveal the text’s potential, namely the possibility of reading of the manuscript. Rittner’s comedy employs a poetics of the grotesque, farce, and irony, and, above all, uses overt theatricality and the category of dream as quasi reality. The author of the article identifies the theoretical foundations of this late drama in Rittner’s programmatic essay O snach i bajkach (On Dreams and Fairy Tales, 1909), where he does not renounce kitsch or fairy-tale props. The analysis leads to the conclusion that in The Tragedy of Eumenes, Rittner consciously engages in a dialogue with the aesthetics characteristic of the decline of the Habsburg monarchy—with its fascination with masquerade and Spanish theatre, as well as the poetics of dream and adventurous fairy-tale—and at the same time opens his text to multiple staging possibilities.
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Z rodziną komedii do „rodzinnej Europy”

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Ratajczak D.
Pamiętnik Teatralny
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2015
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vol. 64
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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.
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Samosąd mdłej demokracji na jestestwie. Filozofia i dramatopisarstwo Stanisława Ignacego Witkiewicza a idee Martina Heideggera

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Winch A.
Pamiętnik Teatralny
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2016
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vol. 65
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issue 4(260)
33-54
EN
The article is informed by an insight that has been present in Witkiewicz studies for a long time and makes it viable to read Witkacy’s dramaturgy and philosophical investigations through the philosophy of Martin Heidegger. Thus, the structure of the essay rests, on the one hand, on a reading of Witkacy’s dramas—The Pragmatists (1919), The Anonymous Work (1921), The Madman and the Nun, or There Is Nothing Bad Which Could Not Turn into Something Worse (1923), and The Mother (1924)—as well as on an analysis of his philosophical writings of 1933–1939. On the other hand, it is based on a presentation of Heidegger’s conceptions of the authentic and inauthentic modes of Dasein, his understanding of primordial temporality and truth, his notions about the end of philosophy brought along by the domination of operative thinking, and the role he ascribed to metaphysics. The conclusions flowing from setting the dramatic and philosophical writings of Witkacy in the context of Heidegger’s thought enable us to look at the lot of protagonists of Witkiewicz’s plays in a new way. It is not only determined by the super-cabaret improvisations arranged by the characters for their metaphysical thrills; it is also an arena of struggle between the Heideggerian authentic self-being and the inauthentic they-being. The struggle in which, according to catastrophic premonitions of Witkiewicz’s and beliefs of Heidegger, the they-being wins.
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Inne spojrzenie. O kilku inscenizacjach dramatów Tadeusza Różewicza z lat ostatnich

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Osterloff B.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
211-238
EN
Różewicz’s literary work, staged rather sporadically, constitutes nevertheless an important point of reference for artistic explorations of quite a large number of Polish theatre artists of the middle and younger generations. Playwrights born in the 1970s, e.g. Michał Walczak, make references to Różewicz while directors of the same age put on Różewicz’s dramas. The author of this essay, thus, asks the following questions: Who Tadeusz Różewicz is for today’s directors? Inwhat ways do they engage in discourse with the theatre project contained in his plays, with the “impossible theatre” that fuses realism with poetry by replacing a rigid dramatic form with a “collection of fragments” and rejecting “the unfolding of events” in favour of “internal acts”? An overview of selected productions of Różewicz’s plays from recent years leads the author to the conclusion that it would be difficult to find a production fully complying with the playwright’s theatrical vision.
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Literackość jako pułapka. Wokół wybranych inscenizacji "Białego małżeństwa"

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Partyga E.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
181-210
EN
Tadeusz Różewicz made it clear on numerous occasions that "The White Marriage" is a drama for reading, to a large extent independent from theatre. It is dominated by the mighty figure of the author who controls the meanings of the workand the impressions of its readers. At the same time, however, these meanings are programmatically disturbed and diffused by inconclusive clashes of various dialects and conventions. Różewicz’s text, which deftly oscillates between open and closed form, derives its power precisely from this paradox. Its peculiar literariness poses a challenge for theatre artists. This article compares production strategies of four directors who took up the challenge: Tadeusz Minc and Kazimierz Braun in 1975, and Krystyna Meissner and Weronika Szczawińska in 2010. The thirty five years that passed between the productions saw some shifts in the approach to authority of the text and the author as well as some changes in how the relation between a drama and its theatre production was conceived. Yet "The White Marriage" still puts up much resistance against theatre as if it preferred to remain the theatre in a book.
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„Panie szukają problemów”. Próba rekonstrukcji dramatu „Dzieci nie chcą żyć” Marceliny Grabowskiej oraz jego inscenizacji i recepcji w ramach wytwarzania feministycznego archiwum

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Obarska M.
Didaskalia. Gazeta Teatralna
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2023
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issue 178
62-89
EN
The paper is an attempt to reconstruct the content of the drama Dzieci nie chcą żyć (Children Don’t Want to Live) by Marcelina Grabowska as well as its staging and reception. Using the methodology from the field of philosophy of history (Benjamin), theory of performance (Rebecca Schneider) and anthropology of memory (Michel-Rolph Trouillot), the authoress analyses the collected archival material. She thus problematizes the notion of a silent archive and an archival gap. The archives concerning probably the first and only staging of Grabowska’s play (May 1938) and the sociopolitical reality turn out to be the subject of reflection upon the materiality of history and recurrence of time. The crisis of psychological support for children and adolescents of the 1930s comes into dialogue with the (re)current appearance of this issue that happened during the pandemic. The paper contributes to the feminist archive production as a consciously political and architectural gesture that supports non-hegemonic narratives of the history of Polish theatre.
18
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„A jeżeli tego miasta nie ma”. Dialog o Arkadii w teatrze Grzegorzewskiego

88%
Dziewulska M.
Pamiętnik Teatralny
|
2013
|
vol. 62
|
issue 3-4(247-248)
165-180
EN
The production of Tadeusz Różewicz’s "Duszyczka" (‘A Little Soul’) put on by Jerzy Grzegorzewski at the Narodowy Theatre in 2004 was preceded by other adaptations of the poet’s non-dramatic pieces that were staged by the same director. The scripts to two of them – "Śmierć w starych dekoracjach" (‘Death in Old Scenery’, 1978) and "Złowiony" (‘Caught’, 1993) – included fragments of the poem ‘Et in Arcadia ego’, a trait they shared with Duszyczka, which had numerous consequences. As a result, a peculiar interplay, spanning a quarter of a century and different registers, developed around the motif of Italian journey and the mythof Italy. In it was encoded one of the major themes of the 20th century, because Różewicz treated his questions about the existence of something we call spiritual world as a challenge to Eliot’s symbolist poetics.
19
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Figura i doświadczenie Autora w dramatach Tadeusza Różewicza

88%
Cicheński K.
Pamiętnik Teatralny
|
2013
|
vol. 62
|
issue 3-4(247-248)
253-272
EN
Why did the poet take interest in drama? I try to answer this question, asked numerous times by scholars studying Tadeusz Różewicz’s oeuvre, by looking at it from a broader perspective, taking into account the concept of drama in general: how drama is experienced as an art form; what is the dramatic experience of identity and life. Understanding the concepts of drama, dramatisation, dramatics, theatricality, dialogue or character as they function in literary theory, philosophy and common knowledge may help us uncover numerous, covert or overt, strategies of writing oneself and one’s experiences into theatre plays that the author of "The Card Index" applies. Texts selected from Teatr niekonsekwencji (‘The Theatre of Inconsistency’), numerous remarks made by Różewicz himself (conversations with Kazimierz Braun, "Języki teatru") and an interpretation of "On All Fours" that emphasises “giving shape to the creative act” (Filipowicz) show different modes of the Author’s presence in the text, a drama continuously played out by himselfon a piece of paper.
20
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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).
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