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1

„Wesele” Staniewskiego, czyli nowe, jubileuszowe Zgromadzenie

100%
Miklaszewski K.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
319-324
2

Ziemia niejałowa. Rozmowa z Włodzimierzem Staniewskim. Dzień drugi

80%
Wiśniewski T., Gac D.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
330-339
EN
Staniewski’s production of Wesele – a major Polish modernist play by Stanisław Wyspiański – is the starting point for the interview. The conversation, then, deals with the themes of madness and derangement. The motif of the wedding is observed in some earlier works of “Gardzienice” and the difficulty of finding a language adequate for describing the work of the company is mentioned. Wiśniewski points out certain duality that underlies the character of Staniewski himself. Next, the interview focuses on the extent the present form of the European Centre for Theatre Practices “Gardzienice” is a realisation of the potential rooted in a more provocative dimension of Staniewski’s approach. It seems that the gesture of dissent against the surrounding reality of the time is still crucial for the founding myth of the company. The acquisition of knowledge is an imminent part of the actions undertaken by “Gardzienice” and for this reason the relations between the research and the productions is discussed. The conversation attempts to define a distinction between the origins of the ensemble and its present condition and analyses the discussion of Gardzienice’s approach to the creative process and the evolution of the performance itself. Finally, Staniewski wonders whether Wyspiański’s ‘Wesele’ may be treated as a profound play and thus be inscribed in a universal context.
3

Przyobłędnienie. Rozmowa z Włodzimierzem Staniewskim. Dzień pierwszy

80%
Wiśniewski T., Gac D.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
325-329
EN
Staniewski’s production of Wesele – a major Polish modernist play by Stanisław Wyspiański – is the starting point for the interview. The conversation, then, deals with the themes of madness and derangement. The motif of the wedding is observed in some earlier works of “Gardzienice” and the difficulty of finding a language adequate for describing the work of the company is mentioned. Wiśniewski points out certain duality that underlies the character of Staniewski himself. Next, the interview focuses on the extent the present form of the European Centre for Theatre Practices “Gardzienice” is a realisation of the potential rooted in a more provocative dimension of Staniewski’s approach. It seems that the gesture of dissent against the surrounding reality of the time is still crucial for the founding myth of the company. The acquisition of knowledge is an imminent part of the actions undertaken by “Gardzienice” and for this reason the relations between the research and the productions is discussed. The conversation attempts to define a distinction between the origins of the ensemble and its present condition and analyses the discussion of Gardzienice’s approach to the creative process and the evolution of the performance itself. Finally, Staniewski wonders whether Wyspiański’s ‘Wesele’ may be treated as a profound play and thus be inscribed in a universal context.
4

Przymierze zbójnickie. Rozmowa z Włodzimierzem Staniewskim. Dzień trzeci

80%
Wiśniewski T., Gac D.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
340-342
EN
Staniewski’s production of Wesele – a major Polish modernist play by Stanisław Wyspiański – is the starting point for the interview. The conversation, then, deals with the themes of madness and derangement. The motif of the wedding is observed in some earlier works of “Gardzienice” and the difficulty of finding a language adequate for describing the work of the company is mentioned. Wiśniewski points out certain duality that underlies the character of Staniewski himself. Next, the interview focuses on the extent the present form of the European Centre for Theatre Practices “Gardzienice” is a realisation of the potential rooted in a more provocative dimension of Staniewski’s approach. It seems that the gesture of dissent against the surrounding reality of the time is still crucial for the founding myth of the company. The acquisition of knowledge is an imminent part of the actions undertaken by “Gardzienice” and for this reason the relations between the research and the productions is discussed. The conversation attempts to define a distinction between the origins of the ensemble and its present condition and analyses the discussion of Gardzienice’s approach to the creative process and the evolution of the performance itself. Finally, Staniewski wonders whether Wyspiański’s ‘Wesele’ may be treated as a profound play and thus be inscribed in a universal context.
5

„Wesele” – nota reżyserska

70%
Staniewski W.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
305-308
6
Publication available in full text mode
Content available

Wesele Stanisława Wyspiańskiego – między tym, co osobiste i zbiorowe

41%
Czabanowska-Wróbel A.
Polonistyka. Innowacje
|
2022
|
issue 16
103-114
EN
This article aims to encourage new interpretative readings of Stanisław Wyspiański’s play The Wedding. Special emphasis is put on accentuating the role of the wedding ritual as a rite of passage, highlighting the often underappreciated role of female characters inscribed into the cycle of life, death, and rebirth, and underscores the symbolism of the element of air and wind in the play. Finally, the article evokes personal and familial reminiscences of the reception of the play on the theatre stage.
PL
Artykuł stanowi zachętę do odczytywania na nowo Wesela Stanisława Wyspiańskiego. Zawarte w tym szkicu propozycje interpretacyjne akcentują zwłaszcza znaczenie obrzędu wesela jako rytuału przejścia w dramacie, nie dość docenianą rolę postaci kobiecych wpisanych w rytmy życia, śmierci i odradzającego się życia w utworze Wyspiańskiego oraz istotną w dramacie symbolikę powietrza i wiatru. Autorka przywołuje też osobiste i rodzinne wspomnienia związane z odbiorem dzieła Wyspiańskiego w teatrze.
7
Publication available in full text mode
Content available

O Norwidowych poszukiwaniach formy poematu

36%
Kudyba W.
Studia Norwidiana
|
2015
|
vol. 33
303-311
EN
Magdalena Woźniewska-Działak’s treatise (Poematy narracyjne Cypriana Norwida. Konteksty literackokulturalne, estetyka, myśl [Narrative poems by Cyprian Norwid. Literary-cultural contexts, esthetics, thought] (Kraków 2014) is devoted to Norwid’s narrative poems. The author justly demands that we pay our attention especially to those poems that are rather signals than fulfillments of the author’s dreams about a full form of the poem. The work refers to the good traditions of the Catholic University of Lublin “school of interpretation of Norwid”, and also is open to new research tools taken from cultural studies. Owing to the efforts made by the Warsaw researcher, the small poems by the author of Assunta get a new splendor and encourage one to read them. Under her pen nearly all of them reveal existential, moral and metaphysical senses anew. The book returns them to our awareness. Well written, the book is likely to find its way to a broad mass of readers of Norwid’s works.
8

O Norwidowych poszukiwaniach formy poematu

36%
Kudyba W.
Studia Norwidiana
|
2015
|
vol. 33
303-311
EN
Magdalena Woźniewska-Działak’s treatise (Poematy narracyjne Cypriana Norwida. Konteksty literackokulturalne, estetyka, myśl [Narrative poems by Cyprian Norwid. Literary-cultural contexts, esthetics, thought] (Kraków 2014) is devoted to Norwid’s narrative poems. The author justly demands that we pay our attention especially to those poems that are rather signals than fulfillments of the author’s dreams about a full form of the poem. The work refers to the good traditions of the Catholic University of Lublin “school of interpretation of Norwid”, and also is open to new research tools taken from cultural studies. Owing to the efforts made by the Warsaw researcher, the small poems by the author of Assunta get a new splendor and encourage one to read them. Under her pen nearly all of them reveal existential, moral and metaphysical senses anew. The book returns them to our awareness. Well written, the book is likely to find its way to a broad mass of readers of Norwid’s works.
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