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Jerzy Grotowski – Zbigniew Raszewski: W poszukiwaniu “istotnego dialogu”

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Osiński Z.
Pamiętnik Teatralny
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2012
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vol. 61
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issue 1-2(241-242)
59-88
EN
The relations between Jerzy Grotowski and Zbigniew Raszewski have not yet been a topic of any deeper reflexion. It seems that everyone has been satisfied with rather general opinions, whether they be apologetic (Raszewski as a defender of the Laboratorium Theatre at the dangerous beginning of the 1960s) or suggesting that in reality the two of them could not have had anything in common. At the same time, in Poland the problem resembles treading on thin ice because of oversensitivity of some of Raszewski’s students, whereas outside the Polish-speaking cultural life it becomes exotic due to the fact that the author of Krótka historia teatru polskiego (The Short History of Polish Theatre) is unfortunately little known abroad. They first met through Eugenio Barba. The opinion about Barba as „that Italian who’s crazy about Grotowski” is reflected in one of recently published letters written by Stanisław Lem to Sławomir Mrożek. Soon after their first meeting in Opole in March 1963, Grotowski assured Raszewski: “The relations with you and the people of Pamiętnik Teatralny, the relations that you write about, being long-term and lasting for years, are quite important to us”. There are fifteen letters and three telegrams sent by Grotowski in 1963–1989 that we know about (three of the letters were signed by Ludwik Flaszen as well). In the archive left after the Laboratorium Theatre in Wrocław, there are no letters written by Raszewski in 1963–1968; there are only two letters dated 1972 and 1980. Raszewski is also the author of the important text Teatr 13 Rzędów (The 13 Rows Theatre, Pamiętnik Teatralny, 1964, vol. 3) and a priceless account of his meeting with Grotowski on 18 January 1969, which appeared in print after the author’s death but when Grotowski was still alive. Before Grotowski embraced the concept of the „complete” or „whole man” taken from Mickiewicz, and that of „the complete actor”, whose most believable and compelling embodiment has been Ryszard Cieślak in Książę Niezłomny (The Constant Prince, 1965), there was the so-called Warsaw School of Historians of Ideas that Grotowski had taken great interest in and counted on their visit in Opole. Despite some biographical parallels (Raszewski was the same age as Zygmunt Bauman, being a year younger than Bronisław Baczko, two years older than Leszek Kołakowski, four years older than Jerzy Szacki, and five years Andrzej Walicki’ senior), the theatre historian’s views and interests had been quite different from those propounded by the Warsaw historians of ideas. Grotowski shared with the Warsaw philosophers the attitude of heresy and blasphemy combined with a deep distrust of the so-called traditional Polish values. Such an attitude seemed utterly alien to Raszewski. Raszewski’s reaction to Apocalypsis Cum Figuris, which he saw in November 1970, was very negative. He wrote it down many years later, on 12 September 1991: “In Wrocław, the sectarian tendencies overcame everything else. While at Opole Grotowski still had a theatre – which was mad, crazy but at the same time interesting – in Wrocław he ended up with some delirium and black Mass. He called it Apocalypsis Cum Figuris. It was his last production. I watched it and right after the performance I told him that it was beyond my threshold of tolerance, which he took calmly, as he did all my enunciations”. On 20 September 1972, Grotowski thanked Raszewski for his letter of congratulations on the occasion of awarding him “an individual state award of the first degree in the field of arts and culture for his creative work in the Laboratorium Theatre within the scope of theatre production and research on the art of acting, with special emphasis on Apocalypsis Cum Figuris, received on the national Holiday of the Revival of Poland, on 22 July, 1972”. On 14 April 1980, ending an extensive answer to Raszewski’s questions, Grotowski wrote: „Thank you that you told me directly and openly what you considered to be unjust and wrong in my work. Your honesty and your friendship are very important to me”. After 1981, it did not take Grotowski long to understand that the nationalistic Polonocentrism which was growing in strength almost day by day, along with the omnipotent power of the Catholic church was limiting his creative potential. On 22 December 1989, Jerzy Grotowski sent a telegram from Pontedera, which became the permanent place of operations for the Workcenter of Jerzy Grotowski in 1985; he sent Raszewski his best regards on the fortieth anniversary of Raszewski’s academic work: „Congratulations and assurances of faithful memory friendship and respect...” The friendly dialogue between the artist and the theatre historian lasted for almost three decades. The last note by Raszewski comes from 12 November 1991. And let’s not forget that he is the author of one of the most important sentences ever written about Grotowski’s work: “When someone works with such fury and as selflessly as the 13 Rzędów Theatre, when one is so interested in life and so sensitive, it is only a matter of time before they achieve something extraordinary”. This does not change the fact that Raszewski did not publish any text about Grotowski and his theatre in Pamiętnik Teatralny after 1964. Thus one must pose a difficult question: Did Raszewski’s famous „objectivism” and „impartiality” end just where they ran into conflict with his own tastes and beliefs?
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Jak terminowałem u Zbigniewa Raszewskiego

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Degler J.
Pamiętnik Teatralny
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2012
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vol. 61
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issue 1-2(241-242)
31–50
EN
Professor Zbigniew Raszewski as a researcher and many-year editor of Pamiętnik Teatralny had a tremendous impact on the development of the Polish theatre studies, building their foundations and devising methodological principles and directives before theatrology gained university status in 1975. It had been a pretty long process, its progress marked with subsequent articles, studies and books by Raszewski and monographic issues of Pamiętnik Teatralny which at the beginning of the 1960s became a major centre of the Polish theatrological thought. Zbigniew Raszewski was an uncontested academic authority and an example of what a scholar should be. Many of his studies were groundbreaking and inspiring. Such was the case with the study Paradoks Wyspiańskiego (Wyspiański’s Paradox, 1957) whereby Raszewski argued that Wyspiański could be viewed as an innovator in the history of European theatre because he had conceived drama as a kind of theatre score. Another fundamental study of his was devoted to the concept of theatre score (1958) in which Raszewski explained why in theatre it was impossible to create something equivalent to the music score and then proposed that the concept be understood as the elements of drama structure and passages of text that are respected in every production without exception. The monographic issue of Pamiętnik Teatralny (vol. 1–3, 1959) devoted to Polish Romantic drama, up to that point considered closet drama, brought about another breakthrough. In his studies on the pieces by Mickiewicz and Słowacki, Raszewski showed conclusively that they were written with the stages of Paris and London in mind as both authors had been familiar with theatre houses in these cities and had consciously taken their staging and production capabilities into consideration. In the second part of the article, the author talks about his cooperation with Zbigniew Raszewski, quotes his letters relating to publishing the book Trudny Rebus. Studia i szkice z historii teatru (A Difficult Riddle. Studies and Sketches On Theatre History, 1990) and recalls his opinion about the Wiedza o Kulturze Publishing House, which, after Professor’s death, published an anthology that he had prepared, Sto przedstawień w opisach polskich autorów (A Hundred Performances Described By Polish Authors; withheld by the censor in 1972) and the volume Weryfikacja czarodzieja i inne szkice o teatrze (Magician’s Verification and Other Sketches On Theatre, 1998).
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Dwa listy Zbigniewa Raszewskiego

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Osiński Z.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 1(245)
62–68
EN
I encountered for the first time a cult-like reverence surrounding Zbigniew Raszewski while I studied Polish philology at Adam Mickiewicz University in Poznań. Such air was exuded especially by some of his colleagues, Jarosław Maciejewski in particular. Krystyna Skuszanka, also a graduate of the Polish philology in Poznań and a participant of the Master’s degree seminar taught by Professor Zygmunt Szweykowski, was part of that circle of followers as well. These people appeared among authors of articles in Pamiętnik Teatralny and contributed their papers to a 630-page-long jubilee book, Prace o literaturze i teatrze ofiarowane Zygmuntowi Szweykowskiemu (‘Papers on Literature and Theatre Offered Up to Zygmunt Szweykowski’, Wydawnictwo Zakładu Narodowego imienia Ossolińskich: Wrocław, 1966). The Table of Content starts with a portrait of the celebrated professor written by Raszewski and ends with my article Dramaty Jana Kasprowicza na scenach polskich (‘Jan Kasprowicz’s Dramas on Polish Stages’). I first met Doctor Raszewski personally in Opole on 15 March 1963. Right after a performance of Akropolis according to Wyspiański put on by Jerzy Grotowski and Józef Szajna at the house of the Laboratorium 13 Rzędów Theatre there was a meeting in a post-German flat, part of which was leased by Eugenio Barba, where an extended team of Pamiętnik Teatralny met. I am publishing here two letters Raszewski wrote to me. The first one is a reply I received after I submitted the manuscript of Kronika życia i twórczości Mieczysława Limanowskiego (‘A Chronicle of Mieczysław Limanowski’s Life and Creative Work’), and the other is Raszewski’s reply to an invitation to the newly-founded Centre for Study of Jerzy Grotowski’s Work and of Cultural and Theatrical Research in Wrocław where, on 14 July 1990, a public meeting with Irena Byrska was to be held, accompanied by a pre-premiere screening of the film Racja teatru. Spotkanie z Ireną Byrską (‘Theatre’s Rationale. A Meeting with Irena Byrska’) directed by Krzysztof Domagalik. Both these letters tell a lot about Raszewski as an editor, about his way of collaborating with authors (in this case, me), and about his expectations and requirements.
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Zbigniew Raszewski – po latach

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Dobosz A.
Konteksty - Polska Sztuka Ludowa
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2010
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vol. 64
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issue 4(291)
45-47
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"Dejmek": Ćwiczenie z metahistorii

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Krakowska J.
Pamiętnik Teatralny
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2022
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issue 3(282)
131-144
EN
This article offers a critical discussion of Magdalena Raszewska’s book Dejmek (Warszawa 2021). The reviewer argues that this biography of Kazimierz Dejmek (1924–2002), theater director and manager, is at the same time a meta-historical source, as it offers insights not only into a particular receding model of theatre and thinking about theater, but also into the categories, concepts, and structures specific to its time. Raszewska precisely describes Dejmek’s patriarchal features and principles, and she presents the history of his theater using terms pertinent to the values cherished by himself and his community. While her use of rumor and denunciation letters to de-mythologize Dejmek’s theater and its backstage practices may at times raise methodological concerns, it undoubtedly contributes to a picture of power and community relations that encourages a critical examination of the past and its protagonist.
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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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O “Pamiętniku Teatralnym” i jego redaktorach

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Kuligowska-Korzeniewska A.
Pamiętnik Teatralny
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2012
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vol. 61
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issue 1-2(241-242)
51–58
EN
The article consists of two parts which have been written from two different points of view. The first part is based on materials from Bohdan Korzeniewski’s home archive. Among the documents there is a typed manuscript that sketches out the periodical’s programme and contains a list of possible collaborators. This part is complemented with an account of Korzeniewski’s actions aimed at realising his vision. The second perspective is somewhat more personal. The author, being at the same time a collaborator of Pamiętnik Teatralny, recounts her most important meetings with the editorial board, finishing the article with a description of the party celebrating Bohdan Korzeniewski’s eightieth birthday.
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