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Dramatyczny wymiar życia i dzieła Karola Wojtyły - Jana Pawła II

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Specht-Abramiuk Z. S.

Łódzkie Studia Teologiczne

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2011

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vol. 20

3-23

EN

The author is aiming to show how far K. Wojtyła – John Paul II – was involved in the historical events of the world. As pope, he took on responsibility not only for the Church, but also for the whole of humankind. The large extent of his pastoral activity, his worldwide visits and his personal contact with many people gave him the opportunity to approach the true nature of the social, political and spiritual dramas of the world. It is interesting to see this approach from the perspective of the dramatic dimension of his personal life, his private experience of loneliness, suffering and death. This paper offers an existential and personalistic analysis provided by the classical playwrights Calderón de la Barca and William Shakespeare, the philosophers of dramatic theatre Henri Gouhier and the theologian of the drama of God and man Hans Urs von Balthasar. The idea of a global theatre – theatrum mundi – and the theatre of God – theatrum Dei – played an essential role in the life of Pope John Paul II, unless he never wanted to be associated with acting. His role and his mission were in complete coexistence in his one person. If anybody wanted to see him as an actor, he should see him as an actor of God’s theatre, playing roles of the theatre of humankind. In doing this he was able to reach the essential meaning of different kinds of human dramas, to bring them to the light of hope, of God’s mercy and love.

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Recenzja książki Joanny Michalczuk "Dramaturgia Tymoteusza Karpowicza", wyd. KUL, Lublin 2015, 318 s.

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Łukaszuk M.

Colloquia Litteraria

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2016

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vol. 21

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issue 2

196-203

PL

The review shows the real importance of not only the book by Joanna Michalczuk entitled Dramaturgia Tymoteusza Karpowicza [Playwriting of Tymoteusz Karpowicz], but also of the plays by Tymoteusz Kapowicz. Joanna Michalczuk displays an unusual mastery in her skills as a scholar of Polish literature. The importance of the plays by Karpowicz is based on the wise originality of them and the determination in an attempt to construct “a map of meanings”.

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ПРОБЛЕМА МІЖОСОБИСТІСНИХ ВЗАЄМИН В УКРАЇНСЬКІЙ ДРАМАТУРГІЇ 1920–1930-х рр.

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Суховєєнко К.

Studia Ukrainica Posnaniensia

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2019

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vol. 7

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issue 2

177-182

EN

The article deals with the analysis of the problem of the interpersonal relations in Ukrainian drama of 1920–1930-ies. The particular attention has been paid to two main aspects - the struggle of the generations in the family and the relationships between a man and a woman. The problem has been analyzed in the context of the social and political events at that time.

PL

Niniejszy artykuł poświęcony jest analizie relacji interpersonalnych w ukraińskiej dramaturgii w latach 1920–1930. Zwrócono uwagę na dwa aspekty - walkę pokoleń w rodzinie i związek między mężczyzną a kobietą. Powyższe kwestie przeanalizowano w kontekście procesów społecznych i politycznych owego okresu.

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Promieniowanie ojcostwa – promieniowanie teatru. Zarys interpretacji scenicznych dramatu Karola Wojtyły

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Komorowska A.

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2020

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vol. 68

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issue 1

231-247

EN

This article deals with the history of the stage performances of Karol Wojtyła’s play The Radiance of Fatherhood, which is considered by many to be, of all of the author’s plays, the one least suitable for performing on stage, starting with the world premiere in 1983 by Andrzej Maria Marczewski, through subsequent versions by the same director, as well as by others, both from professional and alternative theatres, including amateur ones. The vast majority of the stage performances in question were performed in Poland; however, the recently accomplished premieres of the dramatical work in Slovakia (2015) and in the Czech Republic (2019) are also mentioned. The aim of this text is to show the way many theatre artists faced the challenge of dealing with what is undoubtedly the most multidimensional text of Wojtyła’s oeuvre, as well as to trace the proposed visual solutions and stage interpretations of the dramatical work.

PL

Artykuł śledzi historię wystawień dramatu Karola Wojtyły Promieniowanie ojcostwa, który jest przez wielu uważany za najmniej sceniczny z dramatów autora, począwszy od światowej prapremiery z 1983 roku w reżyserii Andrzeja Marii Marczewskiego, poprzez kolejne wersje inscenizacji reżysera, interpretacje sceniczne innych reżyserów scen profesjonalnych, alternatywnych, a nawet amatorskich. W zdecydowanej większości są to spektakle polskie, choć wspomniane zostają ostatnio przygotowane prapremiery dramatu na Słowacji (2015) i w Czechach (2019). Celem tekstu jest ukazanie zmagań twórców teatralnych z tym niewątpliwie najbardziej wieloznacznym tekstem w dorobku Wojtyły, prześledzenie zaproponowanych rozwiązań wizualnych i interpretacji scenicznych dramatu.

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Dramaturgia wiersza: „wiersz-płacz”. Płakała w nocy, ale nie jej płacz go zbudził

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Krajewska A.

Przestrzenie Teorii

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2016

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issue 26

149-161

PL

The article is an interpretation of the poem “Płakała w nocy, ale nie jej płacz go zbudził” (“She cried at night, but not her cries woke him”) written by Stanisław Barańczak. The author focuses on description in this poem – dramatic in shape, philosophical, and according to the narrative of the anthropocentrism crisis. The author considers this poem to be a metaphysical text defining the relationship between the world of human and non-human reality. She compares the poem with those written by Jan Kochanowski (Laments), Cyprian Kamil Norwid (In Verona), Andrew Marvell (Eyes and tears), Szymborska (Apple tree).

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Wokół współczesnej sztuki dramatycznej w Polsce

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Hendrykowski M.

Przestrzenie Teorii

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2015

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issue 23

EN

Polish contemporary drama (which is represented by a range of authors, from Tadeusz Różewicz and Sławomir Mrożek, Janusz Głowacki, Wiesław Myśliwski, Eustachy Rylski, Marek Koterski and Tadeusz Słobodzianek to Przemysław Wojcieszek, Michał Walczak, Piotr Tomaszuk, Tomasz Man and Dorota Masłowska) seems to be an integral part and a special, local manifestation of profound changes that have taken place in the European and American drama of the 20th and 21st centuries. Samuel Beckett, Eugène Ionesco, Tennessee Williams, Harold Pinter, John Osborne and Edward Albee influenced Polish dramaturgy, i.e. its general concept and philosophy, in many ways. They were pioneers and patrons of this transformation, just as Miron Białoszewski was in Poland. New Polish dramaturgy continues to go in this direction while looking for modern means of theatrical expression. Marek Hendrykowski examines and describes twenty-one contemporary dramas that are collected in two volumes titled Trans/formacja. Dramat polski po 1989 roku [Trans/formation: An Anthology of Polish Contemporary Drama after 1989], which were edited by Jacek Kopciński. The author of this article searches for features and “common places” (loci communes) that are typical of this form of art.

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2 Przestrzenie Teorii

1 Colloquia Litteraria

1 Roczniki Humanistyczne

1 Studia Ukrainica Posnaniensia

1 Łódzkie Studia Teologiczne

1 2020

1 2019

2 2016

1 2015

1 2011

1 Hendrykowski M.

1 Komorowska A.

1 Krajewska A.

1 Specht-Abramiuk Z. S.