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The  Seventh Seal on the Czech stage

100%
Stehlíková E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2019
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vol. 22
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issue 1
61-75
EN
Whatever might be the reason for the theatre taking so much inspiration from film in the 21st century, the fact remains that the work of Ingmar Bergman is inspiring for theatre-makers all over the world. In this article, I briefly focus on three Czech productions of The Seventh Seal; namely a performance by the students of the Prague Conservatory which was put on under the title Wood Painting in 1995; a production by the independent student group Oldstars of 2011 and finally the only production on a professional stage, in the National Theatre in Brno in 2013, which is also recorded in the Swedish database. I also draw the reader's attention to special productions inspired by some motifs of Bergman's Seventh Seal. These, however, set the story in the present (In a Dark House in the Middle of the Night in 2006) from the now defunct Seven and a Half Theatre (Divadlo Sedm a půl), and Persons produced by the Theatre on the Balustrade in 2018.
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Teatr staropolski w teatrze Piotra Cieplaka

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Jarmuż S.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 2(246)
100-116
EN
The starting point for the findings presented in the article was a detailed analysis of Historyja o chwalebnym Zmartwychwstaniu Pańskim productions. Piotr Cieplak staged the mystery play by Mikołaj of Wilkowiecko three times: first at the Wrocławski Teatr Współczesny in 1993, then at the Dramatyczny Theatre in Warsaw a year later, and finally as a television adaptation for Teatr Telewizji (TV Teatre) in 1995. The author asserts that even though Cieplak had completed three other productions at the Wilam Horzyca Theatre in Toruń it was “Historyja”... that was truly his debut and something of a manifesto. It is there that he has indicated whattype of theatre he intends to make, what problems he considers worth discussing and in what forms he intends to do it. First impressions notwithstanding, it is argued that it was not the past but rather the present that inspired the director to stage “Historyja”..., or more precisely, it was liquid modernity and the changes it had been undergoing. Yet his goal was not only to show these changes. Had it been only that he could have used some other text. The fact that he chose “Historyja”...means that his intentions were more complex. In the author’s opinion, Cieplak meant not only to present his observations on liquid modernity but also to remind the audience that which was old, primordial, constant and captured bythe fundamental Christian concepts present in “Historyja”.... In liquid modernity these terms changed their meanings. Cieplak indicated these changes but at the same time – in a modern way, adequate for the sensibility and expectations of new audience – reminded the contemporaries of the old, primitive meanings. Cieplak’s theatre, though emerging from the “here and now,” leads into a universe that transcends earthly reality. It is an attempt at rooting inhabitants of the liquid worldback in the Christian cosmos. “Historyja”... was, in the author’s view, a founding act of this endeavour, in which Cieplak has persisted ever since.
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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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Figura i doświadczenie Autora w dramatach Tadeusza Różewicza

88%
Cicheński K.
Pamiętnik Teatralny
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2013
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vol. 62
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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.
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Inne spojrzenie. O kilku inscenizacjach dramatów Tadeusza Różewicza z lat ostatnich

88%
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"

88%
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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"Kartoteka" Tadeusza Różewicza na scenach teatrów lalek

75%
Kopania K.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
79-104
EN
The article is devoted to the presence of "The Index Card" by Tadeusz Różewiczin puppet theatre. It discusses the productions at the following puppet theatres: the Groteska Theatre in Cracow (1961), the Lalek Theatre in Białystok (1972), the Olsztyński Teatr Lalek (2001), Teatr Dzieci Zagłębia im. Jana Dormana – Scena Inicjatyw Twórczych in Będzin (2011), and the Lalki i Aktora Theatre in Łomża(2012). The discussion, based on numerous archival sources and press reviews,presents major conceptual assumptions of the producers, some problems relating to stage design and directing, and the overall message that each of the productions conveyed. Special attention is given to the changes in how the drama by Różewicz has been treated over the years. In more than fifty years since the puppet theatre premiere of the play, some directors have deviated from the original text of "The Card Index" in a substantial way. While the Cracow and Białystok productionsstrictly adhered to the text, the productions of the last dozen years clearly tend to contemporise the play and even complement it rather arbitrarily with fragments of other works by Różewicz. Each of the productions has also been analysed inrelation to the history of puppet theatre in Poland of the last decades, which shows a consistent trend to move away from the traditional means of expression of this art form.
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Dramaty Różewicza w kontekście węgierskim

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Király N.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
273-288
EN
Polish poetic drama of the Romantic and symbolist periods as well as that of the second half of the 20th century has not gained the kind of popularity enjoyed first by the plays by Mrożek or Witkacy and today by Masłowska or Słobodzianek. There have been some good productions from time to time, but the Polish poetic dramaturgy has not become an integral part of Hungarian theatre repertories. This holds true for Tadeusz Różewicz’s dramas as well despite the fact that his plays and poetry have very good Hungarian translations. The first volume of these translations was published in 1967 but it was only at the turn of the 1980s and 1990s that any productions noted in the Hungarian theatre life finally appeared. A Polish critic, Elżbieta Baniewicz, remarks that “the content internalised in the structure of image and language” is a characteristic feature of Różewicz’s dramatic composition. Hungarian critic András Pályi interprets the difficulties of getting to the bottom of Różewicz’s dramatic output in a similar way: “Who discovers Beckett in Różewicz must also discover the discussion that the ‘poetic theatre’ of the Polish playwright with a sociological view of the world enters into with Beckett’s metaphysics”. At the verbal level, it requires a very complex form of dialogue. The word in Różewicz has a demiurgic power – the more so, the more it can distance itself from journalistic content and overwhelmingly numerous mythological references. In consequence, Różewicz can provide everyday words and gestures with a metaphysical dimension. Characters in his plays are constantly searching for appropriate definitions, which gives their monologues a monotonous mood. The audience must be prepared for the kind of creative act proposed by the playwright. It functions as a basis for the category of “not-playing”. Różewicz says that the poetic element in his theatre becomes a real and realistic process while thereal and realistic elements become poetic. “Just as a medieval cathedral built with massive stones is light, poetic and sublime”, Różewicz’s “open drama” makes aninfinite number of emotional and intellectual transformations of the impersonal lyrical subject possible, but it requires great poetic sensitivity of the actor.
9
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Różewicz (nie)obecny. O recepcji twórczości dramatycznej Tadeusza Różewicza w Niemczech

75%
Wąsik M.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
289-300
EN
Without doubt, Tadeusz Różewicz is one of the Polish playwrights most frequently played in Germany, sharing this position with Gombrowicz and Mrożek. Since his debut on the stages of the Federal Republic of Germany in the 1960s, his texts have been constantly present in the repertories of German theatres, althoughit must be said that they have never attracted interest of big stages. Różewicz was known in Germany as a playwright for student theatres and was recognised on both sides of the Berlin Wall mostly as a poet. Reception of his works was to some extent influenced by political circumstances. Especially in Eastern Germany, Różewicz was for a relatively long time considered to be an author promoting an inappropriate social attitude, and thus it was frowned upon or even prohibited to produce his nihilistic plays, and this situation changed only in the second half of the 1970s. The article presents the reception of Różewicz’s dramatic works in Germany including Polish guest performances and productions directed by Polish directors with German ensembles. The history of Różewicz’s dramatic pieces on German stages is presented in the context of political circumstances (new cultural policy in the GDR, the fall of the Berlin Wall, the reunification of Germany) and changing artistic tendencies (falling of Theatre of the Absurd out of fashion in the FRG).
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