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Journal

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

2019 | 19 | 257-274

Article title

Praca z aktorem w reżyserskiej sztuce Lidii Zamkow

Authors

Ewa Łubieniewska

Content

Full texts:
6835-6365.pdf

Title variants

Working with the actor – Lidia Zamkow as a theatre director
Praca z aktorem w reżyserskiej sztuce Lidii Zamkow
Praca z aktorem w reżyserskiej sztuce Lidii Zamkow

Languages of publication

PL

Abstracts

RU
Lidia Zamkow, a great individual in the theatre, a hero of numerous press arguments in the 60s and 70s of the 20th century, is mainly remembered as a shocking stage arranger with innovative ideas. Classics (Sophocles, Euripides, Shakespeare, Gorki, Dostoyevsky, Wyspiański) and contemporary period (Wiszniewski, Kafka, Brecht, Durrenmatt, Mrożek), were crucial for her achievements as a director. However, she was underappreciated as an actress with a few brilliant roles. Little did one realize how great her influence was on actorship, both as a director and an actress. This paper is an attempt at filling this gap; the author discusses some statements, which could be regarded as Zamkow’s aesthetic credo; she describes the characters played by Zamkow (especially Medea from the performance in the Kameralny Theatre); different critical opinions, as well as fragments of letters from the artist to actors, which show her skills. She was a rebellious, but curious and meticulous observer of Brecht’s work. By modifying the rules of epic play, she worked out her own methods of building roles. Distance and expression, elements of realism and symbolism, irony and pathos created in them a harmonious combination, against the contrasts which separated them.
EN
Lidia Zamkow, a great individual in the theatre, a hero of numerous press arguments in the 60s and 70s of the 20th century, is mainly remembered as a shocking stage arranger with innovative ideas. Classics (Sophocles, Euripides, Shakespeare, Gorki, Dostoyevsky, Wyspiański) and contemporary period (Wiszniewski, Kafka, Brecht, Durrenmatt, Mrożek), were crucial for her achievements as a director. However, she was underappreciated as an actress with a few brilliant roles. Little did one realize how great her influence was on actorship, both as a director and an actress. This paper is an attempt at filling this gap; the author discusses some statements, which could be regarded as Zamkow’s aesthetic credo; she describes the characters played by Zamkow (especially Medea from the performance in the Kameralny Theatre); different critical opinions, as well as fragments of letters from the artist to actors, which show her skills. She was a rebellious, but curious and meticulous observer of Brecht’s work. By modifying the rules of epic play, she worked out her own methods of building roles. Distance and expression, elements of realism and symbolism, irony and pathos created in them a harmonious combination, against the contrasts which separated them.
DE
Lidia Zamkow, a great individual in the theatre, a hero of numerous press arguments in the 60s and 70s of the 20th century, is mainly remembered as a shocking stage arranger with innovative ideas. Classics (Sophocles, Euripides, Shakespeare, Gorki, Dostoyevsky, Wyspiański) and contemporary period (Wiszniewski, Kafka, Brecht, Durrenmatt, Mrożek), were crucial for her achievements as a director. However, she was underappreciated as an actress with a few brilliant roles. Little did one realize how great her influence was on actorship, both as a director and an actress. This paper is an attempt at filling this gap; the author discusses some statements, which could be regarded as Zamkow’s aesthetic credo; she describes the characters played by Zamkow (especially Medea from the performance in the Kameralny Theatre); different critical opinions, as well as fragments of letters from the artist to actors, which show her skills. She was a rebellious, but curious and meticulous observer of Brecht’s work. By modifying the rules of epic play, she worked out her own methods of building roles. Distance and expression, elements of realism and symbolism, irony and pathos created in them a harmonious combination, against the contrasts which separated them.

Keywords

PL
RU
DE
EN

Publisher

Uniwersytet Komisji Edukacji Narodowej w Krakowie

Journal

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

Year

2019

Volume

19

Pages

257-274

Physical description

Dates

published
2019-12-25

Contributors

author
Ewa Łubieniewska
  • Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie

References

  • Arendt H., Eichmann w Jerozolimie. Rzecz o banalności zła, przeł. A. Szostkiewicz, Kraków 1998.
  • Barnaś K., „Medea” Słomczyńskiej, „Gazeta Krakowska”, 1.03.1960, nr 51.
  • Dymna A., Warto mimo wszystko. Pierwszy wywiad-rzeka, rozmawiał W. Szczawiński, Kraków 2006.
  • Flaszen L., Antyk ze Słomczyńską, „Echo Krakowa”, 19.02.1960, nr 41.
  • Flaszen L., Jak grać Mrożka?, „Echo Krakowa” 1962, nr 135.
  • Flaszen L., Moralistka w krainie elfów. „Radosne gaje, do których wprowadzał nas Szekspir…”, „Echo Krakowa” 1963, nr 154.
  • Greń Z., Medea znaczy: miłość, „Życie Literackie” 1960, nr 9.
  • Jabłonkówna L., Krakowskie peregrynacje, „Teatr” 1962, nr 11.
  • Krzysztof Lubczyński rozmawia z Arkadiuszem Bazakiem, aktorem filmowym i teatralnym, Pisarze.pl. e-Dwutygodnik Literacko-Artystyczny, 30.04.2011, https://pisarze.pl/ 2011/04/30/krzysztof-lubczynski-rozmawia-z-arkadiuszem-bazakiem-aktorem- -filmowym-i-teatralnym/ (dostęp: 28.07.2019).
  • List do Ewy i Andrzeja Mrożewskich, www.Hypatia.pl/osoby/Lidia-Zamkow (dostęp: 14.08.2019).
  • Mamoń B., Baba-Dziwo, „Tygodnik Powszechny” 1968.
  • Mamoń B., Młodość „Medei”, „Tygodnik Powszechny”, 20.02.1960, nr 8.
  • Mamoń B., Szekspir żywy, „Tygodnik Powszechny” 1963, nr 13.
  • Napiontkowa M., „… należy sprawę grać heterogenicznie” (wpływ repertuaru awangardowego l. 50. XX w. na kształt gry aktorskiej w Polsce), [w:] Sztuka aktorska a dramat, red. L. Kuchtówna, Warszawa 1993, s. 53.
  • Nie uznaję teatru bez tekstu. Z Lidią Zamkow rozmawia Krzysztof Miklaszewski, „Scena” 1971, nr 1.
  • Świderska A., Medea w Krakowie, „Słowo Powszechne”, 7.03.1960, nr 58.
  • Trzeba wiedzieć, po co i dla kogo, notowała A. Borkowska, „Teatr” 1974, nr 11, s. 11. www.Hypatia.pl/osoby/Lidia-Zamkow (dostęp:14.08.2019).
  • Vogler H., Medea, 1960, Stary Teatr, Program teatralny. Z rozmów trzech króli o teatrze, „Teatr”, 4.02.1960, nr 11.
  • Zamkow L., Moje mądre przyjemności, [w:] Świadomość teatru. Polska myśl teatralna drugiej połowy XX wieku, red. W. Dudzik, Warszawa 2007.

Document Type

Publication order reference

Identifiers

DOI
10.24917/20811853.19.17

YADDA identifier

bwmeta1.element.ojs-doi-10_24917_20811853_19_17
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