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1

Rosyjski teatr w covidzie i wokół niego

100%

Osińska K.

Didaskalia. Gazeta Teatralna

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2021

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issue 163/164

283-310

PL

Russian Case – Festiwal Złota Maska 2021, 1-6 kwietnia 2021

2

„Nowa kobieta” i eugenika w rewolucyjnej retoryce („Chcę mieć dziecko!” Siergieja Trietjakowa, 1926-1928)

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Osińska K.

Didaskalia. Gazeta Teatralna

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2023

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issue 175-176

60-93

EN

This article discusses Sergei Tretyakov’s drama I Want a Baby in a broad historical context. At the centre of the drama the writer placed a female protagonist who is, according to the author of the article, a variant of the concept of the ‘new woman’, an interpretation of which was presented by Aleksandra Kołłontaj (in her articles of 1913 and 1919). A summary of Kołłontaj’s views made it possible to extract from them the problems taken up by Tretyakov, i.e. the position of women in society, motherhood, the family, the organisation of the childcare system in the post-revolutionary reality. The heroine of Tretyakov’s play wants to give birth to a child, but does not want to start a family. She chooses a candidate for the father herself, with the proviso that he must be healthy and have a proletarian class background. ‘The New Woman’ in Tretyakov’s rendition is committed to laying the foundations of a healthy society, and eugenics is meant to help in this. The article shows the reasons why the heroine of the drama is not accepted by her environment (in the play itself) and also arouses opposition from the critics (as a result of which, Tretyakov’s work was not printed and did not live to see a stage or film production). Confronting her character with old ideas about the family, Tretyakov points out the obstacles to the fulfilment of the revolutionary ideas. To this end, light was shed on the idea of the new family as construed by Lev Trotsky and on Aron Zalkind’s views on the sexual education of the proletariat. The heroine of the play was confronted with the image of the ‘new woman’ propagated in society and with the real-life communist activist Asja Lācis. Also addressed was the blurring of gender boundaries in the development of the idea of the new man. The numerous contradictions that the play abounds with make it difficult to decide whether Tretyakov believed in the effectiveness of biological control of society combined with the idea of education by institutions, or whether he wanted to show the dangers of social experiment.

3

Metamorfozy „Budy jarmarcznej”: Aleksandr Błok − Wsiewołod Meyerhold – Tadeusz Kantor

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Osińska K.

Prace Filologiczne. Literaturoznawstwo

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2013

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issue 3(6) cz.2

103-114

EN

Puppet Show Alexander Blok’s short lyrical drama introduced new perception of the principal elements of the theatrical performance structure. These include the scene-audience, actor-scenic character and illusion-disillusion relations. The paper attempts to reconstruct how Vsevolod Meyerhold saw Puppet Show and what Tadeusz Kantor derived from his reading of the piece. Influenced by Blok, Meyerhold began the process of theatre’s theatrical restitution reaching to the beginnings which include commedia dell’arte. Puppet Show, which influenced the theatre during the entire second half of the 20th century, can be read as a meta-text commentary to the very essence of theatre. It addresses the strain between the building of the scenic illusion and its disassembly. This strain pertained to the theatre of Tadeusz Kantor, who from his early years on, was fascinated with Blok’s drama. Kantor’s presence on stage in his performances is the consequence of Blok introducing the character of the Author in his drama. Furthermore, for Kantor, the expression “puppet show” was synonymic to the theatre of “love and death”, in other words − the theatre of constructed emotions.

4

„Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku

100%

Osińska K.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2013

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vol. Zeszyt specjalny 2013

31-42

EN

In the Russian theatre, especially the postmodern one, since the turn of the 80s and 90s we have been able to observe that young theatre creators tend to adopt a defiant derisive attitude – both towards reality and to texts originating from the culture of the past which often constitute the subject matter of their works. A part of phenomena that are mentioned here might be presumably called ‘performances of laughter’ (as opposed to ‘performances of violence’ – this was the way the so-called new Russian drama was named by Mark Lipovetsky and Birgit Beaumers). This kind of artistic gesture was a reaction to the fact that in the former Soviet Union art was regarded as a mission and theatre was treated as a cradle of culture. They also meant a rebellion against authority figures, also the authority of tradition, and on the other hand they were an expression of surrender in the face of challenges brought in by the new social, political and cultural situation. In the article I assume that ‘performance of laughter’ and other theatre forms, whose authors undermined the possibility of rational cognition, simultaneously enhancing such strategies as absurd, eccentricity, chaos, infantilism, showing-off (in Russian „stiob”), originated from the chronologically earlier trend of visual arts, deriving from the Moscow Conceptualism. Therefore, I begin the article presenting the contents of the magazine “Hudozhestvennyi zhurnal” (2000, 26–27) dedicated to art taming the type of consciousness which medicine diagnoses as “idiotism”.

5

Don Kichot i antropozofia: O tym, jak aktor Michaił Czechow pragnął zagrać rolę Rycerza Smętnego Oblicza i dlaczego roli tej nie zagrał

100%

Osińska K.

Pamiętnik Teatralny

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2020

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vol. 69

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issue 1

145-162

EN

Mikhail Chekhov left several documents of his work on the role of Don Quixote, the best-known being the Meditation on Don Quixote (1926) and The Quixote Journal (1928). The planned premiere at the Moscow Art Theatre II never took place, and Chekhov did not play this part either in Russia or in exile. This article interprets the actor’s remarks about the knight in the context of anthroposophy, which at that time inspired both Chekhov’s work on the role and his spiritual development. Consulting archival material, including the transcripts of discussions about the planned staging and the actor’s correspondence with one of the authors of the first adaptation of the novel, Nadezhda Pavlovich, provides insight into Chekhov’s seemingly paradoxical perception of the figure of Don Quixote. The actor saw him as a “Luciferian” character and was critical of his idealism. The juxtaposition of Chekhov’s views with those of Bolshevik activists explains why he was ready to endorse the censorship-imposed interpretation of Cervantes’s novel, and at the same time reveals the actual motivations of his own reading. The reason for the actor’s failure in struggling with the role of Quixote was the incompatibility between his vision and Cervantes’s text, which made it impossible to create a satisfactory adaptation. His work on the role of Quixote can be treated as a stage in Chekhov’s development at a time when he was inspired by the teachings of Rudolf Steiner.

PL

Michaił Czechow pozostawił kilka świadectw pracy nad rolą Don Kichota, najbardziej znane są Rozmyślania o Don Kichocie (1926) i Dziennik o Kichocie (1928). Do premiery spektaklu w teatrze MChAT Drugi nigdy nie doszło, a Czechow roli tej nie zagrał ani w Rosji, ani na emigracji. W artykule podjęto próbę rozszyfrowania uwag aktora o postaci rycerza w kontekście antropozofii, która w tym okresie była dla niego inspiracją zarówno w pracy nad rolą, jak i własnym rozwoju duchowym. Sięgnięcie do dokumentów, w tym do stenogramów dyskusji wokół planowanej inscenizacji oraz do korespondencji aktora z jedną z autorek pierwszej adaptacji powieści - Nadieżdą Pawłowicz, pozwoliło wnikąć w paradoksalne na pierwszy rzut oka postrzeganie postaci rycerza przez aktora. Czechow widział w nim postać "lucyferyczną" i krytycznie oceniał jego idealizm. Zestawienie poglądów aktora z opiniami działaczy bolszewickich tłumaczy, dlaczego przychylał się do narzucanej przez cenzurę interpretacji powieści Cervantesa, a jednocześnie odsłania prawdziwe motywy jego własnej interpretacji. Przyczyną niepowodzenia w zmaganiu się z rolą Kichota była nieprzystawalność wizji aktora do powieści Cervantesa, co uniemożliwiło stworzenie zadowalającej adaptacji dzieła. Zarazem pracę nad rolą Kichota można potraktować jako etap w rozwoju Czechowa, zainspirowanego naukami Rudolfa Steinera.

6

Polskie teatry w Moskwie (1915–1918)

100%

Osińska K.

Pamiętnik Teatralny

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2017

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vol. 66

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issue 1/2

67-121

EN

The article and the annex it is supplied with presents a little-known episode in the history of Polish theatre during the First World War. In July 1915, when the German army was drawing close to Warsaw, a part of the population was evacuated to Russia. The refugees included a number of people of the theatre, with such outstanding individuals as Stefan Jaracz, Juliusz Osterwa, Mieczysław Limanowski, Wojciech Brydziński, Wincenty Drabik, Arnold Szyfman, and others. The first Polish theatre was launched in Moscow in September 1915. The present reconstruction of this and other Polish theatre endeavours in Moscow is based on the body of known and published Polish sources as well as on previously unknown and unpublished in Poland Russian press reviews. The annex comprises reviews of Polish theatre premieres and reports about Polish-Russian cultural undertakings that appeared in the following Russian weeklies and dailies: Russkiye vedomosti, Rampa i zhizn, Teatr, Teatralnaya gazeta, and Kievskaya mysl. The last of these, a Russian-language daily published in Kiev, featured a large article about Polish drama, with a special emphasis on Stanisław Wyspiański, written by Yakov Tugenhold. All the texts have been found as a result of on-site library searches of Russian press archives; except for the article by Tugenhold, they have not been reprinted in Russia.

PL

Artykuł oraz załączony do niego aneks przypominają mało znany epizod w historii polskiego teatru z okresu pierwszej wojny światowej. W lipcu 1915 roku, kiedy wojska niemieckie zbliżały się do Warszawy, część ludności została ewakuowana w głąb Rosji. Wśród uchodźców z Królestwa Polskiego znalazło się wielu przedstawicieli świata teatru, w tym tak wybitne postaci, jak Stefan Jaracz, Juliusz Osterwa, Mieczysław Limanowski, Wojciech Brydziński, Wincenty Drabik, Arnold Szyfman i inni. W Moskwie we wrześniu 1915 roku odbyła się inauguracja pierwszego polskiego teatru. Rekonstrukcja tego i kolejnych polskich przedsięwzięć teatralnych w Moskwie przedstawiona została na podstawie znanych już i publikowanych polskich źródeł oraz nieznanych i dotąd niepublikowanych w Polsce recenzji polskich przedstawień z prasy rosyjskiej. Aneks zawiera recenzje premier w polskich teatrach oraz relacje z udziału Polaków w przedsięwzięciach kulturalnych polsko-rosyjskich pochodzące z następujących gazet i tygodników: „Russkije wiedomosti", „Rampa i żyzń", „Tieatr", „Tieatralnaja gazieta" oraz „Kijewskaja mysl". Z tej ostatniej, wydawanej w Kijowie w języku rosyjskim gazety, pochodzi obszerny artykuł Jakowa Tugendholda, poświęcony polskiemu dramatowi, w szczególności Stanisławowi Wyspiańskiemu. Teksty te zostały zebrane w wyniku kwerend rosyjskiej prasy; nie były one dotąd (poza tekstem Jakowa Tugendholda) przedrukowywane w Rosji.

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2 Didaskalia. Gazeta Teatralna

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6 Osińska K.

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Rosyjski teatr w covidzie i wokół niego

„Nowa kobieta” i eugenika w rewolucyjnej retoryce („Chcę mieć dziecko!” Siergieja Trietjakowa, 1926-1928)

Metamorfozy „Budy jarmarcznej”: Aleksandr Błok − Wsiewołod Meyerhold – Tadeusz Kantor

„Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku

Don Kichot i antropozofia: O tym, jak aktor Michaił Czechow pragnął zagrać rolę Rycerza Smętnego Oblicza i dlaczego roli tej nie zagrał

Polskie teatry w Moskwie (1915–1918)