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1
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O widowiskach staropolskich

100%
Kencki P.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 2(246)
5-18
EN
The author presents the world of old Polish spectacles by combining performative and ethnoscenological perspectives. On the one hand, he makes use of his own definition of performance as a causal action while, on the other hand, attempting to distinguish the sphere of old Polish spectacles and pinpoint its unique features. In his analysis, he eschews any theatrocentric classification of performance phenomena. The middle part of the article discusses Julian Lewański’s research on old theatre and stresses the novel way in which he looked at various sides of stage creation using classifications derived from sociology. The last, and the longest, part is an attempt to combine the methodological assumptions discussed in the previous sections. Its title, “Power and Spectacle,” is a deliberate reference to the thought of Michel Foucault and Jon McKenzie. Adoption of such a point of view leads the author to distinguish the concepts of direct and indirect performatives, which may be exemplified by a public execution on the one hand, and the drowning of Marzanna on the other. At the same time the author proposes to replace the sociological classification put forward by Lewański with one that differentiates the kinds old Polish spectacles in relation to centres of power: the Church, secular authorities, and school situated on the borderland between them. The author, however, does not ignore the “prehistoric” sphere of spectacles functioning at the lower, or deeper, levels of culture that the aforementioned typology fails to grasp. The whole text is set into a frame of metaphors relating to old and modern visions of cosmos.
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Pamięć roku 1765

100%
Kuligowska-Korzeniewska A.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
313-329
EN
The birth of the National Theatre in 1765 has a permanent place in the history of the Polish theatre and Poland as such. Wojciech Bogusławski, who had debuted as an actor, singer and author in 1778, but due to his great contributions was called “the father of the national stage,” reminded the date to his readers in Dzieje Teatru Narodowego (‘A History of the National Theatre’) published in 1820, when he wrote that “the first inauguration of the national stage was initiated” by King Stanislaw August. A copy of the book was set in the foundation of a new national theatre house at Marywil in Warsaw (the Teatralny Square) on 19 November 1825, on the 60th anniversary of the first Polish public comedy (Natręci by Józef Bielawski). After the collapse of the November Uprising, the memory of 1765 was kept up mostly by theatre historians, critics and dramatists (Karol Estreicher, Władysław Bogusławski, Wincenty Rapacki, among others). Actors of the Warsaw Government Theatres referred with great passion to the beginnings of the national stage when they were on strike in November 1905 demanding that the theatre be “nationalised” and its administration passed over to the municipal government and the Civil Committee. After Poland regained independence—with development of historical studies—the memorable date of 19 November 1765, along with the figure of the many-year manager of the National Theatre, gained a permanent place in the collective consciousness of the nation. In 1936 a statue of Wojciech Bogusławski, completed by Jan Szczepkowski, was unveiled on the Teatralny Square. During the Second World War, the statue, as well as the whole building, was destroyed by the Germans. The right wing of the building, which housed the Narodowy Theatre, was rebuilt in 1949, and the Wielki Theatre was reopened in 1965, on the 200th anniversary of the National Stage. The anniversary was officially celebrated by the state and brought about a substantial body of academic and artistic achievements. The manager of the Narodowy Theatre at the time, Kazimierz Dejmek, initiated a Programmatic Declaration for the stage, proposing an “iron-cast repertory” that encompassed the pieces by such authors as Jan Kochanowski and Sławomir Mrożek. A commemorative stone with a suitable inscription to that effect was put at the junction of the Marszałkowska and Królewska Streets, where the Opernhaus (Operalnia), a home to the first National Theatre, used to stand. The opening of the Wielki Theatre was celebrated with a performance of Straszny Dwór (‘The Haunted Manor’) by Stanisław Moniuszko. The Narodowy put on Kordian by Juliusz Słowacki (dir. by Dejmek). Moreover, on 19 November 1965, theatres across Poland premiered Polish plays. The academic output of the celebrations (conferences, publications) was impressive as well. The 240th anniversary of the National Theatre was not that grand, although it was commemorated by the conference “Teatr narodowy w służbie publicznej. Marzenia i rzeczywistość” (‘The National Theatre in Public Service. Dreams and Reality’), held in the Redutowe Rooms of the Wielki Theatre. The 250th anniversary, commemorated by a special resolution passed by the Sejm of the Republic of Poland, is still waiting for its chronicler.
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Pamięć o dawnym teatrze

100%
Kencki P.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 1(245)
69–76
EN
The text constitutes an attempt at summarising the presence of old-theatre, and especially old-Polish-theatre, related themes in Pamiętnik Teatralny. In particular, who among theatre scholars, literature historians, historians of art, musicologists or historians studying the older epochs collaborated with our quarterly? Then, what were the subjects addressed (old European theatre, old Polish spectacles, Oriental traditions) and what monographic issues were devoted to the stages of the First Polish Republic or the beginnings of the National Theatre. The last part of the article deals with the policy of successive editorial boards concerning the presence of old theatre history in Pamiętnik Teatralny.
4
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Arlekin Bohomolca i Poliszynel Duranty’ego. O humorze uwolnionym od obowiązków

100%
Waszkiel H.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
126-142
EN
The article draws attention to Harlequin’s presence in Polish theatre and his later gradual disappearance from the stage. Two comedies by Franciszek Bohomolec, Arlekin na świat urażony (1756) and Nieszczęśliwe przypadki Panfila (1783), are analysed in detail. Composing the first of them, the outstanding comedy writer was still enchanted by commedia dell’arte (watched in Italy and at the Operalnia in Warsaw) and, additionally, drew inspiration from the traditional folk interplays. In later years, having become a champion of royal reforms and a supplier of didactic comedies for the public theatre, he succumbed to the rules and didacticism of the Enlightenment. The example of the two closely related comedies by Bohomolec is a forceful demonstration that Harlequin was expelled from Polish drama and theatre very quickly, even during the lifetime of the first generation of “national” comedy writers. The grass-roots-level, plebeian comedy in Poland all but disappeared; its traces could only be found in humorous gags incorporated into nativity plays (szopkas). It was not so in Western Europe, where the Harlequin character, driven out of the “serious” theatre, flourished in the puppet theatre—as fair-market and plebeian as himself. In 1861, at the Tuileries Garden in Paris, Louis Éile Edmond Duranty (1833–1880) established his puppet theatre. Among the twenty-four surviving dramas by Duranty featuring Pulcinella, Pierrot and Harlequin characters, there is one strikingly resembling some motifs of Bohomolec’s Arlekin na świat urażony, even though it is more than a century later; it is entitled Polichinelle retiré du monde. The comparison of these three versions of the same motif (two versions by Bohomolec and one by Duranty) confirms the hypothesis that the Enlightenment, in its didactic and moralising fervour, thwarted the development of plebeian comedy. However, whereas in Western Europe the spirit of commedia dell’arte found its refuge in the fair-market puppet theatre, in Poland the gag proved to be effective, and thus we do not have a Polish Pulcinella.
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Ile szkód przynieść może zawodowy polski teatr. Tadeusz Czacki i Gimnazjum (Liceum) Wołyńskie w kręgu spraw teatralnych

88%
Komorowski J.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
297-312
EN
The relations between one of the most important Polish schools of the 19th century, the Volhynian Gymnasium (Lyceum) at Krzemieniec, and the theatre—as a phemomenon and institution—were complex and ambiguous. On the one hand, the tradition and the idea of the Polish National Theatre, founded by King Stanislaw August, was appreciated and held in high regard. The idea, epitomised by Wojciech Bogusławski, “the father of the national stage,” stressed the significance the theatre had in maintaining the national identity after the partitions, under foreign (at Krzemieniec, Russian) domination. In literature classes, the Gymnasium students were introduced to dramas written by the Polish Enlightenment authors and were taught about the educational role of theatre. They also read the most outstanding foreign dramas, by Molière and Shakespeare. One of the students, Franciszek Kowalski, went on to become a respected translator of Molière’s. On the other hand, however, the school authorities, concerned about the morality of its students and reinforcing its educational autonomy, viewed the travelling companies of Polish actors that visited the town with great suspicion, which was in line with Jean-Jacques Rousseau’s pedagogical ideas. This was also partly due to the fact that, although the companies were “children” of the National Theatre, they usually did not measure up to the Warsaw standard of artistic merit.
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Tradycje Sceny Narodowej

88%
Kencki P.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
258-269
EN
The Narodowy Theatre may not boast uninterrupted operation as a public institution and its name changed on numerous occasions, yet it may boast continuity of its tradition. The Narodowy Theatre continues to carry on the mission entrusted to the company of Actors of His Majesty’s Polish Comedies in 1765 as a programmatically Polish theatre. Tradition of the National Stage includes also the repertory written specifically for its purposes. The acting traditions seems equally important. Today’s actors of the National Theatre may boast the professional pedigree going back to the 18th century. Keeping all this in mind the author of the article argues for three theses. Firstly, all subsequent professional public theatres operative during the reign of King Stanislaw August comprise a single phenomenon, united by the same idea, viz. the National Stage. Secondly, one can discern in the phenomenon of the National Stage the tradition of Old-Polish theatres and, therefore, of former national stages. Thirdly, the present-day Narodowy Theatre can be treated as a continuation of the National Stage, whose traditions can be found in other Polish theatres as well.
7
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Aktorowie początkowi

88%
Dębowski M.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
270-288
EN
The title of the article is borrowed from the incipit of the part of Myśli o pismach polskiech (‘Thoughts on Polish Written Works’) that Prince Adam Kazimierz Czartoryski devoted to the first actors of the National Theatre. Czartoryski mentions three names there: Świerzawski, Truskolawska (actually, Truskolaska), and Owsiński. This was the first generation of Polish dramatic actors who performed on the Warsaw stage in the 1765–1775 decade, which is the period concurrent with successes of the greatest stars of European stages: Eckhof in Germany, Garrick in England, and Lekain in France. They were the performers who in the mid-eighteenth century consistently strived at achieving a greater depth of stage acting, which included perfecting the style of declamation characteristic for the “French school.” Adam Kazimierz Czartoryski as a co-founder of the National Theatre along with the Warsaw cultural elite of the period (e.g. Emanuel Murray), who watched their performances during their voyages abroad, considered this style of acting to be exemplary and advised the Polish actors to imitate it. Contemporary research on the style of play of the three “initial actors” does indeed make it possible to recognise in their creations characteristics of the “French school,” advised by “men of taste,” the characteristics that started fading away as the second generation of the National Theatre actors came to the fore at the beginning of the 19th century.
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Krakowiacy i Górale jako nowa Odprawa posłów greckich

88%
Kruczyński A.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
289-296
EN
The author conducts an analysis of Cud by Wojciech Bogusławski with an eye to its connexions with Odprawa posłów greckich (‘The Dismissal of the Greek Envoys’) by Jan Kochanowski. It reveals not only some similarities regarding the ideological discourses constituting the grounds of the two plays, but also parallels concerning the plot and functional similarities of some episodes, e.g. the act of stealing cattle that opens up the perspective for revenge. Wojciech Bogusławski knew Odprawa posłów greckich and appreciated its subject matter as being of paramount importance at the eve of the Kościuszko Uprising. Yet he saw no possibility of putting it on for the audience that had radically different aesthetic expectations. Later on in his article, the author draws attention to the ambiguity of Bardos, the major character of Cud whom Bogusławski created for himself. At a metaphorical level, Bardos is a popular leader, a magician who by a presumed miracle saves his nation from bloodshed and mad vengefulness. Cud, much like Odprawa, is an appeal for national unity in the face of danger. In Bogusławski’s case, the appeal is supplemented with a call for enlightened charismatic leadership, which according to the author, is closely linked with the advice that Jean-Jacques Rousseau had for the Poles in his Considerations on the Government of Poland. The inspiration of Rousseau could also explain the authorial emendation to the original title (Cud mniemany—‘The Pretended Miracle’), made in Lvov in 1796.
9
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O korzeniach sceny narodowej w przedoświeceniowej działalności teatrów jezuickich

75%
Mieszek M.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
99-125
EN
The aim of the article is to trace how the experiences and achievements of Jesuit drama (especially that of the second half of the 18th century) influenced first productions of the national stage. The correlations of the two theatres are apparent at many levels. A similar understanding of what theatre is for, ennoblement of classicist genres of drama, adaptation of pieces by foreign playwrights (Molière, Voltaire), programmatic and intentional presence of patriotic and civic content in the dramas, or application of similar means of artistic expression are but a few issues discussed in the article. The process whereby Jesuit plays became more and more classicist in form was a response to the changing internal and external circumstances. In the 18th century, the Jesuit college theatre was meant to encourage active participation; in other words, it was not focused solely on propagating religious content, but aimed at educating a good citizen and accented secular values. On the other hand, enunciations made by Jesuit dramatists of the period in forewords and dedications to their works reflect their evolving mindset, erudition and changing reading lists. The examples proffered in the article provide evidence that the college theatre was a source of ideas and formal solutions for the national stage, constituting one of its major pillars.
10

Vera historia „Historyi o chwalebnym Zmartwychwstaniu Pańskim” Mikołaja z Wilkowiecka

63%
Wojtowicz W.
Pamiętnik Literacki
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2024
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vol. 115
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issue 1
153-167
PL
W artykule przeanalizowano, w jaki sposób Mikołaj z Wilkowiecka, autor „Historyi o chwalebnym Zmartwychwstaniu Pańskim”, „konstruuje” niekwestionowalną „prawdziwość” utworu, odwołując się w tytule do łacińskiego terminu „historia” oraz dystansując się od teatru (swojego utworu nie określa w kategoriach przedstawienia scenicznego). W tytule dzieła odbija się charakterystyczna dla chrześcijaństwa tendencja do odrzucania teatru i koncentrowania uwagi wiernych na zjawiskach liturgicznych czy paraliturgicznych. Pod wpływem krytyki protestanckiej ostatni aspekt wymusił na Mikołaju także eliminację scen przesyconych świeckością.
EN
The paper analyses the mode in which Mikołaj of Wilkowiecko, the author of “Historyja o chwalebnym Zmartwychwstaniu Pańskim” (“The History of the Glorious Resurrection of Our Lord”), “constructs” the indisputable “truth” of the piece, in that he refers to the Latin term “historia” and distances from theatre (does not define his piece in the categories of stage performance). The title of the work reflects a tendency, characteristic of Christianity, to reject theatre while concentrating the believers’ attention on liturgical and paraliturgical phenomena. Under the influence of Protestant criticism, the last aspect exhorted Mikołaj to eliminate the scenes satiated with secularity.
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