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Nieznane molierianum warszawskie z początku lat sześćdziesiątych XVIII wieku

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Daszkiewicz P., Judkowiak B.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
45-55
EN
We are presenting a new source documenting the theatre life in Warsaw at the beginning of the 1760s outside the Saxon Operalnia. In the French Muséum National d’Histoire Naturelle in Paris, among the papers of Jean-Étienne Guettard (1715-1786), a natural scientist and geologist who was in Poland in 1760-1762 (accompanying Marquis de Paulmy Antoine-René Voyer de’Argenson who served as French ambassador to the Polish court of King Augustus III), there is a Polish-German theatre poster. The lower part of the poster, written in German and printed in finer letters, is a little more detailed and edited with more care than the Polish counterpart, and thus, may be viewed as the primary version. A stage artist styling himself as a “well known English funambulist” had probably come to the capital of Poland via one of the usual tracts journeyed by the so-called traveling troupes of English comedians that were going East through German countries. His last name, spelled as “Berge” (Berże), suggests an actor and entrepreneur known as André Bergé. A little later, in 1765, he was leasing a theatre house on Monbijou Square in Berlin. Using the German version of his name, Andreas, this former member of a French theatre troupe that cultivated comical opera in the capital of Prussia, produced a series of singspiels. The Warsaw show announced by the presented poster was to be performed at the riding hall by the Załuskich Palace on Długa Street and featured two titles: Doktor przymuszony albo przez kochanie zaniemówiona białogłowa and Imaginacja choroby, split by an acrobatic show by Mr and Mrs “Berże” (Bergé). The German title of the latter comedic piece, advertised as a “brand new English pantomime”, is consistent with how Molière’s Le malade imaginaire was traditionally translated. In the case of the former comedy, traces seem to lead to English adaptations as well: Le médecin malgré lui by Molière was translated into English thrice at the beginning of the 18th century: by John Otello, John Watt, and Henry Fielding. An adaptation Doctor or the Dumb Lady Cur’d by the last of the authors was played at the royal theatre on Drury Lane (prem. 23 June 1732). The present work-in-progress paper discussing the Parisian discovery made by Piotr Daszkiewicz encourages further and more detailed research.
2
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Koło ratunkowe – Molière w Le Théâtre du Soleil

100%
Hasiuk M.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
167-181
EN
Ariane Mnouchkine admitted in one of her interviews that, at the beginning, she had been simply hostile towards Molière and his legacy. Taking it into account makes her struggles with the oeuvre of Jean Baptiste Poquelin even more interesting. It is not accidental that the circumstances of both instances when Mnouchkine had a stab at Molière were similar. Both the film Molière (1978) and the theatre production of Tartuffe were realised at a time of serious problems that Le Théâtre du Soleil faced. And both productions were a lifesaver for the theatre. The screenplay for the film was based on the novel Life of Mr. de Molière by Mikhail Bulgakov. More importantly, however, the whole endeavour was for Mnouchkine a way to confront the heritage of her predecessors with what she was striving for. The outstanding man of the theatre was portrayed in a broad context that included his relationships with his theatre company, the epoch, society that was “barely emerging from the Middle Ages”, and power that revealed itself in the despotism of the king and the fanaticism of devotees. Mnouchkine made her Tartuffe take place in a setting resembling Arabic countries. In doing so, however, she did not attempt to stage Molière “in Arabic” but rather to bring up to date the image of social threat which the playwright in the 17th-century France had seen in zealots. The device she used had also to do with her conviction that making the setting more distant in time and place, a device applied to many different texts, often revealed the essence of the problem. The complexity of Mnouchkine’s attitude towards Molière clearly shows the problems with tradition understood as an act of passing something along. Its most important feature turns out to be the act of creating a space between generations that ensures creativity and development for both parties involved and enables them to transcend the natural bounds of death and deterioration.
3
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Molière i inni

100%
Kencki P.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
7-13
EN
The introductory article presents the conception of the present volume of Pamiętnik Teatralny (4/2014) that focuses mostly on the reception of Molière, but also, as there is such opportunity, of other French playwrights in the Polish-Lithuanian Commonwealth. Most of all, the particular stages of absorbing the work of the great comedy writer are discussed. The initial phase of the process encompasses the plays performed at courts of distinguished Polish noblemen fascinated with French culture in the 17th century. The next phase brings the adaptations and paraphrases written by magnates in the Saxon period. The subsequent stage is marked by the presence of Molière’s comedies on the stages of schools run by religious orders, which included adaptations made by Father Franciszek Bohomolec. Public performances organised in Poland by foreigners constitute a separate phenomenon. The translations completed for the National Stage by Polish authors (by Wojciech Bogusławski and Jan Baudouin, among others) were also an important part of the reception process. It would also be worthwhile to note that it had its impact on theatres at provincial courts as well. The volume contains texts about other French playwrights as well. Much space is given to some issues concerning the work of Pierre de Marivaux, and a little less – to that of other playwrights. The following authors are mentioned, among others: Pierre Corneille, Jean Racine, Philippe Quinault, Philippe Néricault Destouches, Jean François Regnard, and many others.
4
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Molière, Morsztyn, Marysieńka

100%
Kencki P.
Pamiętnik Teatralny
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2014
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vol. 63
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issue 4(252)
14-44
EN
The article discusses the beginnings of Molière’s reception in Poland. The Paris premiere of Sganarelle ou Le Cocu imaginaire on 28 May 1660 serves as a starting point for the discussion. The performance of the same comedy in Warsaw on 5 March 1669 is the first instance of Molière’s work being performed in Poland. It was put on at Jan Andrzej Morsztyn’s palace to honour the departure of the former king of Poland John Casimir Vasa. Another royal couple, King John III Sobieski and Marie Casimire, can be credited with putting on Les fourberies de Scapin (Cracow, 12 April 1676), L’École des femmes and L’Amour médecin (Jaworów, June 1684). Organisers of the Jaworów shows even mentioned Molière by name. Thanks to Rafał Leszczyński, Polish king Stanislav’s father, Le Bourgeois gentilhomme was staged during the Carnival of 1687, probably in Leszno. While the four previous shows were performed in French, it is not clear whether it was so in the case of the last one. Certainly, however, a theatre programme that has survived to our times contains first attempts at rendering the comedy in Polish. While discussing the reception of Molière in Old Poland the author takes the opportunity to mention Polish translations and productions of Jean Racine’s tragedies and Pierre Corneille’s and Urbain Chevreau’s tragicomedies of the period. One important finding concerns the second play staged at the event organised by Morsztyn in 1669. A piece titled Le Docteur de verre performed there was, without doubt, a fragment of La comédie sans comédie by Philippe Quinault.
5
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Molière w teatrach warszawskich (1870–1919). Rekonesans

100%
Bieńka M. O.
Pamiętnik Teatralny
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2015
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vol. 64
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issue 3-4(255-256)
180-219
EN
Molière in Warsaw Theatres (1870–1919). A Reconnaissance
6
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Стилистика нарратива в романе «Жизнь господина де Мольера» Михаила Булгакова (литературоведческий аспект)

63%
Stepnowska T., Лодзинский университет к. р. л. и. к. И. р. П.
Acta Universitatis Lodziensis. Folia Linguistica Rossica
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2015
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vol. 11
EN
The article presents the most significant issues which are connected with the narration in the Bulgakov’s novel. The first-person narrative is construed by means of the vivid and flowery language. The author’s critical comments on the age of Louis XIV and human relationships that prevailed in the then theatres, proved to be universal and timeless. To a large extent the comments reveal the author’s own opinions on the life of theatre in the times of Stalin’s terror.
RU
Статья представляет наиболее существенные проблемы, связанные с повествованием в романе Михаила Булгакова. Оно ведется от первого лица единственного числа живым, насыщенным художественными средствами языком. Критические замечания повествователя об эпохе Людовика XIV, господствующих тогда в театре отношениях носят универсальный и вневременной характер. В большой степени это мнение самого Булгакова о театральной жизни времен сталинского террора.
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