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Połknięty czas. Stare kobiety w dramatach Tadeusza Różewicza

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Guderian-Czaplińska E.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
105-118
EN
The article is an overview of old women portrayals in dramas by Tadeusz Różewicz with the intent of establishing how the image of the title character of "The Old Woman Broods", considered to be the turning point in the playwright’s oeuvre in respect of this motif, was shaped. In earlier plays, old women are mostly housewives, functioning as substitute mothers and feeders who affirmatively support other people’s lives. Gradually, however, images of old age systematically pushed away from the social field of vision begin to appear ("Gone Out" and "The Little Garden of Eden"), emphasised by their subversive variants that portray oldwomen as paradoxically powerful, as in "Metamorphoses". In his subsequent works, Różewicz abandons stereotypical images of womanhood in favour of the increasing independence of female characters, and the Old Woman constitutes their mostradical variant as she is, unexpectedly, the one most fiercely attached to the fullness of being. References to Gaia, the primal goddess, have been made clear byhow the inside and the outside, absorbing and discharging (giving birth), and the qualities of youth and old age are combined and mixed in her resulting in a vision of a peculiar monster who – for her exceptionality and ability to set her own rules against all established norms (which are abided by the other characters even in the face of the imminent end of the world) – is the hope for new life. Finally, however, the Old Woman’s body becomes a sign of degeneration, signifying the end of civilisation and culture: on Różewicz’s diagnosis, despair and death turn out to be stronger then the urge to live and breed.
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"Kartoteka", czyli bohaterka

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Krakowska J.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
47-78
EN
The premiere of "The Card Index" (26th March 1960) directed by WandaLaskowska is the starting point for the analysis that leads in three directions,the first being a generational narrative that is built into the drama and excludesany feminine experience, the second – a historical narrative of the Polish People’s Republic period in which the presence of female directors seems to nothave been noted sufficiently, and finally the third is the process of introducingvanguard drama onto the Polish stages after 1956, which was not as easy as isgenerally thought. Repertory novelties, from Brecht to Witkacy, were introduced into theatre mostly by female directors, who took the artistic and political risks it involved. The category of “generation” brought up in the context o "fThe Card Index" – a subject of lively discussion provoked by productions of theplay in the next decades as well – prompts one to ask whether Hero could be,or could have been, Heroine instead and how the female subject was portrayedin the arts, cinema especially, of Polish People’s Republic period.
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Śmietnisko kultury i wieczna kobiecość

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Koecher-Hensel A.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
119-164
EN
The article traces out the origins of The Old Woman Broods, emphasising the significance of the visual dimension of the text – “a tachist drama”,to use Szajna’s expression – where an important role is played by the opposition between open and closed space. Major productions of the drama are then examined, starting with the acclaimed premiere of the play directed by Jerzy Jarocki at the Współczesny Theatre in Wrocław in 1969, followed by other notable attempts to translate the intricate structure of the drama into the language of the stage: at the Schauspielhaus in Cologne in 1971, directed by Aleksander Bardini; at the Jaracz Theatre in Łódź in 1974, staged by Ewa Bułhak and Jerzy Grzegorzewski; at the Narodowy Theatre in Warsaw in 1978, directed by Helmut Kajzar; and at the Studio Stage of the Norwid Theatre in Jelenia Górain 1995, directed by Andrzej Bubień. Additionally, the overview includes two productions where fragments of the drama and its title character constitute an essential part of the performances: the monodrama Stara kobieta ("The Old Woman") featuring Irena Jun at the Studio Theatre in Warsaw in 1988, and Jaim jeszcze pokażę. Hommage à Różewicz ("I’m Gonna Show Them Yet. Hommage à Różewicz") put on by Piotr Lachmann at the Poza Video-theatre in Warsaw in 2012.
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Chińska porcelana

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Prussak M.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
37-46
EN
The article uses the example of The Card Index by Tadeusz Różewicz to pose some questions concerning the identity of a literary text that exists in several authorial versions, which in turn forces one to pause and think which of these versions should be a basis for a critical edition or interpretation of the work. The case of The Card Index is particularly complicated because as many as three different texts in which the recurring Card Index is the key element exist; there are two manuscript versions published as autograph reproductions, and a video footage, published on DVD, of open rehearsals to the unfinished production of Kartoteka rozrzucona (‘The Scattered Card Index’). Interpretation of the drama must take the interrelatedness and complementariness of these versions into account.
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O dramatach Różewicza i metafizyce bycia

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Ratajczakowa D.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
7-36
EN
The text brings an attempt to grasp a basic set of conditions determining the dramatic work by Tadeusz Różewicz, the greatest Polish playwright of the second half of the 20th century. I set aside postmodernism as being insignificant as far as Różewicz’s plays and the proposed interpretation are concerned; I also leave off the viewpoint of avant-gardes because Różewicz has never been anavant-garde poet, even though it is obvious that avant-gardes are partly responsible for the condition of contemporary art. There are three basic contexts that I bring up in my reading: the first is the act of overcoming and discarding the traditional metaphysics of substantive being, concurrent with the emergence of new metaphysics of existence which has made it possible to grasp the hitherto overlooked truth of ordinary being and to ask about its sense; secondly, there is the situation of an author and his or her work after the end of the arts and letters when the old frameworks of poetry and theatre are in ruins; and thirdly, there is the total deficit of meaning, aggravated additionally by the totalitarian regime. In his search for the meaning of life – a meaning of small proportions, ordinary and absolutely conditional – Różewicz must concentrate on an individual being that exists in this regime, with the influence it exerts on how the meaning is sensed, whether it is lacking or misapprehended. He does so using forms that are for various reasons crippled, negated, or amalgamated, because the only forms that he has at his disposal are burdened with tradition and he tries to scrape off their veneer. He does not care about their canonicity and aesthetic categories, but it is obvious that for Różewicz the question about the meaning of life includes the question about the sense of creating. Faced with the ruin of meanings and values, he has found his chance to restore meaning by turning to the human body, to what has been inscribed in it by both nature and culture, which is to say that it is a turn towards both physiology and writing. Generally speaking, Różewicz’s (not only dramatic) work is the furthest reaching consequence of the process overriding various traditions in life and art and the process of looking for substitutes for the things that have been lost beyond saving.
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„Panie szukają problemów”. Próba rekonstrukcji dramatu „Dzieci nie chcą żyć” Marceliny Grabowskiej oraz jego inscenizacji i recepcji w ramach wytwarzania feministycznego archiwum

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Obarska M.
Didaskalia. Gazeta Teatralna
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2023
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issue 178
62-89
EN
The paper is an attempt to reconstruct the content of the drama Dzieci nie chcą żyć (Children Don’t Want to Live) by Marcelina Grabowska as well as its staging and reception. Using the methodology from the field of philosophy of history (Benjamin), theory of performance (Rebecca Schneider) and anthropology of memory (Michel-Rolph Trouillot), the authoress analyses the collected archival material. She thus problematizes the notion of a silent archive and an archival gap. The archives concerning probably the first and only staging of Grabowska’s play (May 1938) and the sociopolitical reality turn out to be the subject of reflection upon the materiality of history and recurrence of time. The crisis of psychological support for children and adolescents of the 1930s comes into dialogue with the (re)current appearance of this issue that happened during the pandemic. The paper contributes to the feminist archive production as a consciously political and architectural gesture that supports non-hegemonic narratives of the history of Polish theatre.
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Z rodziną komedii do „rodzinnej Europy”

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Ratajczak D.
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2015
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vol. 64
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issue 3-4(255-256)
85-98
EN
The text discusses a challenge that the eighteenth-century European civilisation posed for generations of the Polish Enlightened and some consequences of their decisions. In fact, there was no alternative for them: in order to become part of the European civilisation and the progress whose path had just been set they had to bring about a multifaceted transformation of the Polish society dominated by noblemen, to make a turn that would completely change its world view, mentality and customs. Because one cannot be a part, and then heir, of the Enlightenment without being modern. And so the Polish enlightened elites fashioned their theatre as a transforming medium based on French models and classicist aesthetic—the most modern in Europe and most suited to their general educational intentions. The task of nationalising the progress was undertaken by Prince Adam Kazimierz Czartoryski, whereas the standard of comedy was proposed by a Jesuit playwright, Franciszek Bohomolec. The main burden of modernisation was to be borne by comedy, due to its qualities being the genre most suitable for the purpose. “The familial Europe” (a reference to memoirs by Maria Czapska) serves here as a metaphor of the cultural situation. On our way to our “familial Europe” we were accompanied by a whole family of comedies of several intertwining lineages: the didactic comedy “of purpose”, the emotional comedy, the comedy of manners, the aristocratic comedy, and political comedy.
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Od Les Fâcheux do Natrętów

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Kencki P.
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2015
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vol. 64
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issue 3-4(255-256)
7-36
EN
The premiere of Natręci by Józef Bielawski took place on 19 November 1765 at the Saxon Operalnia in Warsaw. The night on which the Actors of His Majesty’s Polish Comedies performed the comedy for the first time made history as marking the beginning of the National Theatre’s operation. The author of the article draws our attention to the fact that, contrary to widespread opinion, Natręci is not an adaptation of Les Fâcheux by Molière, even though the French playwright’s comedy served Bielawski as a source of inspiration. The second important finding is that Bielawski’s comedy is not a piece championing the Enlightenment. A thorough analysis reveals that Natręci is a satire on both the Sarmatians and the cosmopolitans. Yet the playwright’s sympathies are with the former. It may be assumed that the playwright added the paratexts referring to the Enlightenment programme of reforms on King Stanislaw August’s request. The article discusses in detail other pieces by Bielawski (including his second comedy, Dziwak), makes reference to the key French contexts (the oeuvres by Molière and Destouches), as well as to the history of the National Theatre and its repertories at the onset of its operation, and, finally, recounts the subsequent history of Les Fâcheux and Natręci on the Polish stages, including Piękna Lucynda by Marian Hemar (as a twentieth-century adaptation of Natręci).
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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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„A jeżeli tego miasta nie ma”. Dialog o Arkadii w teatrze Grzegorzewskiego

88%
Dziewulska M.
Pamiętnik Teatralny
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2013
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vol. 62
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issue 3-4(247-248)
165-180
EN
The production of Tadeusz Różewicz’s "Duszyczka" (‘A Little Soul’) put on by Jerzy Grzegorzewski at the Narodowy Theatre in 2004 was preceded by other adaptations of the poet’s non-dramatic pieces that were staged by the same director. The scripts to two of them – "Śmierć w starych dekoracjach" (‘Death in Old Scenery’, 1978) and "Złowiony" (‘Caught’, 1993) – included fragments of the poem ‘Et in Arcadia ego’, a trait they shared with Duszyczka, which had numerous consequences. As a result, a peculiar interplay, spanning a quarter of a century and different registers, developed around the motif of Italian journey and the mythof Italy. In it was encoded one of the major themes of the 20th century, because Różewicz treated his questions about the existence of something we call spiritual world as a challenge to Eliot’s symbolist poetics.
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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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Na ołtarzu literatury. Symbolika ofiary w "Pułapce" i "Do piachu"

88%
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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Literackość jako pułapka. Wokół wybranych inscenizacji "Białego małżeństwa"

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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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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.
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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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"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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Postać Jana Pawła II w dramacie najnowszym

63%
Michalczuk J.
Roczniki Humanistyczne
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2020
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vol. 68
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issue 1
493-506
EN
This article analyses several artistically important Polish 21st-century plays, in which a character has been modelled on the person of Pope John Paul II. The works studied here are Jerzy Pilch’s Narty Ojca Świętego, Paweł Grabowski’s Dotknięci, Michał Walczak’s Człowiek z Bogiem w szafie and Artur Grabowski’s Cnoty zachodniej cywilizacji. This article aims to show not only the way the above-mentioned literary texts present the figure of the Pope, his life and works, but also his influence on the life of ordinary people. By researching John Paul II’s presence in literature, this article helps to contribute to the commemoration of the Pope Saint.
PL
Artykuł stanowi propozycję przeglądu kilku wybranych, artystycznie wartościowych tekstów dramatycznych powstałych w pierwszym dziesięcioleciu XXI wieku, w których pojawia się, w różnych ujęciach, postać wzorowana na wyjątkowej osobie polskiego Papieża: Narty Ojca Świętego Jerzego Pilcha, Dotknięci Piotra Grabowskiego, Człowiek z Bogiem w szafie Michała Walczaka oraz tekstu Artura Grabowskiego Cnoty zachodniej cywilizacji. Zmierza do odpowiedzi na pytanie, jak osobę Jana Pawła II, jego życie i dzieło zapisała przywołana tu literatura, pokazując zarazem utrwalony w przestrzeni literackiej wpływ Ojca Świętego na zwykłego człowieka. Włączając się w nurt badań nad obecnością Jana Pawła II w tekstach literackich, wpisuje się zarazem w potrzebę ocalania pamięci o świętym papieżu.
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Kulturotwórcza rola dramatu Leopolda Kampfa „Yeweiyang” (W przededniu) w Chinach

63%
Mao Y., Szatkowski M.
Pamiętnik Literacki
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2021
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vol. 112
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issue 4
237-248
PL
Tematem artykułu są losy dramatu urodzonego w Krakowie Leopolda Kampfa „Yeweiyang” (W przededniu). Nieznany w Polsce dramat, napisany w języku niemieckim, a przetłumaczony na język chiński z języka francuskiego do dziś jest przedmiotem analiz chińskich teatrologów i jest znany jako pierwszy zachodni tekst dramatyczny przełożony na współczesny język chiński. Popularność tego tekstu jest zasługą tłumaczy dramatu, tj. aktywisty chińskich ruchów modernistycznych Li Shizenga oraz uznanego chińskiego pisarza Ba Jina. Twórczość Leopolda Kampfa, socjalisty i młodopolskiego dramatopisarza, nie została do tej pory zbadana, a niezwykłe losy jego dramatu w Chinach pozostawały nieznane. Artykuł porusza kwestię znaczenia Yeweiyang dla rozwoju chińskiej dramaturgii współczesnej oraz podejmuje próbę zbadania jego żywotności w chińskich badaniach literackich.
EN
The subject of the article is the fate of a drama “Yeweiyang” („Le Grand soir”) by a Cracow-born Leopold Kampf. The drama, unknown in Poland, written in German and translated into Chinese from the French, is to this day a focus of analyses by Chinese theatrologists and is known as the first Western drama translated into contemporary Chinese. The credit for the text’s popularity is taken by its translators, namely Li Shizeng, an activist of Chinese modernist movements, and Ba Jin, a recognised Chinese writer. The output of Leopold Kampf, a socialist and Young Poland’s dramatist, has not to this day been researched, and the uncommon fate of his drama in China remained unknown. The paper discusses the significance of „Yeweiyang” to the development of Chinese contemporary drama and attempts to examine its vitality in Chinese literary studies.
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«Żadnej metafizyki. Idioci!»: Teatr postdramatyczny – ateizm – polityka

63%
Kościelniak M.
Pamiętnik Teatralny
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2017
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vol. 66
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issue 1/2
199-208
EN
This article undertakes a reading of Tadeusz Różewicz’s open theatre, particularly The Interrupted Act and The Card Index, in accordance with the sequence defined in the subtitle: postdramatic theatre, atheism, and politics. Following a suggestion put forth by Mateusz Borowski and Małgorzata Sugiera that we look at the theatrical project underlying The Interrupted Act from the perspective of postdramatic theatre, the author points out that Hans-Thiers Lehmann’s conception of the postdramatic is based not only on aesthetic but also on political criteria, and the latter are as important and fundamental as the former. This makes it possible to pose the question about the epistemological and axiological criteria underlying the decay of dramatic form in Różewicz’s open theatre. Citing passages from Różewicz’s poetry and referring to interpretations by Ryszard Nycz and Aleksander Fiut, the author proposes that we see the political grounds of Różewicz’s postdramatic theatre in his atheism. Following this lead, the author views the central aesthetic categories of both postdramatic theatre and Różewicz’s open theatre, i.e. “the here and now,” reality in place of an illusion, as political gestures as well (rejection of metaphysics, materialism). In this light, the “brutal realism” proclaimed by Różewicz is as much about drawing the theatrical spectacle closer to performance as it is about the lack of transcendence. The author seizes upon the opinions expressed by Jan Błoński and Małgorzata Dziewulska who accused Różewicz of being too fond of decay, as it is precisely the most valuable quality of his creative work. Viewing Różewicz as an atheist, materialist, and realist, the author wants to reclaim the subversive potential of Różewicz’s theatre, which consists in its being radically apart from the dominant Romantic and Christian tradition of Polish theatre.
PL
Autor podejmuje lekturę teatru otwartego Tadeusza Różewicza, przede wszystkim Aktu przerywanego  i Kartoteki, wedle porządku określonego w podtytule: „teatr postdramatyczny – ateizm – polityka”. Wychodząc od propozycji Mateusza Borowskiego i Małgorzaty Sugiery, by na projekt teatralny zawarty w Akcie przerywanym spojrzeć z perspektywy teatru postdramatycznego, autor zwraca uwagę na tkwiące u źródeł koncepcji postdramatyczności Hansa-Thiesa Lehmanna, ściśle splecione z estetycznymi kryteria polityczne. To pozwala zadać pytanie o kryteria epistemologiczne i aksjologiczne, tkwiące u źródeł rozpadu formy dramatycznej w teatrze otwartym Różewicza. Autor, przywołując fragmenty twórczości poetyckiej Różewicza oraz sięgając po interpretacje Ryszarda Nycza czy Aleksandra Fiuta, proponuje tym politycznym źródłem uczynić ateizm Różewicza. Idąc tym tropem, w podstawowych dla koncepcji teatru postdramatycznego – a zarazem teatru otwartego Różewicza – kategoriach estetycznych („tu i teraz”, realność w miejsce iluzji), autor dostrzega gesty polityczne (odrzucenie metafizyki, materializm). „Brutalny realizm” proklamowany przez Różewicza oznacza w tym świetle nie (tylko) próbę przesunięcia spektaklu teatralnego w stronę performansu, ale (też) – brak transcendencji. Autor „przechwytuje” głosy Jana Błońskiego i Małgorzaty Dziewulskiej, którzy oskarżali Różewicza o uwielbienie rozpadu, właśnie w tym widząc największą wartość jego twórczości. Postrzegając Różewicza jako ateistę, materialistę, realistę, autor chce przywrócić wywrotowy potencjał jego teatru, zasadzającego się na radykalnej odrębności wobec dominującej, romantyczno-chrześcijańskiej tradycji polskiego teatru.
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Opium nieszkodliwe teatru, czyli o «Tragedii Eumenesa» Tadeusza Rittnera

63%
Brzozowska S.
Pamiętnik Teatralny
|
2022
|
vol. 71
|
issue 2
57-82
EN
According to Zbigniew Raszewski, Tragedia Eumenesa (The Tragedy of Eumenes) was one of Tadeusz Rittner’s worst plays. The present article engages polemically with this opinion. It evokes favourable reviews that followed the play’s 1920 premiere at the Juliusz Słowacki Theater in Kraków, as well as Lesław Eustachiewicz’s positive assessment from 1961. It also revisits the reviews of the 1922 flop at the Reduta Theater, which, paradoxically, reveal the text’s potential, namely the possibility of reading of the manuscript. Rittner’s comedy employs a poetics of the grotesque, farce, and irony, and, above all, uses overt theatricality and the category of dream as quasi reality. The author of the article identifies the theoretical foundations of this late drama in Rittner’s programmatic essay O snach i bajkach (On Dreams and Fairy Tales, 1909), where he does not renounce kitsch or fairy-tale props. The analysis leads to the conclusion that in The Tragedy of Eumenes, Rittner consciously engages in a dialogue with the aesthetics characteristic of the decline of the Habsburg monarchy-with its fascination with masquerade and Spanish theatre, as well as the poetics of dream and adventurous fairy-tale-and at the same time opens his text to multiple staging possibilities.
PL
Zbigniew Raszewski uznał Tragedię Eumenesa za jedną z najgorszych sztuk Tadeusza Rittnera. W artykule podjęto próbę polemiki z opinią Raszewskiego. Uwzględniono życzliwe recenzje po premierze w Teatrze im. Juliusza Słowackiego w Krakowie w 1920 i pozytywną opinię Lesława Eustachiewicza z 1961, a także recenzje po niepowodzeniu sztuki na deskach Reduty w 1922 roku, które paradoksalnie odsłoniły potencjał tekstu Tragedii Eumenesa, czyli możliwość wystawiania go w różnych konwencjach. Podstawą polemiki jest uważna lektura rękopisu. Komedia Rittnera posługuje się poetyką groteski, farsy, ironii, przede wszystkim jednak operuje jawną teatralnością oraz kategorią snu jako niby-rzeczywistości. Autorka znajduje podstawy teoretyczne tego późnego dramatu Rittnera w jego programowym artykule O snach i bajkach (1909), w którym pisarz nie odżegnuje się od kiczu i baśniowej rekwizytorni. Analiza utworu prowadzi do wniosku, że w Tragedii Eumenesa Rittner świadomie dialoguje z estetyką schyłku monarchii habsburskiej, z jej fascynacją maskaradą i teatrem hiszpańskim oraz poetyką snu i awanturniczej baśniowości, a zarazem otwiera tekst na liczne możliwości inscenizacyjne.
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