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100%
Smulkowa E.
Pamiętnik Teatralny
|
2011
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vol. 60
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issue 3-4(239-240)
333-345
EN
The author talks about her paternal uncle, Tymon Terlecki, adding some reminiscences about her father, Kazimierz Baran. Referring to the family history she explains why Tymon (Tadeusz) Terlecki used so many surnames, as he first bore his mother’s name (Baran), then took on the name of his stepfather (Węgiel) and finally had it changed judicially to his own father’s. Terlecki’s niece describes her memories of him from her early childhood and later years and complements them with references to the family’s correspondence. The article is supplemented with a moving letter that her mother wrote to Tymon Terlecki in 1942 from Siberia.
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Poszukiwacz równowagi w epoce kryzysów i rewolucji. Portret Tymona Terleckiego

100%
Dybciak K.
Pamiętnik Teatralny
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2011
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vol. 60
|
issue 3-4(239-240)
201-212
EN
The article is a portrayal of Tymon Terlecki as a man, writer, intellectual and emigrational leader. It shows a humanist attached to tradition who nonetheless understood modern times well and did not shy away from new means of communicating ideas (radio broadcasts). One may divide Terlecki’s life and work into three periods. In the first, he acted mostly as a critic and scholar. In the second, he became a writer engaged in the current historical processes whereas in the third, he went back to the roles of researcher, essayist, populariser, and editor. Throughout his life, Terlecki tried to develop himself as an individual; he emphasised the importance of personal experience, imagination, and courage of interpretation.
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Batalia o Schillera i teatr we Lwowie: Teksty publicystyczne Tymona Terleckiego z lat 1930–1931

45%
Szydłowska M.
Pamiętnik Teatralny
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2017
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vol. 66
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issue 4
184-263
EN
The articles republished now in Pamiętnik Teatralny first appeared in the Lvov Słowo Polskie in 1930–1931. They are reprinted here with an introduction discussing the historical context in which they were written. The texts belong to the early period of work of the outstanding theater scholar, Tymon Terlecki, and they at the same time shed light on a short yet important episode in the history of the Lvov stage that had to do with Leon Schiller. Even though the articles had been inspired by the editor-in-chief of Słowo Polskie, Wacław Mejbaum, they also revealed Terlecki’s own convictions and expressed his involvement in the so-called “battle for Schiller” [batalia o Schillera]. The issue was first to allow Stanisław Czapelski and Zygmunt Zaleski to take over the management of the municipal theaters, as they offered the position of artistic director of the Drama Department to Leon Schiller, and then to provide Schiller with the wherewithal to carry out his creative work, which meant mostly to make some organisational changes within the theaters. And finally, when Schiller had resigned and left Lvov, Terlecki carried on the battle so that the Municipal Council accept Wilam Horzyca as manager, which it did, thus enabling Schiller to come back. The articles reveal the polemical temperament of Tymon Terlecki, his early fascination with the work of Leon Schiller and the way in which their author contributed to the development of the stage in Lvov.
PL
Teksty przedrukowane w tym artykule ukazały się po raz pierwszy w lwowskim Słowie Polskim w latach 1930-1931. Opatrzono je wstępem, w którym omówiono kontekst historyczny ich powstania. Teksty należą do wczesnego okresu twórczości wybitnego teatrologa Tymona Terleckiego, a jednocześnie rzucają światło na krótki, ale ważny epizod w dziejach lwowskiej sceny związany z Leonem Schillerem. Mimo że artykuły powstały z inspiracji redaktora naczelnego Słowa Polskiego Wacława Mejbauma, ujawniały także własne przekonania Terleckiego i dawały wyraz jego zaangażowaniu w tzw. „batalię o Schillera”. Chodziło najpierw o umożliwienie objęcia dyrekcji teatrów lwowskich przez Stanisława Czapelskiego i Zygmunta Zaleskiego, którzy zaproponowali Leonowi Schillerowi stanowisko kierownika artystycznego teatrów dramatycznych, a następnie o zapewnienie Schillerowi warunków do pracy twórczej, co oznaczało przede wszystkim dokonanie zmian organizacyjnych w teatrach. Wreszcie, gdy Schiller zrezygnował i opuścił Lwów, Terlecki prowadził batalię, by Rada Miejska zaakceptowała Wilama Horzycę na stanowisku kierownika, co też uczyniła, zaś Horzyca zaprosił Schillera do współpracy. Artykuły ukazują polemiczny temperament Tymona Terleckiego, jego wczesną fascynację twórczością Leona Schillera oraz sposób, w jaki ich autor przyczynił się do rozwoju lwowskiej sceny.
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Tymona Terleckiego profil polityczny

44%
Taylor-Terlecka N.
Zeszyty Naukowe PUNO
|
2019
225-243
EN
Based in London from 1940, Tymon Terlecki (1905–2000) is seen as the architect or codifier of the Polish émigré ethos, and his writings were duly banned in communist Poland. „Emigracja” for Terlecki was essentially an act of faith, rebellious and aspiring to a dizerent reality. Its duty was to engage in the struggle for Poland’s political and cultural independence, and a literature unshackled by Marxist ideology. He also stressed the need to work together with the oppressed nations of central and East Europe, to ensure the integration of central-east Europe with Europe and its Christian heritage. Terlecki had formulated the main points of his political „brief ” before the rst issue of „Kultura” appeared in Rome in 1947. Highlighting the relevance of Adam Mickiewicz’s political journalism to the post-1945 situation, Terlecki was critical of émigré government-in-exile, and what he perceived as their delusional notions, lack of political acumen, and failure to invest in culture. Not wishing to be a passive observer, he joined the new émigré Polish Freedom Movement „Niepodległość i Demokracja” („Independence and Democracy”). Neither doctrinaire nor dogmatic, capitalist nor Marxist, their „Karta Wolnego Polaka” or „Little Grey Book”, sets out basic principles for a democratic post-war Poland. Following the Thaw, Terlecki distanced himself from émigré politics, which he felt had degenerated into ambition-driven politicizing. Collected and published posthumously as Emigracja naszego czasu (Lublin, 2003), his political essays amount to some 40 in all, a small fraction of his literary output.
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Terlecjana londyńskie

44%
Poskuta-Włodek D.
Pamiętnik Teatralny
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2020
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issue 4(276)
203-214
EN
The author reviews the volume Teatry londyńskie [London Theaters], a collection of Tymon Terlecki’s writings on theater, edited by Edward Krasiński and Mariola Szydłowska (Warsaw 2016). Erudite and grounded in London’s topography, Terlecki’s reviews were originally published in the émigré Polish weekly Wiadomości in 1945–1964. Their grand meta-themes lie in Terlecki’s awareness of tradition and a search for the roots of European culture and identity. In his diverse essays, Terlecki describes London theaters (from peripheral ones to The Old Vic), reflects on classical and contemporary drama, analyses the work of directors (including the young Peter Brook) in the context of the ideas of Edward Gordon Craig and pre-war Polish theater (in particular the achievements of Leon Schiller), and presents leading London actors. His discussions are set against the backdrop of Polish theater. The whole volume is a masterpiece of comparative analysis, revealing interconnections and influences. Terlecki’s writings about London theaters published in the Polish émigré press played an important part in the integration of the Polish diaspora, alleviating the feeling of isolation and helping to understand British culture.
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