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Dramatopisarki w «republice braci»: Komu potrzebna jest (i jaka) kobieca historia polskiego teatru?

100%
Świerkosz M.
Pamiętnik Teatralny
|
2020
|
issue 3(275)
183-198
EN
This article discusses the results of the HyPaTia research project in the feminist history of the theatre, situating it in the wider context of the phenomenon of women’s history, as practiced since the 1970s. The author investigates the revisionist character of the project’s dialogue with the canon and the constructive gesture of (re)creation of a women’s history of Polish theatre. Through the figures of “Shakespeare’s sister” and “Hypatia’s sisters”, attention is drawn to the specific entanglement of the life and work of female playwrights in a patriarchal framework (referred to as the “republic of brothers”), problematizing the understanding of women’s empowerment as liberation from male oppression or escape into the margins.
2
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Politique et matrimoine local : le cas du Brutus de Catherine Bernard au Festival national Corneille de Barentin en 1972

72%
Keller-Rahbé E.
Orbis Linguarum
|
2019
|
issue 53
231-246
EN
In 1972, Brutus by Catherine Bernard was played on stage during the Corneille National Festival in Barentin. Interestingly, despite the initial success at the Comédie-Française (18 December 1690), as well as during the next years, this five-act tragedy in verse was never staged afterwards. Based on the epitextual corpus composed with documents form the festival, press articles and magazine reviews, the present study queries on the cultural and political goals of that representation, orchestrated as a truly dramatic ʻresurrection’. It shows that the play was staged to satisfy the converging interests of both the municipality and the festival, and in a way that the rehabilitation and the instrumentalisation of Catherine Bernard were unavoidable. Hence, far from being entirely prejudicial, the operation tended to legitimise the cultural and feminine heritage at the national scale.
3
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Dramatopisarki w «republice braci»: Komu potrzebna jest (i jaka) kobieca historia polskiego teatru?

72%
Świerkosz M.
Pamiętnik Teatralny
|
2020
|
vol. 69
|
issue 3
183-198
EN
This article discusses the results of the HyPaTia research project in the feminist history of the theatre, situating it in the wider context of the phenomenon of women’s history, as practiced since the 1970s. The author investigates the revisionist character of the project’s dialogue with the canon and the constructive gesture of (re)creation of a women’s history of Polish theatre. Through the figures of “Shakespeare’s sister” and “Hypatia’s sisters”, attention is drawn to the specific entanglement of the life and work of female playwrights in a patriarchal framework (referred to as the “republic of brothers”), problematizing the understanding of women’s empowerment as liberation from male oppression or escape into the margins. (Transl. Z. Ziemann)
PL
Artykuł omawia efekty projektu feministycznej historii teatru HyPaTia w kontekście szerszego zjawiska, jakim jest uprawiana od lat siedemdziesiątych XX wieku historia kobiet. Autorka stawia pytania o rewindykacyjny charakter podjętego w projekcie dialogu z kanonem i konstruktorski gest (od)tworzenia kobiecej historii polskiego teatru. Poprzez figury „siostry Szekspira” i „sióstr Hypatii” zwrócona zostaje uwaga na specyficzne uwikłanie biografii i twórczości dramatopisarek w patriarchalną ramę (określaną jako „republika braci”), które problematyzuje rozumienie emancypacji jako uwalniania się od męskiej opresji czy ucieczki na marginesy.
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