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Wolter, Diderot, Marivaux, albo klasycyzm, sentymentalizm, rokoko w teatrze

100%
Dębowski M.
Pamiętnik Literacki
|
2021
|
vol. 112
|
issue 2
65-77
PL
W bodaj najbardziej znanej książce Teresy Kostkiewiczowej „Klasycyzm, sentymentalizm, rokoko”, dramatopisarstwo stanowi niewielką część przykładów, które ilustrują kształtowanie się i jakościowe zmiany funkcjonowania polskiej literatury w dobie oświecenia, spojrzenie teatrologiczne zaś, czyli los przedstawień klasycznych, sentymentalnych bądź rokokowych na scenie nie jest celem badaczki. Dlatego autor artykułu proponuje zwrócić uwagę na trzech dramatopisarzy, których sztuki, z jednej strony, były grane dla polskiej publiczności w teatrze stołecznym i na prowincji, a z drugiej – ich twórcy są do dzisiaj uznawani za reprezentantów trzech głównych, XVIII-wiecznych prądów literacko-artystycznych. Pozwala to na postawienie kilku nowych akcentów w rozważaniach na temat użyteczności pojęć, które stosujemy, klasyfikując ówczesną twórczość teatralną.
EN
In Teresa Kostkiewiczowa’s probably most recognised book “Klasycyzm, sentymentalizm, rokoko” (“Classicism, Sentimentalism, Rococo”) playwriting is illustrated by a small number of examples that picture the shaping and qualitative changes in the functioning of the Polish Enlightened literature, while a theatrological view, namely the fortune of the classical, sentimental or rococo performances, is not the purpose. As a result, the author of the article attempts to pay attention to the playwriters whose pieces, on the one hand, were staged for Polish audience in capital theatre and in the province, and, on the other hand, to the playwriters themselves who until this day are seen as the representatives of the three main 18th c. literary-artistic trends. Such an approach allows to place new accents in the considerations about the usability of the terms that we employ when classifying the then theatrical production.
2
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Kłopoty Molière’a w XVIII wieku

100%
Dębowski M.
Pamiętnik Teatralny
|
2014
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vol. 63
|
issue 4(252)
143-166
EN
The eighteenth century, postulating the bourgeoisie rebel against the privileges of the king and aristocracy, opposing the Church and religion, rejecting classicism, court art and bienséances (decorum), should have – or so it seems – reserved a place of prominence for Molière, who had criticised them all in his plays. Yet it was not so. Molière was played in the 18th century, to be sure, but much less than, for example, Voltaire, whose dramatic work is now obsolete. The censorship of the period regarded Molière with high suspicion. Marivaux did not like Molière; Rousseau condemned his works. Voltaire and Diderot wrote about him ambiguously. The most paradoxical was the position of the revolutionaries who admired Molière theoretically but did not put on his plays. One may, therefore, ask why those committed to the Enlightenment turned away from Molière. The number of factors that side-lined Molière’s comedies in theatre life is so great that it is difficult to name them all. Presentation of several fields of research that deal with the changes within the social, religious, and economic consciousness that were underway at the turn of the 17th and 18th centuries, factors affecting the way in which theatre licenses were granted in Paris in the Regency period and under the reign of Louis XV and Louis XVI, as well as the evolution of dramatic genres and performing arts bring us closer to providing such an answer, even though it obviously does not explain the issue fully.
3
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Reżyseria na przełomie XVIII i XIX wieku a przedstawienia Wojciecha Bogusławskiego

100%
Dębowski M.
Pamiętnik Teatralny
|
2013
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vol. 62
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issue 2(246)
72-85
EN
The unitary concept of theatrical performance had been under way to the European stages long before the concepts of directing and producing emerged,as these became part of the professional vocabulary only in the 19th century. In the 18th century, theatre was not yet accorded the status of fine art, enjoyed by painting or poetry, so its artistic qualities were not subject to aesthetic evaluation, and a performance did not have to fulfil the conditions of consistence and stylistic unity that the director would be responsible for. The tendency to treat the elements of theatrical performance as separate, unconnected arts scéniques began to change slowly in the 1760s. Artists and theoreticians started mentioning that there wasa need for unification of various components of theatrical performance intoa whole, from the text, through costumes and decorations, to individual and group acting, to coordinate the tasks of playwriting, acting and decoration making forthe common good. Such thinking, however, was very slow to take hold and itspioneers, i.e. choreographer and theatre reformer Jean G. Noverre, who argued that in theatre “all arts hold hands,” or Diderot postulating to create a “tableau”on-stage, would wait very long for the first palpable results of their appeals. Wojciech Bogusławski was among the first European artists who at the end of the18th century started paying attention to stylistic unity of their productions.
4
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Aktorowie początkowi

100%
Dębowski M.
Pamiętnik Teatralny
|
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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