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Relacje pomiędzy kulturą a etnicznością w tekstach Cezarii Anny Baudouin de Courtenay-Ehrenkreutz-Jędrzejewiczowej

100%
Dorak-Wojakowska L.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2014
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issue 5(31/1)
65-91
EN
The article describes main fields of interest of the outstanding Polish ethnologist, one of the most important researchers of folk rituals and culture in the interwar period. The article analyses her texts dedicated to ethnical and national problems, in which there are deliberations on the research subject of ethnology (whose distinguishing criterion is tradition) and its scientific material, which serve the cognition of culture’s morphology. Research on products of folk culture, mostly from Wileńszczyzna, passed in oral tradition, makes possible such cognition. Interrelationship between ethnicity and culture is present in crucial texts of Cezaria Baudouin de Courtenay‑Ehrenkreutz‑Jędrzejewiczowa collected in the volume The Tradition’s Chain written in the years 1922‑1953, such as: ‘From Studies of Wedding Rites of Polish People’ (1929), ‘A Few Notes and News about Ethnography of Wileński District’ (1930), ‘Two Cultures and Two Sciences’ (1936) and ‘Ethnical Groups on the Territory of the Great Duchy of Lithuania and Three Nations’ (1953). Using the phenomenological method in the research of folk culture on the borderland between Poland and Lithuania, Cezaria Jędrzejewiczowa interprets preserved stories, tracks down their main motifs, reveals their genesis and meaning, which has developed over centuries. The article discusses social and cultural determinants of the rural people, such as ties of tradition, ethnical collective consciousness, religion and language.
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Dramaturg jako archiwista. O stylu montażu dokumentalnego Witolda Wandurskiego i sceny robotniczej

100%
Dorak-Wojakowska L.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2019
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issue 11(2) "Teatr w edukacji, terapii i profilaktyce"
20-35
PL
Artykuł opisuje specyfikę sceny robotniczej międzywojennej twórczości teatralnej Witolda Wandurskiego, którego propozycja reformy teatru polskiego wiązała się z projektem połączenia rozwiązań formalnych z reinterpretacją materiału historycznego. Celem rozważań jest próba odpowiedzi na pytanie, w jaki sposób specyfika sceny robotniczej wpłynęła na kształt polskiego teatru awangardowego, zmianę warunków percepcji przedstawienia teatralnego pod wpływem nowych wynalazków technologicznych, których efektem było także zastąpienie dramatopisarza postacią dramaturga jako teatralnego symbolu przemian na polu sztuki nowoczesnej.
EN
The article describes a unique nature of the Workers’ Stage in the Inter-War period theatre activity of Witold Wandurski, whose proposal for reforming the Polish theatre involved combining formal solutions with a reinterpretation of historical material. The aim of this work is to answer the question how the unique nature of the Workers’ Stage shaped the Polish Avant-garde theatre, as well as how it altered the perception of a theatre performance as a result of introducing new technological inventions, the effect of which was the replacement of a dramatist with a playwright, who then became a theatrical symbol of transformations in modern art.
3
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FROM ROLE TO MISSION. WLODZIMIERZ STANIEWSKI'S THEATRE PRACTISING (Od roli do poslannictwa. Wlodzimierza Staniewskiego praktykowanie teatru)

100%
Dorak-Wojakowska L.
Horyzonty Wychowania
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2011
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vol. 10
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issue 20
133-162
EN
The article describes one of the aspects of Wlodzimierz Staniewski's theatre work. He was the founder and creator of 'Gardzienice' Centre for Theatre Practices, one of the most important artistic and research institutions in Poland. Wlodzimierz Staniewski's theatre has several significant theatre productions to his credit. They result from a comprehensive research programme which consists of Expeditions, Gatherings and Performances. What distinguishes Staniewski's work is the missionary nature of his team's work. It is an artistic mission, nevertheless performed with such sacrifice that it has assumed the proportions of a cultural mission. It resulted from Staniewski's culture-forming inspirations aimed at connecting scientific reflections with the practice of theatre search. In practice, these activities involve discovering native folk culture, or 'indigenous culture, as Staniewski himself used to call it, perceived as a test of the reception of live material, which can be artistically processed and searched for the origins of acting. The author of this article presents the problem of theatre and acting in the light of the Romantic idea of returning to nature, currently reminding of the 'ecological' obligation of contemporary culture towards the homeland, also called 'the land of the forefathers'. According to Staniewski, all means of expression derive from or remain in close connection with the musical nature of the land. The musical nature is a way of feeling the world, and at the same time its internal characteristic, in this sense it is something close to the spirit. It shapes man, his feeling, and even thinking, thus shaping an actor. The actors of Staniewski's Theatre refer to tradition understood as direct contact with people, country dwellers, whose manner, behaviour, actions, and even faces reveal the signs of culture. Staniewski's Theatre is currently defined as the theatre of a song revived in space. And although today Wlodzimierz Staniewski and his team draw inspirations form ancient culture, they main aim is still an attempt to answer the question about how to live, how to deal with people and other cultures. And this is also the mission of his theatre - i.e. cultivating all that is carried by the organic connection between theatre work and nature as well as the whole area of intercultural exchange.
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