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THE REDUTA TODAY (Reduta dzisiaj)

100%
Osinski Z.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
|
issue 1(280)
148-156
EN
The Reduta Company and Institute under Juliusz Osterwa and Mieczyslaw Limanowski was one of the first Polish cultural centres (in the present-day meaning of the term), which acted as a theatre; its status was a source of inspiration both for the Centre and others. Throughout the Cracow conference the author intensively experienced the presence of the now defunct Laboratory Theatre of Jerzy Grotowski, which in 1966 took over the Reduta emblem; the same year also marked the inauguration of its live tradition. In recent years, Polish researchers have frequently identified and replaced the ecumenism of the Reduta, comprehended as widely as possible, with Catholicism. He is firmly convinced that this approach is the consequence of cognitive reductionism. Otherwise, how are we to explain the presence in the Reduta Company and Institute people of other denominations and non-practising Catholics? The Reduta was an ideological theatre due to its premises and conscious choice. Its founding fathers consistently stressed that the company's activity was based on the idea of the inimitable 'Reduta quality'. Tadeusz Kornas, the author of a review of the author book: 'Pamiec Reduty. Osterwa, Limanowski, Grotowski' (Memories of the Reduta. Osterwa, Limanowski, Grotowski), wrote: '... My avid attention was drawn to a list of the names of the representatives of the Reduta ... Since the Reduta posters did not mention names, many actors and apprentices would have remained totally unknown. Numerous young Reduta actors died during the war. I read the list as if it was a roll call, a recollection of those who have passed away, in other words, in a highly personal manner'.
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MIECZYSLAW LIMANOWSKI - THE PRECURSOR OF THE 'CULTURAL FOREFATHERS' EVE' (Mieczyslaw Limanowski - prekursor polskich 'Dziadów kulturowych')

63%
Pawelczyk J. E.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
84-89
EN
The sketch deals with the significance of Mickiewicz's 'Forefathers' Eve' for Mieczyslaw Limanowski, the co-founder of the Reduta Theatre. The text is based on research into Limanowski's notes in the archive of the Museum of the Earth at the Polish Academy of Sciences, carried out by the authoress under the guidance of Prof. Zbigniew Osinski. An attempt at supplementing a project by Leszek Kolankiewicz on the interpretation of Polish culture via 'Forefather's Eve' (a dialogue with the dead) by considering the conceptions launched by Mieczysław Limanowski.
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INTRODUCTION (Dwa teatry - dwa swiaty)

63%
Kosinski D., Ireneusz G.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
61
EN
The authors introduce the outcome of a scientific conference 'Two theatres - two worlds' (10-12 May 2007), published in 'Konteksty'. Its fundamental iaim was to combining reflections on the accomplishments of the Reduta Theatre and the Centre for Theatre Practices 'Gardzienice'. A fitting occasion for such a double meeting was provided by the sixtieth anniversary of the death of Juliusz Osterwa (19 May 2007) and the thirtieth anniversary of 'Gardzienice'. The death of Osterwa, which, after all, ended the history of the Reduta Theatre, did not denote the end of the ideas, which he, Mieczysław Limanowski, and artists co-working with them attempted to implement. These ideas are to be found, interpreted and unravelled in their own ways in, i. a. the praxis and philosophy of 'Gardzienice'.
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TWO THEATRES - TWO WORLDS: DAY ONE (Dwa teatry - dwa swiaty: dzien pierwszy)

63%
Guszpit I.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
|
issue 1(280)
63-68
EN
A presentation of the origin of Juliusz Osterwa's 'Reduta' Theatre and Wlodzimierz Staniewski's 'Gardzienice', closely connected with accompanying historical circumstances. In the case of the Reduta Theatre, founded in 1919, they involved the shaping of the renascent Polish state, and for 'Gardzienice' - an attempt at seeking refuge from the absurdity of real socialism during the end stage of the Gierek era. The name of Osterwa's theatre referred to its seat (the Ball Rooms at the Wielki Theatre in Warsaw), the tradition of entertainment, and a bastion - a redoubt fort system. Facts from the history of the struggle for a new Poland are thus accompanied by those from the struggle for a new theatre. 'Gardzienice' dates back to 1977. The universally accepted symbolic date of its origin is St. John's Eve (24 June), a pagan festivity, and the eve of the celebrations of the Assumption of the Virgin Mary (15 August), derived from folk tradition. The political, manners and morals, and even weather information acquired from the press of the period shows how the ideas of artistic visionaries are born in the hubbub of daily life.
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WHAT HAS 'GARDZIENICE' TAUGHT ME (Czego nauczyly mnie Gardzienice)

63%
Dudzik W.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
69-72
EN
This sketch compares the activities of the theatres discussed at the Cracow conference on 'Two theatres - two worlds': the Reduta Theatre and 'Gardzienice'. The title refers to a statement made in 1925 by Stefan Jaracz, a former Reduta actor: What Has the Reduta Taught Me. The first part of the text asserts that Jaracz's concise characteristic of the interwar Reduta can be considered as apt also in the case of 'Gardzienice\'. Both companies attempted to establish a self-reliant theatre, taught how to work, created their own methods, established art laboratories, introduced musical spectacles, and featured actors who subsequently cultivated new methods of theatrical work; the two theatres also organised journeys (expeditions) to the Eastern Borderlands of the Republic. In other words, they were not merely artistic institutions but also social and educational initiatives (in addition, the Reduta had its own Institute, and 'Gardzienice' - an Academy of Theatre Practices). In a further part the author evokes his personal experiences and contacts with 'Gardzienice' which convinced him that Wlodzimierz Staniewski creates the most rapid theatre in the world (the spectacles are brief, extremely intensive and brimming with meanings difficult to decipher after seeing a single show), that work on a 'Gardzienice' spectacle never ceases (each is slightly different, thus rendering theatrological reconstruction extremely difficult), and, finally, that a theatre does not exist to be understood - it is there to offer the spectator poignant experience.
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THE REDUTA AND VIEUX COLOMBIER (Reduta J. Osterwy i M. Limanowskiego a Vieux Colombier J. Copeau)

63%
Regulska K.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
90-94
EN
The origin of the Reduta Theatre and Vieux Colombier is part of the current of the reform of the theatre at the turn of the nineteenth century. This sudden upheaval and appearance of new ideas, together with an attempt at extracting the theatre from the state of inertia into which it had been thrust by the nineteenth century, undoubtedly exerted an enormous impact on Osterwa, Limanowski or Copeau. At the same time, all three transcended the domain of the aesthetic quest conducted by the First Theatre Reform by granting the focal point to the actor conceived as an artist of the theatre. By conducting a search within the art of acting they continued the work of the first theatrical laboratory - the Moscow Art Theatre, founded in 1898 by Stanislavsky and Nemirovich-Danchenko. The three authors concentrated their efforts on freeing the actor from the routine of his profession. They contrasted ensemble work with the star system, the agility of the mind and the body with rigidity and the recreation of clichés, and activity with recitation. The theatre is not entertainment but a challenge and a service. By choosing the shortest path towards fame, the actor has narrowed his horizons and deformed his profession. Osterwa, Limanowski and Copeau required predominantly people pursuing a passion, true lovers of the theatre - amateurs. One could say that they wished to train future professionals-amateurs, envisaging these paradoxical combinations as the sole guarantor of genuine change.
7
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THE TRAVELLING THEATRE (Teatr w podrózy. Wedrowanie jako poznanie)

51%
Ciechowicz J.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
69-72
EN
For persons of the twentieth century a journey becomes one of the most important spiritual experiences, the achievement of self-knowledge. The same holds true for the man of the theatre. The author compares two experiences of 'the travelling theatre': the Reduta Theatre ('The Itinerant Reduta') of the 1920s and the 'Gardzienice' Theatre Association more than fifty years later. The journeys made by the Reduta Theatre along the Eastern Borderlands were conceived as a large-scale undertaking, but lacked extensive descriptions: their most interesting testimony are letters written by Bronislaw Nycz, a student of Polish philology, to his fiancee. On the other hand, the rural wanderings of Staniewski's group were from the very onset carried out in the company of researchers: Osinski, Kolankiewicz, Morawiec, Pawluczuk, Burzynski, Guszpit..., who discovered not only Bakhtinean inspiration but also the notion of ensemble work, pursued at the Reduta Theatre. The expeditions themselves became something more than mere 'wandering': a way of life, a process of submerging oneself in reality, a return to the sources and literal qualities, achieved via the theatre and outside its range.
8
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OSTERWA OF THE 'SKAMANDRYCI' (Osterwa Skamandrytów)

51%
Rogacki H. I.
Konteksty - Polska Sztuka Ludowa
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2008
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vol. 62
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issue 1(280)
78-83
EN
A register and description of the image of Juliusz Osterwa and the Reduta Theatre in the lyrics, publicistics and discursive as well as artistic prose by the Great Four of the 'Skamander' group: Tuwim, Lechon, Wierzynski, and Iwaszkiewicz. The author encloses a chronological presentation of the cooperation and animosities between the 'Skamandryci' (members of the group) and the Reduta. The text attaches great attention to the evidence provided by poetry, and proposes a reinterpretation of the assumption that the 'Skamandryci' had created the 'black legend' of the Reduta. The author also stresses the mutual fascination of the poets and the avantgarde theatre, which, naturally, did not exclude polemics and even hostility. This enchantment via negation is explained by the 'Skamandryci's' attachment to the model of the theatre of their childhood and youth, based on the myth of the actor. One of the authors of this myth's allure was Osterwa - a star specialising in the parts of lovers, who later tried to become a theatrical artist and even to transcend the theatre via the theatre by entering the category of existence. The case of Osterwa and the 'Skamandryci' appears to be an exception confirming the rule that memory about historical facts is 'created by the poets'.
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