Polish Theatre Research Papers - Academia.edu (original) (raw)

W trakcie porządkowania i opracowywania ogromnego archiwum Jana Dormana, artysty polskiego teatru lalkowego, odnaleziony został maszynopis ze swego rodzaju manifestem dormanowskiej filozofii przedmiotu jako takiego i przedmiotu w teatrze. Tekst ten dopełnia się z innymi licznymi spostrzeżeniami Dormana na temat roli przedmiotu/ rekwizytu w teatrze, rozproszonymi wśród notatek, odręcznie pisanych scenariuszy, w programach spektakli. Dormana idea przedmiotu czyni z niego wehikuł idei, medium realności i teatralności zarazem. Manifestu będzińskiego reżysera nie sposób nie czytać jako ścieżki myślenia o przedmiocie w teatrze równoległej do wypowiedzi programowych Tadeusza Kantora. Kantorowskiej idei „przedmiotu biednego”, przedmiotu najniższej rangi. Artykuł jest propozycją anlizy filozofii przedmiotu u Dormana, a odwołania do spektakli i przedmiotów charakterystycznych dla teatru tego twórcy służą refleksji tak nad teatralnymi funkcjami przedmiotów, jak i ich rolą jako mediów pamięci.

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- Puppetry, Polish Theatre, Teatr lalek, Dorman Jan

“And is this radicalism?”, - the audience, who witnessed attempts to ban the performance of King Lear by Konstantin Bogomolov in The State Drama Theatre Priyut Komedianta was amazed. In this performance, the scene of Shakespeare's play was transferred to Soviet Russia and supplemented by the texts of Friedrich Nietzsche and Paul Celan. The audience was frightened in vain, the performance Jan Klata was a pleasant evening event, which the audience left with satisfaction. Her blood pressure remained normal, her pulse did not increase, her eyes did not get tired. This is because the shelf life of the performance’s radicalism seems to have expired. The 2014 performance was participated to The Theatre Olympics 2019... Probably, guided by the care of the viewer and safety concerns.

- by Emiliya Dementsova
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- Theatre Studies, Theatre, Theatre Arts, Theatre Review

The article is a review of 'Odyseja' by Krzysztof Warlikowski (Nowy Teatr, 4th June 2021).

- by Magdalena Figzał-Janikowska
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- Performance Studies, Memory Studies, Second World War, Holocaust
- by Anna R. Burzyńska
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- European Theatre, Contemporary Theatre, Theatre Directing, Music and theatre
- by Anna R. Burzyńska
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- Theatre Studies, Dramatic Literature, Dramaturgy, Drama
- by Zofia Smolarska
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- Audience Participation, Participatory Theatre, Polish Theatre
- by Dorota Sosnowska
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- Catherine Malabou, Political theatre, Ukraine, Polish Theatre
- by Marzenna Wiśniewska
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- Theatre Studies, Puppet Theatre, Polish Theatre, Theatre Pedagogy

The aim of this paper is to present Eugenio Barba's work as an intercultural mediator between the Polish and the Norwegian theatre milieus in the 1960s. Barba, who was born in Italy, moved to Norway and studied there in the late 1950s, before travelling to Poland and becoming an assistant of Jerzy Grotowski in his legendary Theatre of 13 Rows. During the years he spent there, Barba wrote regularly to his Norwegian friend in Oslo, Jens Bjørneboe, trying to initiate a Polish-Norwegian theatre and culture cooperation project. The paper concentrates on the story of this correspondence and describes the situation that took place after Barba came back to Norway in 1964. It also explains the origins of Odin Teatret, a theatre Barba created in Oslo, inspired by his Polish experiences.

Książka przedstawia historię polskiej tradycji teatralnej rozpoczynającej sie od Adama Mickiewicza, a rozwijanej na własny sposób przez Juliusza Słowackiego, Stanisława Wyspiańskiego, Redutę, w pewien sposób spełnionej przez Jerzego... more

- by Dariusz Kosiński
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- Jerzy Grotowski, Adam Mickiewicz, Polish Theatre, Juliusz Słowacki

Die hier vorliegende Diplomarbeit beschäftigt sich mit Thomas Bernhards Roman "Das Kalkwerk" und der Adaption dieses Werkes für das polnische Theater von Krystian Lupa. Dabei steht der Vergleich zwischen dem Roman und dem Theaterstück im Mittelpunkt.
Am Beginn der Arbeit wird die Person Thomas Bernhards behandelt, wobei anschließend an eine kurze Ausführung zu seinem Leben und Werk, der Schwerpunkt auf der Rezeption des Schriftstellers in Polen liegt. Dem folgt eine Darstellung eines der interessantesten und originellsten Regisseure des polnischen Theaters der Gegenwart – Krystian Lupa. Hier steht nicht nur seine Biographie im Vordergrund, sondern auch sein Theater und die Stellung der deutschsprachigen und österreichischen Literatur in seinem Schaffen. Bei der Charakterisierung seines Theaters wurden neben den Haupteigenschaften auch die Einflüsse, die Entwicklung und seine Adaptionen von Prosa besprochen. Das nachfolgende Kapitel ist Kalkwerk gewidmet und bietet einen guten Überblick über die wichtigsten Charakteristika des Romans, sowie des Stückes. Zuerst wird Bernhards Das Kalkwerk behandelt, wobei besonders auf die Handlung, das Erzählverfahren und die Eigenschaften eingegangen wird. Danach konzentriert sich die Arbeit auf Lupas Adaption des Romans. Nach einer kurzen Einführung in die Entstehungsgeschichte, wird die Rezeption des Stückes in der polnischen Presse erörtert. Hierauf folgt eine Analyse der wichtigsten Bereiche der Theaterinszenierung: Aufbau und Inhalt, Schwerpunkte sowie Symbolik. Im folgenden Kapitel wird der Vergleich zwischen den beiden Versionen angestellt, wobei unterschiedliche Bereiche auf die Gemeinsamkeiten und Unterschiede untersucht werden: Narration, Musik und Raum, Inhalt, Studie und Symbolik, Figuren des Konrads und der Konrad sowie Sprache. Im abschließenden Resümee wird unter Zusammenfassung der bisherigen Ergebnisse dargestellt, welche Gemeinsamkeiten und Unterschiede es zwischen Bernhards und Lupas Kalkwerk gibt und was überwiegt.
Diese interdisziplinäre und intermediale Diplomarbeit bildet den Beginn einer intensiven Auseinandersetzung mit dem Werk Thomas Bernhards im Theater Krystian Lupas und eröffnet eine neue Perspektive in der Rezeption Bernhards im nicht deutschsprachigen Raum.

- by Magdalena Baran-Szołtys
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- German Studies, German Literature, Theatre Studies, Interdisciplinarity

Kilka słów o Konradzie Swinarskim, pod red. Zuzanny Olbinskiej, Jana Karowa, Krystyny Szymańskiej, Akademia Teatralna im. A. Zelwerowicza, Warszawa 2021. Referat wygłoszony na konferencji "Kilka słów o Konradzie Swinarskim" , Akademia... more

Kilka słów o Konradzie Swinarskim, pod red. Zuzanny Olbinskiej, Jana Karowa, Krystyny Szymańskiej, Akademia Teatralna im. A. Zelwerowicza, Warszawa 2021.
Referat wygłoszony na konferencji "Kilka słów o Konradzie Swinarskim" , Akademia Teatralna im. A. Zelwerowicza, Warszawa, 14 listopada 2019.

- by Łucja Demby
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- Polish Theatre, Contemporary Polish Theatre
- by Jacob Juntunen
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- Theatre Studies, Drama, Theatre, Tadeusz Kantor
- by Jacob Juntunen
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- Puppets, Holocaust Art, Tadeusz Kantor, Polish Theatre

Die Diplomarbeit beschäftigt sich mit Krystian Lupas Inszenierungen Bernhardscher Texte: Kalkwerk, Immanuel Kant, Rodzeństwo.Ritter,Dene,Voss, Auslöschung/Wymazywanie und Na szczytach panuje cisza. Lupas Bearbeitungen der Texte und die Stellung des österreichischen Schriftstellers in seinem Theater werden analysiert, besonders im Hinblick auf die Rezeption. Das Ziel ist eine Dokumentation und Interpretation der Aufführungen im Lichte der Kritik. Die interdisziplinäre Diplomarbeit hat einen archival-wissenschaftlichen Charakter und bietet einen einführenden Überblick.

- by Magdalena Baran-Szołtys
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- German Studies, German Literature, Polish Studies, Austrian Literature

In Poland " A truly reliable and full if inevitably as yet not quite comprehensive account of the relationship between Classical antiquity and the Polish stage during the communist epoch, which is in itself a huge achievement and an invaluable scholarly resource. (…) A more intensive analysis (…) takes first steps in developing interpretive models for the understanding of the unique features of Polish performance reception of Classical antiquity, and will help future scholars, especially international ones who are not au fait with the specific Polish experience, orient themselves and their understanding of this particular national-cultural history. (…) It is a huge asset for the Warsaw University endeavours in Classics and Liberal Arts and will provoke intense international interest. " " Precision, reliability, and clarity are trademarks of this worthwhile publication. Each chapter is formulated in a competent manner and written in an attractive style. Bios of playwrights inspired by antiquity, information about each performance, bibliography relative to sources and themes combine to provide an example of scholarship of the highest quality. "

- by Dorota Rejter and +3
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- Greek Tragedy, Communism, Antiquity, Polish Theatre

Książka składa się z trzech części: w pierwszej autorka rozważa zjawiska metateatralności i metadramatyczności, ich różne ujęcia badawcze i typologię form metadramatycznych; w drugiej kreśli się związki metadramatyczności ze zmianami w sztuce okresu awangardy: w trzeciej zaś analizuje wybrane dramaty awangardy polskiej. Sięga do zapomnianych dziś tekstów ("Kain" Jerzego Hulewicza, "Osioł i słońce w metamorfozie" i "Włamywacz z lepszego towarzystwa" Tytusa Czyżewskiego, "Śmierć na gruszy" Witolda Wandurskiego oraz "Szósta! Szósta!" Tadeusza Peipera), znajdując w nich zarówno podobieństwa, jak i różnice, a przede wszystkim odnajdując wspólne pragnienie uporządkowania świata i, jak pisze autorka, konstruowania "go takim, jakim powinien się stać w wyniku ewolucji - lub rewolucji awangardy".

- by Anna R. Burzyńska
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- Performing Arts, Theatre Studies, Theatre History, Political theatre

Wlodzimierz Staniewski, director of the Polish Centre for Theatre Practices Gardzienice, considers directing as a praxis pertaining to the field of musical composition. His pieces have been theorised as either “ethno-oratoria” or “village operas,” while the pedagogy developed by the group is a territory for the exploration of the tensions between the physical and the vocal. Building on my recent fieldwork with the company, this chapter problematizes the separation of vocality and choreographic/movement practices in performer training and uses Gardzienice’s example as a case study in physiovocality. Meanwhile, the core principles of Staniewski’s work, namely mutuality, musicality and chorality, are analyzed as points of departure from music theaters towards a theater of musicality.

- by Beth Holmgren
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- Jewish Studies, War Studies, Holocaust Studies, Polish Studies

Popularized by the Theatre-in-Education movement in England and the work of Jerzy Grotowski in Poland, Collaboratively-Generated Devised Theatre has developed into a major movement in contemporary theatre. However, scholarship in this area has been weak due to a reliance on anecdotal analysis rather than using a comparable rubric. For this paper, the processes of three Massachusetts-based devising companies were analyzed to define three different approaches toward collaboration and devising, and present new terminology to aid the discourse surrounding companies and groups that create work in a collaborative way.

- by Jason E. Weber
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- Musicology, Performing Arts, Musical Theatre, Theatre Studies

The article focuses on the phenomenon of the puppeteer as performer. The brief presentation deals with the various modes of the puppeteer-performer, which are connected with the performer’s strategy of presence and bodily expression, his relationship with performing objects, and eventness as the nature of the performances. The
performative potential of the puppeteer is analysed through an examination of three
Polish puppeteer-soloists’ work: 1. Grzegorz Kwieciński, the author of the Teatr Ognia
i Papieru [Theatre of Fire and Paper] – as an example of the interface of puppetry art,
happening and performance art; 2. Tadeusz Wierzbicki with his Laboratorium Zjawisk
Świetlnych [Light Forms Laboratory] – representative of the synergy of various visual
techniques and light technologies of shadow theatre; and 3. Adam Walny – whose
work presents the idea of the puppeteer-sculptor and craftsman, performing with puppets produced and brought to life by the artist himself. A distinctive feature of their
performances is the improvisational dimension of the theatrical experience, resulting
from the performer’s presence as well as the material specificity of animated beings.
https://atb.edu.pl/wp-content/uploads/2019/10/Puppetry_in_the_21st_Century_e-book.pdf

- by Marzenna Wiśniewska
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- Performing Arts, Performance Studies, Puppetry, Puppet Theatre

Our text presents the theoretical approach to the problems of body and technology in stage performance. The starting point is the status of the categories such as presence, ephemerality, immediacy of the (theatre) performance, radically undermined in the texts of performance studies scholars such as Rebecca Schneider, Amelia Jones or Philip Auslander. Utilizing examples of performances from young Polish theatre: Krzysztof Garbaczewski (b. 1983) and Radosław Rychcik (b. 1981), we juxtapose two functioning models of the body-technology relation on stage. The first – represented by Garbaczewski – is based on an understanding of the body as always mediated. It multiplies (undermines) the body's presence by use of audio-visual means. The second – Rychcik's case – is to push the theatrical presence of the body to the absolute maximum. In this case, the audio-visual layer is used to build a strong opposition to the actor's stage presence. The two examples are used to propose a new theoretical approach. We show that such stage phenomena are not only a sign of a (technological) reality shift, but also, a very important theoretical input in the understanding of theatre. We state that every single body on stage (no matter if consciously, as in Garbaczewski's case, or unconsciously as in the Rychcik's case) is already mediated and the use of technological tools is a way to play with this specific character of theatre corporeality. This broader perspective also incorporates elements of the political dimension of annexing media-mediated and media-manipulated corporeality, for it will follow the apparently transparent and natural dimension of such actions, whereby once again it will turn, as postulated by Jacques Rancière, aesthetic considerations into political considerations.

- by Magda Romanska
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- Russian Studies, Theatre Studies, Theatre History, Performance Studies

This is the title page contents, intro, conclusion and bibliography of my Master thesis (full paper is 16, 564 words).
When looking at Wojtyla’s poetic output, it became clear to me that an understanding of his formation as an artist in Poland, which during the years of the Second World War came together with his spiritual formation, is central to understanding his specific role in the fall of the Communist regime in Central Europe. My study, coupled with Wojtyla’s interpretation of the Rhapsodic Theatre, reveals his view of the unique role of culture in a nation’s history, and also how the Rhapsodic Method is “one piece” with his poetry, as well as an extremely effective methodology when applied on the world stage. This study outlines the historical and political context in which Wojtyla grew up - which notably connected art with the struggle for spiritual and national freedom - to a setting out of Wojtyla’s interpretation of Rhapsodic Theatre in his own words. When looking at Wojtyla’s poetry, which I see as an extension of the Rhapsodic Method, the work of the poet Cyprian Norwid is presented as a key figure to understand Wojtyla’s unique writing and placing it in the system of contemporary poetics. The devices of 'contemplative' or meditative writing are drawn out. For the research element I devised a workshop - 'The Place Within' and ran with 2 groups; people are invited to interact with KW's poetry. The results are written up in order to extrapolate how KW's poetry may be used to help those on a spiritual journey.
Email me if interested to read whole chapters.

- by Sarah Larkin
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- Poetry, Communism, Creative Writing (Poetry), Karol Wojtyla

Apartheid in South-Africa pervaded every dimension of public and social life. Theater, both as a form of art and as a sphere of public life, was thus also subjected to the policy of segregation: under the Group Areas Act racially mixed casts as well as mixed audiences were prohibited. There were places, however, where those restrictions were bypassed and where white theater directors cooperated with non-white artists. Examples include the Market Theater in Johannesburg and the Space Theater in Cape Town,where non-racial productions were created by one of the most prominent South African playwrights and directors, Athol Fugard. The economic situation of those independent theater companies, as well as the political situation in the country, informed the used means of expression. This is where the theory of Jerzy Grotowski came into play. This paper shows how Grotowski’s premises were realized in the South African context and what influence they had on the South African tradition of workshop theater

- by Ewa Dynarowicz
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- Musicology, Musical Theatre, Theatre Studies, Polish Literature
- by Łucja Demby
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- Theatre Studies, Film Studies, Theater and film, Polish Film
- by Anna R. Burzyńska
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- New Media, Performing Arts, Intermediality, Contemporary Theatre

The main aim of the book 'Musical Spaces in Contemporary Polish Theatre' is to present the various functions of music in Polish dramatic theatre and also to demonstrate the ways in which contemporary Polish theatre directors ‘shape’ the sound layer in their performances. Concurrently, the author discusses two methodologies which can be used to analyse and describe theatre music. These two complementary methodologies are the semiotics and the performative aesthetics.
The monograph explores the numerous relationships between music and other elements of the mise-en-scene, including scenography, actor’s body (acting and movement) and stage lighting. However, the main focus is the relation between music and theatrical fiction. The particular chapters are connected to each other by the ‘musical space’ category which should be defined as a specific way of shaping the sound landscape in a performance.
The subject of the publication involves a variety of theoretical issues such as perception of music in dramatic theatre, classification of the theatre sounds, types of musical meanings, and also the influence of technology on the sound production. All these questions are considered with regard to particular Polish performances which have been produced in the last 25 years – especially the works of Jerzy Jarocki, Jerzy Grzegorzewski, Krystian Lupa, Andrzej Dziuk, Krzysztof Warlikowski and Jan Klata.

A History of Collective Creation examines collective and devised theatre practices in Europe and North America, beginning in 1900. Long associated with U.S., British and French theatre collectives of the 1960s, collective creation in fact has its roots in the theatrical experiments of the early 20th century, emerging just after the rise of the modern director. Tracing a lineage from explorations of collective creation in the work of Meyerhold, Stanislavsky, Copeau, St. Denis, Piscator, Reduta, Grotowski, and early documentary theatre, through mid-century manifestations as a theatrical expression of the New Left, A History of Collective Creation proposes that collective creation played a pivotal role in the evolution of the modern theatre.

- by Kathryn Syssoyeva
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- Collective Behavior, Social Movements, Chicano Studies, Russian Studies

The article discusses dramatic works by Maria Morozowicz-Szczepkowska (1885-1968) which - like many other dramas written by women playwrights - have been largely erased from Polish theatre history. Even though she became for a short moment a famous feminist author in the interwar years, throughout her life she struggled to have her plays staged. Most of them have been forgotten not only by theatre artists but also by theatre researchers. Until we recognize women's dramatic works as valuable documents of theatre and social life, our knowledge, sensitivity and aesthetic will remain limited.

- by Agata Łuksza
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- Gender Studies, Women's Studies, Theatre History, Drama

Artykuł przyjmuje optykę posthumanistyczną, sytuując w centrum wywodu Kantorowskie przedmioty jako aktanty mobilizujące się w nowych rolach, obdarzone podmiotowym, sprawczym statusem. Tekst pochodzi z katalogu wystawy "Tadeusz Kantor.... more

Artykuł przyjmuje optykę posthumanistyczną, sytuując w centrum wywodu Kantorowskie przedmioty jako aktanty mobilizujące się w nowych rolach, obdarzone podmiotowym, sprawczym statusem.
Tekst pochodzi z katalogu wystawy "Tadeusz Kantor. Widma" (Cricoteka 2020)

- by Didier Plassard
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- Theatre Studies, Theatre History, Postdramatic theatre, Contemporary Art

Maciej Słomczyński’s theatrical adaptation of James Joyce’s Ulysses had its premiere on 14 February 1970 in Teatr Wybrzeże [The Coastal Theatre] in the city of Gdańsk, a performance which marked the culmination of what had been a period of intense interest in Joyce following the publication of Słomczyński’s translation of Ulysses in the early months of 1969. Even though as many as 40,000 copies of Słomczyński’s translation had been printed, the book sold out within a matter of days. Mirroring this public enthusiasm, tickets for the upcoming spectacle proved almost impossible to come by. The excitement that greeted Słomczyński’s translation of Ulysses could arguably be put down to the fact that there was a wide perception that Joyce had made his arrival in Poland decades later than he should have, or at least that his works had come in drips and drabs. And indeed over the preceding decades, Poland had, in fact, played host to only a minor Joycean tradition of sorts.

- by Barry Keane
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- Irish Theatre, James Joyce & Irish Studies, James Joyce's Ulysses, Polish Theatre
- by Łucja Demby
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- Theatre, Polish Theatre
- by Przemyslaw Strozek
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- Avant-Garde Theater, Futurism, Italian Theatre, 20th century Avant-Garde

The article analyses the work of Marta Górnicka, a young Polish director and creator of so-called choral theatre, and in particular her two productions performed only by women: This Is the Chorus Speaking and Magnificat. This reflection takes place in the context of research on the antique chorus, feminist theatre and the musical turn in contemporary theatre. The analysis concentrates on selected problems and aspects of Górnicka’s work, such as language/body/voice, the choral form, community/exclusion, political intervention, and power. Choral theatre is recognized as a fundamentally anti-systemic and revolutionary theatre in which the excluded regain their voices.

- by Agata Łuksza
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- Theatre Studies, Performance Studies, Performance Art, Performance