Człowiek transu. Magnetofonowe sesje Mirona Białoszewskiego
A trance man. Miron Białoszewski’s tape-recorded sessions

Summary/Abstract: Miron Białoszewski was permanently fascinated by the idea of resuming the oral and melic sources of poetry; for instance, he knew the Biblical Psalms by heart and recited them, if not sang, willingly. Yet, he did not add style to early lyrical forms, but instead, invented certain novel ones. He approached his own pieces of verse in terms of musical score: he would write them ‘aloud’ and strive for their being performed out loud. In 1950s, he set up a home theatre so that he could have his poetry ‘set in motion’ with use of voice and gesture. Once this ‘Separate Theatre’ [Teatr Osobny] suspended its activity, Miron started, from the mid-seventies onwards, tape-recording his pieces. Initially, he did that for his blind friend Jadwidga Stańczakowa. With time, though, his tape-recorded sessions gained the form of a poetic performance where the very performance of a piece counted on equal terms with a poem or piece of prose. Mr. Kopciński believes that Białoszewski recorded his works in order to replay the moment of their initial creation and to awake in himself the former artistic experience through the use of his own voice.

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