Česlovas Milošas apie Adomo Mickevičiaus teatro viziją
Czesław Miłosz on the Theatre Vision of Adam Mickiewicz

Summary/Abstract: The present research focuses on sacral aspects of Czesław Miłosz’s and Adam Mickiewicz’s theatre visions. Poet Czesław Miłosz beholds the phenomena of sacral theatre as a sign of the universal life of humankind, from the perspective of the evolution of the theatre. In his narrative on sacral theatre, discerns the concept of a Messianic attitude by a person in the process of maturing. In the topographic map of memory, a person who is regenerating Christian identity interconnects the stylistic variety of sacral theatre, rejuvenates lost time and recreates a meditation on metaphysical time. Miłosz enriches the meditation of metaphysical reality, validated in the vision of the theatre of the future by Adam Mickiewicz, with the personal experience of the 20th century person who has come in contact with new challenges. Under conditions of spiritual erosion, Miłosz urges saving homo religioso with one’s own immortal soul and a meditative search for the mystery and meaning of the universe. In the creative work by Miłosz, sacral theatre is reflected as the love of God in a form of action and sensation, based on mimesis, in the development of a hierarchical reality. The poet sees the designation of sacral theatre, under conditions of crisis in Christian identity, in the creative arts and poetical theatre which serve to save a person from loneliness and regenerate the contact of a person with God. Miłosz and Mickiewicz identify the theatre of the future with the poetic tradition of sacral theatre. The poets associate a thematic expansion of Christian drama in the theatre of the future with a vision of the collective theatre as the universe in which the supernatural light of the world is reflected. A minimization of theatrical means in the vision of the theatre of the future by Adam Mickiewicz is based on the meanings, born from the thing-object that has sprung forth from the environment, regenerating it in the passage of cited time. The completeness of the universe disseminates through things-objects. Meanwhile the sense of awesomeness that leads the citations by some person seemingly recreates a universal dimension that is nearly impossible in naturalistic visions of the theatre.

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