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Tekst poświęcony jest dwudziestowiecznym projektom muzeów, które z rozmaitych względów nie zostały wcielone w życie, a jednak wywarły wpływ na myślenie o architekturze, a przede wszystkim – o powinnościach muzealnych placówek. Autorka postuluje, by takich projektów nie ignorować w historii sztuki, docenić ich spekulatywny potencjał i podejmować ich badania z perspektywy preposteryjnej.
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Feliks Koneczny regarded Lucjan Rydel as a talented and hard-working writer. After the stage success of Zaczarowane koło (1899), he was convinced that the author could rival with Stanisław Wyspiański. In his broad review, published in Przegląd Polski, while reflecting a plot scheme of the work, he was at the same time looking for structural justification of action process. He noticed dramatic, linguistic and psychological values of Rydel’s ‘dramatic fairy tale.’ He appreciated Rydel’s writing skills. However, he also expected the type of art which was uniform in terms of genre. Looking into the way in which realistic and symbolic elements were combined with folklore, he discovered the cause of compositional imperfections of Zaczarowane koło, which he analysed deeply and assessed objectively.
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The paper presents an early literary critical reception of 'Zygmunt August', a trilogy by Lucjan Rydel. The analysis includes, above all, reviews whose subject is a literary work as whole, rather than its particular sections. It has been proven that critical remarks on Rydel’s work could be included in the discussion on the possibilities and needs of the Polish historical drama. The most essential problems of the text revolve around the difficulties connected with finding the right assessment and description criteria of Rydel’s work by professional readers. They were situated either against the pattern of national drama, or it was qualified as a popular drama. Some crucial discrepancies related to ‘measure,’ according to which Rydel’s work should be evaluated, also appeared, depending on whether it was treated as a drama or ‘performance.’
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Jerzy Ronard Bujański was the first director of the Old Theatre after the Second World War (from the end of January to August 1945). The article presents turbulent beginnings of this management (the war was still in progress). Besides, the first premiere of the Old Theatre - Mąż doskonały by Jerzy Zawieyski - directed by Bujański, stage design by Andrzej Pronaszko. This performance referred to the character of Job from the Old Testament and was related to the Warsaw Uprising context. This show was one of the most important artistic events of the first season after the war. Next to the Old Theatre, Bujański established the Studio, which educated about one hundred people. The teachers included: Juliusz Osterwa and Tadeusz Kantor, while the students were, for example Tadeusz Łomnicki, Halina Mikołajska, Andrzej Hiolski, Kazimierz Mikulski and Jerzy Nowosielski. In August 1945, Jerzy Ronard Bujański was dismissed as a result of a conflict with the city authorities. However, during the time of his management, the theatre gained a high artistic position.
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Lidia Zamkow, a great individual in the theatre, a hero of numerous press arguments in the 60s and 70s of the 20th century, is mainly remembered as a shocking stage arranger with innovative ideas. Classics (Sophocles, Euripides, Shakespeare, Gorki, Dostoyevsky, Wyspiański) and contemporary period (Wiszniewski, Kafka, Brecht, Durrenmatt, Mrożek), were crucial for her achievements as a director. However, she was underappreciated as an actress with a few brilliant roles. Little did one realize how great her influence was on actorship, both as a director and an actress. This paper is an attempt at filling this gap; the author discusses some statements, which could be regarded as Zamkow’s aesthetic credo; she describes the characters played by Zamkow (especially Medea from the performance in the Kameralny Theatre); different critical opinions, as well as fragments of letters from the artist to actors, which show her skills. She was a rebellious, but curious and meticulous observer of Brecht’s work. By modifying the rules of epic play, she worked out her own methods of building roles. Distance and expression, elements of realism and symbolism, irony and pathos created in them a harmonious combination, against the contrasts which separated them.
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Psie serce (1983), Mały bies (1985), Oni (1985) and Republika marzeń (1987) are the four very important performances directed by Rudolf Zioło in Krakow. They clearly mark the scope of both formal and thematic search in the early period of the artist’s work. The literary prototype that Zioło is faithful to, becomes only a pretext for discussion with the audience about the surrounding reality and social inequalities, as well as the mechanisms behind evil. According to the reviews which have been preserved, Zioło’s performances made in Krakow in the period 1983–1989, were usually received enthusiastically and evoked a lot of emotions. His skill for building a deep psychological motivation of characters and constructing stage activities on the basis of an in-depth analysis will be a distinguishing feature of Zioło’s theatre for many years. Additionally, a strong stage realism, strengthened by scenographic solutions, will be a starting point of a grotesque, deviation and talking about difficult life situations and humanity. In his opinion, it is only the theatre after 1989 that becomes liberated from alternative functions.
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In 1974, the STU Theater already had a reputation among critics for being committed to the side of the young generation, which distrusts the top-down programmed vision of reality and looks for its own style to express the need for independence. From Falling (1970) based on Tadeusz Różewicz's poem, through Dreambook Polish (1971), the road led to Exodus (1974) with its metaphorized ethical message. Unlike the first two parts of the triptych, composed of fragments from many authors, the text of Exodus was written entirely by Leszek Aleksander Moczulski. The play directed by Krzysztof Jasiński turned out to be one of the most important in the history of student theater. It was shown in many Polish cities (Gdynia, Warsaw, Łódź, Poznań, Wrocław), on European stages (Switzerland, France, Belgium, West Berlin) and even in South America.
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This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique discipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the national song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.
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Review of: Joanna Lisiewicz, Milczenie w teatrze Samuela Becketta i Tadeusza Różewicza, Wydawnictwo Uniwersytetu Gdańskiego, Gdańsk 2017.
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In his 1969 project An Experimental Bottery, published in the ninth issue of Archigram, David Greene introduces time as a concept that has had a significant impact on the arts over the past few years, but not so much on architecture. Still, he proposed the temporary space as the example of “an architecture that exists only with reference to time” by pointing out its potential to last in memory. Along this line of thought, this paper aims to make inquiry into the critical examples of temporary architecture to reflect on how they challenge architecture’s long-standing claim to permanence and thus attempt to transform the conventional relationship between architecture and time. To do so, it discusses a selection of inflatable structures that had been produced by such avant-garde architecture collectives as Archigram, Haus-Rucker-Co, and Coop Himmelb(l)au between the late 1960s and early 1970s. Starting from the assumption that these experimental spaces contribute to the expansion of the established boundaries of the discipline as they are situated at the margins of dominating architectural culture, this research provides a ground to argue how inflatable structures turned into a critical medium to reassess architecture’s relation with time during this period which was marked by technological developments and social, political and cultural upheavals.In his 1969 project An Experimental Bottery, published in the ninth issue of Archigram, David Greene introduces time as a concept that has had a significant impact on the arts over the past few years, but not so much on architecture. Still, he proposed the temporary space as the example of “an architecture that exists only with reference to time” by pointing out its potential to last in memory. Along this line of thought, this paper aims to make inquiry into the critical examples of temporary architecture to reflect on how they challenge architecture’s long-standing claim to permanence and thus attempt to transform the conventional relationship between architecture and time. To do so, it discusses a selection of inflatable structures that had been produced by such avant-garde architecture collectives as Archigram, Haus-Rucker-Co, and Coop Himmelb(l)au between the late 1960s and early 1970s. Starting from the assumption that these experimental spaces contribute to the expansion of the established boundaries of the discipline as they are situated at the margins of dominating architectural culture, this research provides a ground to argue how inflatable structures turned into a critical medium to reassess architecture’s relation with time during this period which was marked by technological developments and social, political and cultural upheavals.
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Lastingness does not represent a necessity of architecture itself. This need is intrinsically linked to human desire and presence, and its obtaining, to the materials from which the architecture is made of. Among the materials used in architecture, perhaps the most ephemeral are the textiles. And yet, paradoxically, textile architecture is a form of construction that has become lasting through the longevity of the typology itself. An architecture of necessity that has become today an architecture of lightness, of the occasional, of transformability. The (re)discovery by contemporaneity of the qualities and benefits of architecture with/of textiles is due not only to the technological possibilities of the present but also to two paradigm shifts. One is brought about by generations Z and Alpha, willing to have and looking for new experiences and, therefore, with a high appetite for mobility, which makes the very occupation/ function of the spaces, whether private or public, to become ephemeral. The other is a new perspective on textiles in modern and contemporary architecture, from the tapestry seen as a muralnomad (the mural of the nomad) (Le Corbusier, 1960), to the Architextiles, a term launched by Marc Garcia (2006). It is a distance not only in time, but also concerning the signified imprinted into the textiles used in architecture.This paper seeks to explore the facets of the ephemerality embodied by textiles in the contemporary context of their lasting qualities.
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Beaterio del Carmen was founded in the second half of the 17th century. Its operation was made possible by bequests and donations. Although it functioned throughout the 18th century, its greatest development occurred in the last forty years of the century, when Nicolasa de Christo became the Preposita. During her govern, not only the buildings of the beatrium itself but also the area controlled by the tertiaries expanded significantly. It even came to the closing of public streets inside the property, which ceased to be generally accessible. The presented article shows the urban transformation of the beaterium quarter, the process of attaching individual plots of land from the time of the institution’s foundation to the early 19th century and the formation of ownership of the property complex belonging to the Tertiaries was reconstructed.
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With respect to the early works of painter Sava Henţia (1848-1904), the year 1870 proved to be highly important: he completed his studies, obtained a scholarship in Paris, received different awards and his first works were exhibited. A lesser known work is also dated to this year, part of the array of historical and mythological subjects, at this time preferred by the painter: “Genevieve of Brabant”. The oil on canvas work illustrates, besides the artistic component, the reflection of a folk novel that was also known to the Romanian population of the 19th century either through translated editions or even, since the 17th century, through manuscripts that circulated alongside the old books. Henţia’s view on the theme is characteristic of the regional environment in which he worked, since the subject is contaminated by characters that draw away from the theme that had emerged in the Germanic medieval west. One such example would be the confusion of Siegfried with the Knight of the Swan, the latter depicted with a winged head, similar to Genevieve’s son from the painting under scrutiny in the present paper. Half a century later, Mihai Sadoveanu and illustrator Ary Murnu readdressed the subject and the theme, including the same motifs that were first encountered in Romanian art through the works of Sava Henţia.
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This paper examines one of Krzysztof Penderecki's emblematic early sonoristic compositions “Fluorescences” (1961 – 1962) from the perspective of the interplay of the perceptual factors auditory and visual. The specific parameters of the sonoristic structure (timbral and articulatory, textural-sonic, dynamic, temporal) are investigated as the main catalysts for the activation of vivid and sensually impressive colour-light and spatial associations. The correlation of visual and auditory perception in the context of the synesthetic system of connections is of research interest not only for its conceptual significance for Penderecki's sonoristic stylistics, but also for its positioning of the coomplex area of multisensory perception as one of the central ones in the musical art of the second half of the twentieth and early twenty-first centuries.
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The article deals with the important phenomena of modern musical art of the XX – XXI centuries in the field of notography – “graphic” and “time notation” types of notation, the creator of which is considered to be the representative of the American avant-garde – Earl Brown. The example of the “Folio” cycle demonstrates the peculiarities of “time notation”, where the iconic representations of durations are indeterminate and conventional. On the other hand, the graphic score of the play “December 1952” occupies a special place in the cycle, which combines two opposite approaches, in connection with which the problem of how to translate a spatial object into a temporal plane, which can lead to different results, is outlined. Through the prism of analyzing the works of Brown's followers in the use of “graphic” and “time notation” types of notation, the author notes the interrelation of notational solutions. In conclusion, a complex of issues concerning musical graphics is covered, from understanding the author's intention to its realization and peculiarities of perception.
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The article uses an interdisciplinary approach to selected early modern poems of John Donne and aims to delineate the research area which still awaits systematic exploration. The textual analysis of his elegy: The Comparison, operating within the communicationoriented theory of genre blending, leads to the detection of its multigeneric and dialogic patterns. It reveals the intricate manner in which features and functions of various literary and non-literary forms are intertwined and harmonized in one poem. It is also argued that Donne’s elegy derives its imagery from an experimental trend toward caricatures (grotesquery) followed by the 15th/16th-century portraitists and genre painters. The general conclusion is that Donne utilizes various, then available, communication channels to ensure intermediality of his message and that his concept presupposes certain cognitive and creative processes on the addressee’s side.
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The diplomatic contacts between the Republic of Poland and Russia over the centuries have always aroused great interest. New research is constantly deepening the historical, political, and archaeological understanding concerning the relations between these two countries. Looking more closely at these contacts in the 17th century, it can be seen that the meaning of the terms ‘diplomacy’, ‘diplomatic ceremony’ and, importantly, that of ‘envoy’ are different to what we hear and read today. Based on research concerning the dealings between the Moscow state and the Polish-Lithuanian Commonwealth in the 17th century, it is possible to observe dynamically changing relations, from friendship to hatred and contempt, leading to armed conflicts. References to the great legations of the Polish-Lithuanian Commonwealth to the Moscow state can be found in Polish, as well as Russian, literature. The names of the envoys, dates, and accompanying events can also be found therein. However, a problem arises when it comes to the giving of diplomatic gifts and the setting for the royal audience during the legation. Both the issue of gifts, as well as that of the ceremony, have not yet been dealt with in any monograph, and there is no description of individual works, what the audience hall or the feast looked like, or what the guests and the tsar were wearing during the legation. This article is based on a doctoral dissertation which attempts to present the setting of diplomatic ceremonies during the visits of envoys from the Republic of Poland to the court of the Moscow state in 1667, as well as the gifts given by the envoys to the tsar.
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The article informs about the Latvian art collection obtained by the Malmö Museum in 1939 and recently demonstrated in an exhibition there, accompanied by contemporary artworks.
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The syrinx (ἡ σῦριγξ) or panpipe is one of the oldest woodwind musical instruments. Many studies have shown that this multi-pipe flute was an important part of the pastoral culture in ancient Greece. Here, it is described what the traditional syrinx looked like. An overview is given of the most common materials used in syrinx production. The study has a special focus on the σῦριγξ μονοκάλαμος, which is thought to be the simplest fipple flute, and explores the question of whether it can be termed as the syrinx monokalomos when referring to the musical culture of the polis period. The results obtained during the analysis of ancient written (epic and lyric poetry, as well as works of tragedians of the archaic and classical periods) and pictorial (vase painting of the 6th–4th centuries B.C.) sources reveal how the syrinx was used in ancient Greece apart from the pastoral music: it was played, often in combination with other musical instruments, during ritual rites, such as weddings (in hymeneal songs), funerals, and paean performances, or for pleasure (during leisure activities).
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The United Nations' cultural agency, UNESCO, has recently added the Historic Centre of Odesa (Ukraine) to its World Heritage List. Odesa is part of the Crimean Peninsula and it is a legendary port that has left its mark on the cinema, literature and the arts. Crimea has always attracted a large number of cultural figures including Alexandr Pushkin, Maxim Gorky, Anna Akhmatova, Ivan Bunin, Marina Tsvetaeva, Isaac Babel, Boris Pasternak, etc. Like the Russian-born Anton Chekhov, Ukrainian authors who have written about the peninsula were, historically, not native Crimeans. Crimea is not only the focus of geopolitical conflict, but also the source of artistic and literary inspiration. In this article, I analyze some perspectives on Crimea, starting with Ivan K. Aivazovsky’s paintings (1817-1900), and some selected texts from those of the above-mentioned authors. For a current view on Crimea, I shall also consider some aspects of Ilya Kaminsky’s contemporary poetry.
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