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Od „pisania na scenie” do „jednorazowej dramaturgii”

Author(s): Joanna Ostrowska / Language(s): Polish Publication Year: 0

Practices called by Konstanty Puzyna “writing on the stage” not only initiated a new moment in Polish theatre; but were also related to a particular mode of practicing theatre: connected with a particular human team; working without a “pre-text” and; most importantly; treating performances as personal; yet public expressions. The term coined by Puzyna is a variation on what in western European terminology is called “collective creation.” Puzyna and many other theoreticians researching this kind of theatrical work saw in these avant-garde practices a new opportunity for theatre; its closer contact with the world of everyday; real experience.The main problem discussed in the text is the way in which these counter-cultural practices moved to and found themselves in mainstream theatre. In doing do; they have simultaneously undermined a significant; it would seem; conviction that a dramatic text is timeless; universal; suitable as a starting point for many performances differentiated only by “disposable drama.” The author locates this phenomenon in the context of history of theatre and theoretical reflections on the transience of theatre. Has “disposable drama” in this way become the embodiment of the essence of theatre?

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Teatr Ósmego Dnia z Poznania, realizacje zespołowe z lat 1977–1991. Praca nad spektaklem, praca nad sobą: nowe podejście do kreacji zbiorowej, wyjście poza kolaż cudzych tekstów

Author(s): Juliusz Tyszka / Language(s): Polish Publication Year: 0

Joseph Chaikin’s The Open Theater from New York (1963–1973) produced several performances in co-operation with playwrights Megan Terry and Jean-Claude van Itallie. They were responsible for the text of the production. They participated in rehearsals, observed the actors’ improvisations, and then, in co-operation with the team, wrote the final version of the script. This practice related to the theatrical and literary works of numerous classics – from Aeschylus to Brecht. It should be regarded as an important part of performative breakthrough in theatre.The most advanced on the world-scale method of „writing on the stage” was created in the second half of the 70s Theatre of the Eight Day from Poznań. Its performances were team productions based on collective improvisations of the actors, processed in latter rehearsals and eventually arranged by the whole team into a collage script. The texts uttered during the performance were a collective work of the team, improvised or written by the director or the actors, sometimes supplemented by short fragments of literary works, mainly poetry, which the group considered significant.Towards the end of the article, the author asks a question whether continuing counter-culture traditions of collective creation can take place today, and whether the requirements raised towards somebody who would wish to undertake this enterprise are not, from today’s perspective, far too high, even absurd.

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Teatr autentyczny

Author(s): Miloš Mistrík / Language(s): Polish Publication Year: 0

From the moment when the profession of a director was established at the turn of the 19th and 20th centuries; the relations between drama and theatre have changed. Up till then; drama dominated the pair; but the director and the staging team began to gain in importance. For instance; the 20th century was occupied with an issue of how the crisis in drama can be resolved; and how will the principle of epic theatre develop. With the passage of time; more and more important becomes what the director brings into the message which a given performance proposes to the reader. There are four variants of the relation between drama and theatre; based upon the dominant factor: 1) the dominance of the stage reproduction of a text; 2) the dominance of the director’s interpretation of a text; 3) the dominance of the ideational confrontation with the text; 4) the dominance of an authentic message of the director and the staging team through the use; or without a dramatic text. This last variant is most visible in the 21st century; and it also influences the current playwriting; though the remaining three variants are still present in theatrical practice.

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Jak opowiedzieć, jak grać tę historię?

Author(s): Ewa Wąchocka / Language(s): Polish Publication Year: 0

In contemporary work for theatre; different forms of mise en abyme became an important tool for redefining the identity of drama in the altered social and political situation. The turn towards new themes which occurred towards the end of the first decade of the present century – political; historical; revisory; biographical – is connected with a manifestation of a different approach to writing; and – as a result – a development of new forms of expression (dramatic adaptations; collages; remixes and paraphrases; recycling and travesty). Different means and tropes of metatheatre serve the validation of authorial narrative strategies; world-view and aesthetic preferences. With reference to Daniel Heller-Roazen’s concept of “forgotten language;” the article analyses typical authorial interpretations of the situation in which drama’s “language” finds itself – rejected and still essential; severely weakened and found in modernized or mocking uses; amazingly lively in parodies and pastiches. I present several fundamental strategies for revealing the author’s self-consciousness; whose subject is; on the one hand; the way of telling “history” (L. Amejko; B.M. Bukowski; A. Pałyga; Z. Rudzka; M. Sikorska-Miszczuk); and on the other; the project of stage realization of the text; and thus also theatrical communication; building a close relation with the audience (P. Demirski; M. Pakuła). Self-reflexivity is an opportunity for strengthening the stage message; and these strategies also indicate the search for such forms which could endow today’s omnipresent and commonplace metatheatre with a significantly self-reflexive character.

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Autorzy w poszukiwaniu postaci scenicznych

Author(s): Antoni Winch / Language(s): Polish Publication Year: 0

The article analyses selected works by Sławomir Mrożek (The Turkey; The Tailor; Tango); Harold Pinter (The Homecoming) and Hanoch Levin (Emperor Gok; Yakish Poupche) in context of the postmodernist doctrine. Of particular interest here is the influence which the postmodernist perception of the world in the categories of a stage performance and simulacrum exerted over the constructing of a dramatic figure. A human being functioning on the stage of everyday life as an actor performing in his/her play; on the real stage ceases to be human; frequently becoming grotesque; an amalgamation of different forms; poetics and conventions. The dramatic nature of his/her existence wilts. It is replaced by an absurd play of cultural associations; overlapping clichés of the past; old stage traditions. Mrożek; Pinter and Levin; while searching for their characters; find only the shadows of old protagonists. They try to enliven them; intertwining their fates into frequently tragic plots. However; they fail; as postmodernism; while deconstructing metanarratives; also deconstructed tragedy as one of them. As a result; the aforementioned authors create works saturated with comic quality; which; through its ridiculousness induces horror;

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„Zawsze chciałem pisać powieści…” O twórczości dramatopisarskiej Bernarda-Marie Koltèsa

Author(s): Grażyna Starak / Language(s): Polish Publication Year: 0

Bernard-Marie Koltes – a French playwright of the second half of the 20th century is still perceived as a very interesting author; not only because of the philosophical aspect of his work; the topicality of the problems he raises; but perhaps mainly because of the specificity of his writing; the way in which he creates; his inspirations and how he utilizes his private life experience. His cooperation with Patrice Chéreau; their mutual influence and fascination which lasted for the entire period of his creative career are commonly known. In the present article; the author considers to what extent the personality and experience of this prominent director and actor have influenced Koltes’s writing. It is really true that; as some say; there would not be Koltes without Chéreau? These quite complicated Koltes – Chéreau relations constitute one of the aspects of reflections over the works of the author of In the Solitude of Cotton Fields. Another is the reflection over the very process of writing; the way of constructing plays and the attempt at answering the question: why does Koltes; so fascinated by narrative forms; remain known mainly as an author of theatrical plays? In the final parts of the article; the author attempt to depict Koltes as a playwright who restored the weight of the word to contemporary European theatre.

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Między konstrukcją a dekonstrukcją. Różewiczowskie scenariusze Jerzego Grzegorzewskiego

Author(s): Michał Zdunik / Language(s): Polish Publication Year: 0

The subject of the article are scripts for two plays of Jerzy Grzegorzewski; based on the texts by Tadeusz Różewicz: Śmierć w starych dekoracjach [Death in the Old Decorations] (Polish Theatre in Wrocław; 1978) and Złowiony [Captured] (Polish Theatre in Wrocław; 1983). In his essay; the author performs a detailed analysis of the writing; adaptational and intertextual strategies of the director who becomes a playwright on a par. As it is demonstrated; Grzegorzewski’s work exceeds far beyond a mere transposition of literature for the purpose of a dramatic production: the theatrical writer disturbs the structure of Różewicz’s prototypes – through adding multiple quotations and references; he composes a cracked; postmodern palimpsest. Such a structure allows the artist to create a space for cultural dialogue – there appear references to earlier productions and a selection of excerpts or motifs from other cultural texts (for instance other works by Różewicz; topoi of an Italian city or melancholy) allows to inscribe the performances into the continuity of the tradition of European modernism. Apart from a strictly aesthetic order; the author also demonstrates the individualism of the perspective employed in the discussed scripts – Grzegorzewski creates a theatrical “intimate diary;” a dramatic “movie of memories” of the protagonist; where the succession of scenes is dictated by the melancholic work of consciousness. Such advanced playwriting techniques illustrate that Grzegorzewski can be regarded as an autonomous playwright; who utilizes – like a postmodern artist – a prior existing material; creating out of it a new; self-sufficient entirety.

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Przypadek Wery V. i Elise V. – pisanie dla sceny w ramach Projektu V. Laury Leish

Author(s): Monika Błaszczak / Language(s): Polish Publication Year: 0

The art icicle constitutes a case study in the area of writing for the stage. Projekt V. is a theatrical enterprise created by Ewa Kaczmarek (alias: Laura Leish). It comprises spectacles Wera V. and Elise V.; which are inspired by the contents of three hundred and three postcards found in the collection of the University Library in Poznań. The artist’s project is an example of correlation of many materials in the newest performing arts; of writing for the stage in the aspect of the performative process of creating a spectacle. The “case” presented here belongs to various themes proposed for consideration: from the methods and conventions of writing for the stage in modern theatre; through adaptational strategies of theatre writers and the theatrical text as a tool for critical consideration of reality; to perfomative text construction or para-verbal narrations. In her project; Ewa Kaczmarek discourses with the tradition of writing for the stage; individual history and women’s narratives. Her actions are based on searches within the frameworks of the text; she deconstructs it; employs the principles of collage; palimpsest; compilation; the poetics of a remix and recycling. She is not averse to narrative experiments. Constructing of texts has a performative character here; a heteronomous composition of words; gestures; audiovisual images/projections is created.

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Reportaż jako materiał sceniczny Teatralne świadectwo Cynkowych chłopców

Author(s): Justyna Kowalska / Language(s): Polish Publication Year: 0

The subject of the article is the evolution of a traumatic historical testimony into theatrical material. Its main purpose is an attempt at demonstrating the complex relations between three levels of narrative: a tale of the historical event (confessions of participants and the families of the deceased during the Afghanistan war of 1979–1989); a quasi-literary text of the reportage (Svetlana Alexievich’s Boys in Zinc) and a stage production (Boys in Zinc directed by Jakub Skrzywanek in Jerzy Szaniawski Theater in Wałbrzych). It is possible to visualize and interpret the meaning of an event only when it is rid of the amorphous element of “now” and becomes a finite “once.” The story of “boys in zinc;” the veterans of Soviet-Afghan war became a subject of literary and theatrical discourse; in both cases it acquired a different structure; was created according to different selection criteria. Attention should also be given to the construction of time in the production; which constitutes at attempt at reconciling several time registers with the theatrical convention of “here and now.” The awareness of historical truth and an immediate contact with the real physicality of the body of an actor turns the audience into a witness of terrible confessions in grotesque stylistics of Soldier’s Song Festival in Kołobrzeg.

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Myśl słaba a praktyki narracyjne we współczesnym teatrze

Author(s): Kamila Paprocka-Jasińska / Language(s): Polish Publication Year: 0

Weak thought works very well in different areas of contemporary aesthetics, including Polish theater, which does not lack for elements of fragility and apparent deficiencies, as well as weak entities – on the level of both form and the selection of themes. The article is an attempt at applying tools created by weak thought to the theory and interpretation of contemporary Polish theatre and drama on the example of the production Holzwege by Marta Sokołowska, directed by Katarzyna Kalwat (premiered 15th of January 2016 at TR Warszawa). The biography of a composer Tomasz Sikorski becomes a pretext for philosophical reflections over the subject of death, and as such becomes a treaty on the ontology of weak subjectivity. As a metatheatrical narrative, Holzwege revises the basic theatrical categories. The author conducts her case study mainly on the basis of the figures of the trace and the weak subject, researching their influence on the construction of theatrical narrative and stage character. Creating a definition of a weak character, she reaches to the theories of Gianni Vattimo and Constantin Noica, popularized in Poland by a literary scholar Andrzej Zawadzki in, among other works, the book Literatura a myśl słaba [Literature and Weak Thought], as well as classical and contemporary reflections over dramatis personae.

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Performans biografii

Author(s): Beata Popczyk-Szczęsna / Language(s): Polish Publication Year: 0

The article reflects over the newest Polish theatrical plays; whose authors have in different ways utilized biographies of famous people. The presence of numerous works of this kind suggests a biographical trend in contemporary Polish theatre. The plays which refer to life-stories of extraordinary heroes of history or culture were created with regard for different source data; including both earlier biographical publication and many common opinions circulating in our cultural context. Interesting and somewhat paradoxical is the fact that the work of their authors who employ biographical material in writing for the stage often combines archeological meticulousness in referring to sources with creativity in its processing/composing.Jan Czapliński’s text Zapolska Superstar serves as an example of dominant compositional strategies of biographical plays: self-referentiality of the message; the confrontation of different kinds of discourses as a distinguishing factor of the verbal material of a text; the manifestation of the authorial perspective and composing the plot as a process of recreating/happening of individual biography. Due to these qualities of works designed for the stage; it can be stated that already at the level of textual recording a “performance of biography” is created; which then develops independently on two planes: in the act of individual reading and in the actor’s performance of words/actions of a character during a stage production.

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„Nieodzowność nieuchwytnego” w autorskiej twórczości grupy Med a prach – odejście od słowa i dialogu

Author(s): Elena Knopová / Language(s): Polish Publication Year: 0

Med a prach is a theater group which simply uses the term “stage works” to refer to its intermedial and intertextual productions. These are post-traditional theatrical forms; which combine traditional genres and theatrical elements with new perspectives (for instance; theateroratory; theatre-sound concert; performance as instrumental and vocal movement composition with an epic narrative ground). They employ means from a range of many arts (music; live painting; performance; literature); frequently tackling abstract subjects such as human and Christian values; beauty; monstrosity; faith. The scripts (librettos) take the form of varied collages. There; we find song lyrics; folk ballads; fragments of famous literary works; notes on musical motifs; dance or movement sequences; possible mise-en-scene and score solutions; employment of props; visual elements; comments on the effects of the role of the visual aspect on the audience; etc.The text of the librettos has a lose structure; and is; by assumption; an inspiration (an initiating interpretation of the subject) during the collective process of rehearsals. In case of words; it is not their univocal meaning which is of greatest importance; but their hidden melody; emotional colour and associations.

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Poetyka i estetyka teatru autorskiego jednej z etnicznych scen teatralnych na Słowacji

Author(s): Miran Pukan / Language(s): Polish Publication Year: 0

In Slovakia; different political systems – communist and capitalist – shaped different approaches to theatrical work and made their mark on the aesthetics of the staged productions. An excellent way of demonstrating these changes are the works of Blah Uhlár i Miloš Karásek. Their authorial theatre is interesting as a “theatrical memory” of the times when the productions were staged. Interestingly; both artists met the fate of authors rebelling against the hegemony of a playwright. The time and the circumstances forced them to become authors of texts which were akin to conventional dramatic works contemporarily written for the theatre. Decompositions; written at the turn of the eighties and the nineties of the 20th century; were innovative and positively influenced not only ethnic theatre in Presov; but also national theatre in Slovakia. On the other hand; the last three recently staged theatrical projects are in this respect more impoverished. They are rather conventional productions. It turns out that when the divisions between western and eastern culture disappear; when almost anything is possible and allowed; these ex-“alternativists;” artists of peculiar authorial form of theater; fight for the audiences’ attention and must fulfill the same expectations as mainstream authors.

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Pisanie dla sceny i „sceny pisma” Jana Dormana

Author(s): Marzenna Wiśniewska / Language(s): Polish Publication Year: 0

Jan Dorman; the creator of the Zagłębie Chidren’s Theater in Będzin; belongs to the Polish theatre avant-garde; which includes; among others; Jerzy Grotowski and Tadeusz Kantor. He left in his archive a rich depository of life and works; which most precious part are the manuscripts of screenplays allowing for the tracing of the process of performances’ creation – from the initial ideas to the holistic stage projects. The article analyses the performative quality of Dorman’s writing for the stage; which reveals itself in the employed dramatic and theatrical strategies (including improvisation; deconstruction of texts; techniques of collage and montage; rhythmicality; play of conventions) and in the very procedure of creating screenplays and their special material form. The reflection simultaneously focuses on the themes of “scenes of writing” (Jacques Derrida); which for Dorman were constituted by the work journals which accompanied the screenplays and interwove with his personal notes. The conclusion of the reflections turns attention to the very idea of theatrical archive as a depository of documents which constitute a performative challenge for the scholars and practitioners of theatre; and as such; invite an artistic treatment.

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Tekst dramaturgiczny w polskim teatrze lalek

Author(s): Grzegorz Eckert / Language(s): Polish Publication Year: 0

The article focuses on the nature of the theatrical text and dramaturgy in puppet theatre in Poland and concentrates on stage work directed at an adult spectator. It shows the phenomenon’s historical context in relation to the works of Zofia and Władysław Jarema in Cracow’s Teatr Groteska; Janusz Ryl-Krystianowski’s work in Animation Theater in Poznań and Wiesław’s Hejno’s work in Puppet Theater in Wrocław. The attempt to characterize the presence of the theatrical text in the contemporary puppet theater is based on the example of Malabar Hotel Theater which derives from form theater; and an interview conducted with a playwright Marcin Bartnikowski. The staging strategies are shown; among others; on the example of the staging of Michail Bulhakov’s Master and Margarita and an authorial play Bacon. The article attempts to delineate and collect motives or literary signs most enthusiastically “rewritten” by form theater and puppet theatre in Poland.

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O cytacie muzycznym w teatrze

Author(s): Magdalena Figzał-Janikowska / Language(s): Polish Publication Year: 0

The author of the article considers the question of narration in the context of the aural sphere of the performance. She makes theatrical music the subject of the analysis, which as one of the essential elements of the spectacle is capable of a significant contribution to the theatrical expression and able to give it a certain direction or reveal its additional meanings. Taking into consideration the origin of the musical pieces which appear in theatre, we can distinguish compositions created for the purpose of a particular spectacle and borrowed works, which had existed before and were used in a performance as quotations. Due to its provenance, it is the quoted musical piece which is endowed with the strongest semantic charge, far exceeding the reality of the stage.The main purpose of the article is to present three models of functioning of musical quotation in dramatic theatre, which translate into its capabilities in building stage narratives. These are examples derived from the analysis of the musical layer of selected performances of three Polish directors: Krystian Lupa, Krzysztof Warlikowski and Jan Klata. Although they relate to different aspects of functioning of the musical quote in theatre, it may be noticed that the consequence of their employment is always an establishing of a new plateau of understanding between the scene and the audience – an alternative model of theatrical communication, based of musical structures.

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Replica productions – teatralne kopiuj-wklej?

Author(s): Jacek Mikołajczyk / Language(s): Polish Publication Year: 0

The article discusses the phenomenon of replica productions of original productions in musical theatre. The author describes the rules operative in licensing musical titles of non-replica type, i.e., most of the productions in Polish musical theatre. The agreements between theatres and agencies managing copyrights for musicals usually require preserving the original text and music, but grant freedom in matters concerned with staging, though in certain cases the agencies also reserve the right to control other aspects of the production and its promotional framework. Then, the author describes the phenomenon of replica productions itself, i.e. their appearance in the world’s greatest musical centers with staging resembling the original productions, most frequently prepared by the same team as responsible for the latter. The final part of the text discusses cases of interference of musical agencies in non-replica staging which reinterpret the message of the original works.

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Dyskurs emancypacyjny w teatrze Wiktora Rubina i Jolanty Janiczak

Author(s): Aneta Głowacka / Language(s): Polish Publication Year: 0

The idea of the viewer’s emancipation in theatre is gaining on popularity. Artists make use of the audience’s presence; provoking it to various actions and interactions. In place of the spectacle understood as a text to be read; artists propose an event; characterized by unforeseeable meanings and behaviour; which result from the interaction between the artists and the audience. The viewer is also someone who produces meanings; though his/her level of engagement may differ. In consequence; the course of the spectacle is dependent both on the artists and on the audience’s readiness to engage. This mode of theatre is by Josette Féral named “performative theatre.” Hans-Thies Lehmann; on the other hand; relates the dominance of the performative level of the spectacle to the postdramatic theatre.Wiktor Rubin has for years been consistently including the viewer into the space of play: beginning with his first spectacles which brought him recognition; or at least interest of the critics; to the most recent productions; prepared in cooperation with Jolanta Janiczak. The purpose of the article is the demonstration of the evolution of the director’s strategy in emancipating the viewer; which in this case means provoking his activity; drawing into the plot; and thus assembling him in all manners into the world of the stage. Through the actors’ provocation; The Rubin−Janiczak duo does not only intend to cause consternation and curiosity; but also to invoke on the audience’s part a reflection over various social and political phenomena; to provoke actions which invite various forms of citizen activism.

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Krytyka – jak działa(ć)?

Author(s): Stanisław Godlewski / Language(s): Polish Publication Year: 0

In his text, Stanisław Godlewski attempts to answer the two title questions: how theatrical criticism works and how can one make it work? He defines theatrical criticism as any judgment concerning theatre – not only the written one, and turns attention to the problematic nature of theatrical criticism as a source in theatre history. On the one hand, theatrical criticism is a reconstruction of a theatrical work (and thus a kind of performance), and on the other, a subjective recording of the reviewer’s reception. Godlewski analyses the way in which the position of “the review as a witness” can be dangerous in studies on theatre, as theatrical criticism has not only a reconstructive but also a preserving function and contributing to the discussion on theatre may become hermetic. Simultaneously, the author of the article notices that the unobvious narrative-making power of criticism reveals itself in the moment of historical studies, when theatrical criticism becomes a source – it is precisely then, that its use may lead to various, frequently surprising conclusions.

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Tekst jako obiekt

Author(s): Julia Holewińska,Marzena Sadocha,Artur Pałyga,Ewa Wąchocka,Aneta Głowacka / Language(s): Polish Publication Year: 0

The playwright’s panel took place at the Faculty Council Hall of the Department of Philology of the University of Silesia in Katowice as an event accompanying the national academic conference Writing for the Stage – Narrations of Modern Theatre. Among the invited guests were Julia Holewińska, Marzena Sadocha i Artur Pałyga. The audience and the interlocutors were represented by the conference participants and the academic community. The discussion concentrated around the issues connected with contemporary writing for theatre, and it concerned, among different subjects, the role of the theatrical text in the process of creating a stage production, the ways of writing for the stage and the factors determining various authorial strategies. The playwrights attempted to reflect over their own roles as artists, to define their understanding of theatre, which influences the employed artistic strategies and the manner of working with the text. They shared their thoughts on the aesthetic changes in contemporary theatre, where an increasingly greater role is played by fine arts and media and the directors more and more often share the responsibility for the staging with their co-workers. The discussion also raised the motif of dramatic manifestos, which, once published by playwrights as separate texts, are now woven into the works written for the stage.

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