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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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Permanentny adaptator własnych tekstów, czyli o przepisywaniu w twórczości Juana Mayorgi

Author(s): Kamila Łapicka / Language(s): Polish Publication Year: 0

According to Joan Mayorga; one of the most frequently staged Spanish contemporary authors (born in 1965; Madrid) and a fellow of the London literary school Royal Court; the process of writing a play never ends. For this author; creating consecutive versions of his own texts constitutes the search for more intense and eloquent expressions; replacing words with gestures; removing stage blocking. Mayorga; a philosopher and a mathematician by education; searches for the simplest possible solutions; tries to employ a “lardless language.” Frequently; a new version of the play is preceded by a stage trail; which indicates the elements to be corrected. Such was the case with The Cartographer (El Cartografo); which was inspired by the author’s visit to Poland in 2008. Two years later; Mayorga wrote a play on the subject of the Warsaw ghetto; in 2016 he directed its preview showing; and in 2017 a new version of the text appeared in a separate volume. The present article constitutes an attempt at an analysis of the introduced changes. Shortening; or changing dialogue into monologue; Mayorga tried to modify the elements which during the work on staging reduced his capabilities as a director and limited the audience’s imagination.

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Jak Gorzów stał się Gdańskiem… Historia dramatu Michała Walczaka

Author(s): Anna Maria Krasucka / Language(s): Polish Publication Year: 0

“Writing for the stage” is a phenomenon symptomatic of the new theatrical practice. In this manner; many commissioned works were created by Michał Walczak – a writer of new generation; which Roman Pawłowski named “generation porno.”The article concern the play Babcia [Granny]; which – commissioned by Juliusz Osterwa Theatre in Gorzów – underwent a metamorphosis of sorts and “journeyed” to the stage of Wybrzeże Theatre in Gdańsk; where it was staged under a changed title Miasteczko G. [Town G]. It turns out that one play – appropriately modified – can describe different realities and phenomena which govern them; and rewriting a play by its author can allow for creating new quality.The article also presents a survey of theatrical criticism; the reviews written after both its Gorzów and Gdańsk premiers.

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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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Widz w teatralnym laboratorium. Performatywne praktyki partycypacyjne w teatrach a badania nad publicznością

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

This article touches upon contemporary participatory projects and performative practices in Polish theatres provoking the redefinition of the place and the role of the spectator in the institution of the theatre. The first part of the text describes the results of the qualitative research presented in Badanie publiczności teatrów w stolicy. Raport, 2013 (Audience Research of the Theatres in the Capital. A Report) and the commentary. In the centre of the article, there are two areas of theatre practices, which may be identified as sui generis theatre laboratories in the forming of the “art of being a spectator” (Robert Demarcy). The first one is theatre pedagogy; it expands the standard theatre repertoire activity to performative artistic and educational strategies, which strengthen feedback in the stage—audience relation and pose a challenge to perform the theatrical event and the theatre itself. The examples of models of such actions are the programmes of the Zbigniew Raszewski Theatre Institute and the “Theatre in the Class” project by Teatr Powszechny of Zygmunt Hübner in Warsaw. The second area of the phenomenon of a theatre audience laboratory includes the realisation of the theatre as a participatory project; the examples are, among others, Chór Kobiet (The Choir of Women) and performative projects of the Polish Theatre in Bydgoszcz under the management of Paweł Łysak. The purpose of the article is to point to the places where the paradigm of the theatre as an institution producing shows is challenged in favour of a performative institution, which co-creates complexes of performances with spectators, making the theatre a real tool and a place of empowerment.

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Twórca skrojony na miarę… publiczności czy artystyczności?

Author(s): Bartłomiej Juszczak / Language(s): Polish Publication Year: 0

A contemporary theatre maker is often torn between the demands of the audience and his or her own artistic motives. The relationship between these two factors is being formed throughout the entire artistic process from the moment of creation to the performance itself. This article shows the importance of the role of the audience in the contemporary theatre by discussing examples from the lives of famous Polish theatre-makers—Helmut Kajzar, Tadeusz Kantor—and from the Polish public theatre life, such as the affair in the National Old Theatre in Cracow. Are outstanding theatre productions created only when the aforementioned factors intertwine? Can we afford to create a performance that does not take the viewer into account? Rapid changes in aesthetics and the transformation of the contemporary theatre are often opposed by the general public. Moreover, theatre makers must also come to terms with the growing practice of global productions, in which the locality is pushed into the background. Responsibility for the creation of meaning in the play has shifted from the director to the viewer; thus, the viewer is the most decisive and the third most important link in the show. Without the viewer there would be no performance.

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Co ma wspólnego artysta z ekonomiką kultury?

Author(s): Kama Pawlicka / Language(s): Polish Publication Year: 0

In this article, the author’s discussion will focus on the cultural market in Poland after 1989 (especially the theatre), and relationships between the artist—the most important element in this market—and his or her possibilities of using tools adapted from marketing and management. The cultural market is characterised by the dynamics of change in economics and cultural economics. One of the most obvious and convincing theses confirming the inevitable linkage of economics and culture is the one formulated by an eminent expert in the field, David Throsby: “[…] the word of the industry in relation to culture and art draws attention to the economic processes of production, placing on the market, distribution and sale of cultural goods and services, regardless of the other, nobler aims of the artist.” From the perspective of economics, culture can be considered to be a system within which, as a result of deliberate human action, development can be shaped, created and directed. In other words, this system should have the task of preparing the conditions for cultural activities—especially the artistic activity—and to develop the methods and manner of their receipt by the widest possible audience. In the world of culture, more and more attention is paid to the rights of economics and entrepreneurship in cultural activities because of the need of practice. However, the professionalisation of management and marketing in culture can contribute to, inter alia, establishing such conditions for artists and creators in which they are not afraid to take up risky projects, for example with unlimited audience requirements or finances. The functioning of cultural institutions should, however, be grounded upon the elaboration of their own tools, used in the processes of management and marketing, and in consonance with the specificity of the market.

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Sztuki widowiskowe, czyli Teatrologia po wrocławsku (z dodatkami)

Author(s): Milan Lesiak,Piotr Rudzki / Language(s): Polish Publication Year: 0

The article, divided into three main parts (and Intro plus Finale), delineates the way in which university theatre science has become the full-time “employee” at the local academy. The authors present theatre science as the platform which has been consequently growing at Wrocław University after the Second World War. The main point focuses on the historical researching of the department, their current workplace. With their co-partners, Milan Lesiak and Piotr Rudzki are building the present form of this university institution, where students can explore and fathom their practical and theoretical abilities. Discussions about the contemporary condition of the theatre are always inspiring and necessary. In a sense, they arrange the mental venue of the exchange of ideas between artists, scientists and mainly students. These discussions also make it possible to bring the theatre back to theatrology, performing arts and dramatics.

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Czytanie dramatu

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

The article is a reflection on the currently popular practices of reading drama: public presentations of plays, which are artistic events on the verge of a linguistic performance and a theatrical play. The remarks presented in this text arise from observations of various forms of reading drama. The author points at its significant, processual dimension—it is simultaneously a performance of readers and an event-encounter of a group of people which aims at negotiating meanings of the text and exchanging experiences. The reading of a play initiates the double activity of the speech acts preserved in the text (in the communication schemes of reader—reader and reader—listener); therefore, they may be identified as performance. The simultaneity of the experience of reading and the experience of encounter leads to the creation of a mental and emotional interpretative community of the recipients. Reading drama is one of many examples of various performative practices related to the functioning of the contemporary theatre. These are events symptomatic for our culture, since contemporarily it is the creative process that plays a significant role and not merely the finished artefact. The public reading of a play is an occasion to participate in the spontaneous creation of meanings during the unplanned interpersonal interactions.

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Teatr terroru. Rekonesans

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

Terrorism is read as performance mainly from two perspectives. On the one hand, it is understood as a communication process in which the act of violence is not so much an ultimate aim of the terrorist’s activity as a statement, whose “spectacular frame” is to guarantee the effective appearance of the message in the media space. On the other hand, in terrorism one can emphasise the terror itself: the fear-that-cannot-be-overcome, described by some researchers as a proto-theatrical category in a wide cultural context. Both approaches meet in the moment of reflection on the spectacles of terror taking place in the media space. It can be clearly seen on the examples of the September 11 attacks on the World Trade Center and the Pentagon. The author distinguishes five moments—performative aspects which constitute an increasing sequence— in these attacks: from mini-performances staged in the hijacked planes, through the live transmission of the media play connoting a disaster film, private gruesome “performances” of the dying victims of the attacks, and the towers (the symbols of New York) collapsing before the eyes of millions of spectators, to the political campaign: the global performance of power, which is to retain faith of the community members in the effectiveness of its representatives.

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Miejsce teatrologii w szkole artystów teatru. Impresje nauczyciela

Author(s): Włodzimierz Szturc / Language(s): Polish Publication Year: 0

This article is an expression of theatrical reflections in the debate concerning the state of history of drama and theatre studies in the high level of acting schools. It contains some principal postulates, whose aim is to improve the situation of the curriculum of theatre studies, for example: 1) developing comparative studies concerning the representation of the same play prepared by different directors; 2) switching from inward transmission to outward transmission—translating drama into the language of performance; 3) creating an axiological and aesthetical reflection on theatricality as the language and form of new communication between young people, not only students of theatrical arts. The history of theatre and drama can be the platform of understanding:the bridge for reference to the parties concerned. The text is the postulate of practical theatrology that turns into comparative studies of spectacles. This reason involves the strategy of academic research development. The high position of performance in the theatre and in art. studies seems to be complementary to traditionally understood science of theatre.

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Wierność artysty wobec marzenia w procesie twórczym a rzeczywistość prawna i ograniczenia autonomii twórcy

Author(s): Krzysztof Popiołek / Language(s): Polish Publication Year: 0

The text refers to the legal sources of creative freedom in the Polish legal system and tries to answer the following questions: Who owns the dream in the creative process? What privileges does it provoke? What is the nature of relations based on a contract for specific work (especially between the theatre director and the art director in the theatre)? Finally, what are the ways to protect the artist’s freedom? The reflections are made in several fields—law studies, theatre studies and theatrical practice—as the author is not only a theatre director, but also a law graduate as well. The essay contains a reference to the main legal acts in the field of copyright law in Poland and abroad, quotes from Krystian Lupa, one of the greatest Polish theatre directors, and private observations from within the creative process.

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Zbudować dom. O samoedukacji aktora Trzeciego Teatru

Author(s): Piotr Tenczyk / Language(s): Polish Publication Year: 0

The author of the article makes an attempt at understanding the phenomenon of the Third Theatre and at formulating a personal response to the call for a private journey to be found in Eugenio Barba’s writings. He repeats the question of the famous Italian director—“What does the theatre mean to me?”—and, treating it as a starting point, he delineates three fields of interest for himself. The author begins his reflections with the notes on the actorly nature of human beings, their natural predispositions to play and create roles, and he draws practical conclusions concerning the acting practice and the attitude to reality that an artist should adopt. Further on, he convinces the readers that the identity of the actor of the Third Theatre ought to be developed in accordance with the awareness of one’s place in the world: of being—or not—rooted in a specific space. Finally, he touches upon the question of humility, which for the theatre actor may be the source of balance in the world built upon the constant fight of the opposites. The author does not formulate any general conclusions, or universal guidelines, but he turns to his own experience: he describes his own way, which may become an inspiration for similar artists and creators—the inhabitants of a big village called the Third Theatre.

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