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Izraelski «Hamlet» Konrada Swinarskiego

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Kuźnicka D.

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tom 70

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nr 1(277)

133-153

EN

This article discusses the Israeli press reviews of Konrad Swinarski’s Hamlet, which premiered at the Cameri Theater in Tel Aviv in 1966. Based on material previously unknown in Poland, the analysis makes it possible not only to reconstruct some of the stage actions and effects, but also to follow the reasoning, competences and tastes of Israeli critics. Comparing this material with documents concerning the preparations for the Kraków staging of Hamlet eight years later, the author concludes that the general framework of Swinarski’s conceptualization of the play was already developed in 1966; the director managed to bring some of its aspects to the stage in Tel Aviv. Most importantly, he created a new vision of the characters of Hamlet and Horace, re-examined the image of Claudius, and outlined a historiosophical and political interpretation of Shakespeare’s tragedy. In Israel, the critics usually recognized the ideological message of Swinarski’s staging correctly; however, they questioned its point and denied its value.

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Co wchłania gąbka? Uwagi o Hamlecie na scenach polskich po drugiej wojnie światowej

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Kuźnicka D.

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tom 63

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nr 3(251)

105-123

EN

The history of Shakespearean Hamlet on Polish stages after the Second World War is rich enough to provoke an attempt to make some general points. They can refer to our modernity, because theatre has heeded the call formulated expressly by the critics that Hamlet should reflect the current sensibilities and define the world here and now. Thus, the presented study, which takes into account over ninety post-war productions of the Shakespearean tragedy, not only explores the issues concerning persistence of the theatrical convention that a production should follow closely the text of the drama and respect its integrity, but it also tackles some questions concerning social role models and their transformations related to deeper cultural changes. Remarks on this subject are a contribution to the ongoing discussion about Maria Janion’s proposition that a certain form of Polish culture is dying away, taking the Romantic paradigm along with it. Until the end of the 1990s, the Polish stages were dominated by conventional productions, both mediocre and outstanding, that reflected the sensibilities and intellectual climate of their times. These productions include: Hamlet directed by Roman Zawistowski in 1956, Irena Babel’s show in 1959, and the much later productions by Hanuszkiewicz in 1970, Warlikowski in 1999, and by Klata (H.) in 2004. All these productions indicate two areas essential to the contemporary ‘thinking with Hamlet’, i.e. a broad sphere of political issues combined with reflexion on the mechanisms of power and laws of historical process, on the one hand, and the problems of cultural change that brings about changes in the psychology and personalities of the play’s protagonists, on the other hand. So what does Hamlet absorb? It absorbs the shocks of the convention under siege, which, giving way to individual formulae, has retained its productivity as a means of making sense of the world. Hamlet himself has lost his heroic qualities and even his intellectual potential, thus demonstrating the unattractiveness of reason. It reinforces Maria Janion’s assertion that the modern culture has lost its utopian aspect. One has to agree with her observation about ‘the sense of impunity and helplessness bred by the collapse of the present Polish cultural system happening before our very eyes’.

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W Instytucie Sztuki PAN jubileusze bez jubileatyzmu

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Kuźnicka D.

Konteksty - Polska Sztuka Ludowa

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2019

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tom 73

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nr 3 (326)

4-9

PL

Przy okazji zorganizowanych w Instytucie Sztuki PAN obchodów jubileuszowych badaczy teatru: Prof. dr hab. Lidii Kuchtówny (60-lecie debiutu naukowego) i Prof. dr hab. Lecha Sokoła (50-lecie zatrudnienia w wymienionej wyżej instytucji) uruchomione zostały rozmaite działania performatywne. Oprócz przemówień i laudacji, pojawiły się śpiewy solowe i zespołowe, recytacje, przygotowano scenografię oraz działania parateatralne. Przypomniano osiągnięcia P.T. Jubilatów. Przedmiotem zainteresowania historyczki teatru Prof. Lidii Kuchtówny była i jest twórczość polskiej sceny epoki modernizmu i współczesności, w tym przede wszystkim dokonania: reżysera i teoretyka teatru Wilama Horzycy, aktorek Ireny Solskiej i Barbary Krafftówny, a także scenografa Karola Frycza. Podczas uroczystości laudację wygłosiła dr hab. Danuta Kuźnicka, a przemawiali: prof. dr hab. Jarosław Komorowski, dr hab. Joanna Krakowska i dr Maria Napiontkowa. Jubilatce wręczono wydany przez Instytut Sztuki PAN, liczący ponad 400 stron tom Światła na wszystkie strony. Prace ofiarowane Profesor Lidii Kuchtównie, pod redakcją E. Partygi i J. Stacewicz-Podlipskiej, którego omówienie przedstawiły dr hab. Dorota Fox i dr Barbara Osterloff. Podczas jubileuszu Prof. Lecha Sokoła, literaturoznawcy i historyka teatru, komparatysty i skandynawisty, wciąż aktywnego badacza i wykładowcy, a w przeszłości także dyplomaty, przypominano, iż pisał o Witkacym, Auguście Strindbergu i Henryku Ibsenie. Przemawiali: prof. Giovanna Tomassucci, prof. dr hab. Janusz Degler, prof. Knut Brynhildsvoll, Janusz Majcherek, dr Antoni Winch, dr Przemysław Strożek, dr Paweł Płoski, prof. dr hab. Tomasz Kubikowski, prof. dr hab. Wojciech Dudzik. Własne utwory poetyckie przedstawiły: prof. dr hab. Marta Skwara i dr hab. Danuta Kuźnicka. Jubilatowi podarowano księgę pamiątkową Gangliony pękają mi od niewyrażalnych myśli. Prace ofiarowane Profesorowi Lechowi Sokołowi, pod redakcją M. Hasiuk i A. Wincha, w której na 489 stronach opublikowano 50 artykułów.

EN

Assorted performative undertakings were set into motion upon the occasion of the anniversaries of researchers dealing with the theatre, organised at the Institute of Art of the Polish Academy of Sciences: Prof. Dr hab. Lidia Kuchtówna (60th anniversary of scientific debut) and Prof. Dr hab. Lech Sokół (50th anniversary of employment in the afore-mentioned institution). Speeches and laudations were accompanied by solo and group renditions of songs, recitations, special stage design, and para-theatrical ventures. The organisers recalled the achievements of both celebrants. The interests of Prof. Lidia Kuchtówna – a historian of the theatre – were, and continue to be, focused on the Polish Modernist and contemporary stage and, predominantly, the accomplishments of director and theatre theoretician Wilam Horzyca, actresses Irena Solska and Barbara Krafftówna, as well as sets by Karol Frycz. In the course of the celebrations a laudation was presented by Dr hab. Danuta Kuźnicka and speeches were given by Prof. Dr hab. Jarosław Komorowski, Dr hab. Joanna Krakowska, and Dr Maria Napiontkowa. The celebrant was offered Światła na wszystkie strony. Prace ofiarowane Profesor Lidii Kuchtównie, a 400-pages volume issued by the Institute of Art of the Polish Academy of Sciences, edited by E. Partyga and J. Stacewicz–Podlipska and presented by Dr hab. Dorota Fox and Dr Barbara Osterloff. The anniversary of Prof. Lech Sokół, literary expert and historian of the theatre, comparatist and Scandinavian studies expert, still active researcher and lecturer, and in the past a diplomat, was an occasion for recalling that the Professor wrote about Witkacy, August Strindberg, and Henrik Ibsen. Speakers included Prof. Giovanna Tomassucci, Prof. Dr hab. Janusz Degler, Prof. Knut Brynhildsvoll, Janusz Majcherek, Dr Antoni Winch, Dr Przemysław Strożek, Dr Paweł Płoski, Prof. Dr hab. Tomasz Kubikowski, and Prof. Dr hab. Wojciech Dudzik. Prof. Dr hab. Marta Skwara and Dr hab. Danuta Kuźnicka recited their poems. The celebrant received a commemorative book: Gangliony pękają mi od niewyrażalnych myśli. Prace ofiarowane Profesorowi Lechowi Sokołowi, ed. by M. Hasiuk and A. Winch: a total of 489 pages containing 50 articles.

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Teatr Narodowy Jerzego Grzegorzewskiego

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Kuźnicka D.

Pamiętnik Teatralny

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2015

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tom 64

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nr 3-4(255-256)

338-359

EN

Jerzy Grzegorzewski took over the management of the Narodowy Theatre in Warsaw on 1 January 1997, when the building was re-built after the 1985 fire. He took this post as an outstanding artistic personality that had been exciting the imagination of theatre audiences with his novel staging formulas that conveyed the message of cultural breakdown, disintegration of the individual and the crisis of values. Working out a theatrical language that would adequately express these ideas meant that certain conventions had to be negated and many widely accepted models cast away, which caused numerous interpretational difficulties and misunderstandings, and the audiences sometimes rejected his productions for this reason. Before Grzegorzewski became head of the Narodowy Theatre, the artistic community had debated about what the future of the special stage that was being rebuilt should be. Presenting his programme, Grzegorzewski harked back to Stanisław Wyspiański. He wanted a theatre whose essential features would be art, metaphysics and tradition. The premiere of Noc listopadowa (‘The November Night’) in 1997 stirred a discussion in which Grzegorzewski’s supporters voiced their approval for the revision of stereotypical notions about national myths while his critics considered it to be a treasonous attack on the national culture. The production additionally sparked a more general debate concerning the role of classical theatre repertory. Grzegorzewski was the artistic manager of the Narodowy Theatre for six seasons, from 1 January 1997 until the end of the 2002/2003 Season. He resigned before his term of office ended. In this period, the theatre gave 29 premieres on two stages: the big Bogusławski Stage, and the small one of the Sala przy Wierzbowej. Grzegorzewski himself prepared 11 productions at the time, i.e. from one to three premieres per season. In creating a unique stage idiom, sometimes based on traditional conventions and sometimes going against them, Grzegorzewski worked within a sphere of contradictions between a need for developing his own language and a need to communicate with his audience. He attacked emotions and the intellect, demonstrated possibilities of looking at the reality from various points of view, and strived to compel his audiences to get a different perspective on some generally accepted beliefs. He analysed the common horizon of awareness stressing what was open and liberating in the Polish culture and urging to open one’s eyes to modernity. During his term at the Narodowy Theatre, the postulates that theatre be more in touch with the rapidly changing reality were being formulated with increasing force and clarity. There appeared directors and companies that satisfied these expectations. In comparison with their accomplishments, the wise, aesthetically refined theatre by Grzegorzewski seemed cool and aloof, while Grzegorzewski himself came to be viewed as a classic rather than as an avant-gardist. The multitude of artistic and ideological issues revealed through Grzegorzewski’s creative work at the Narodowy usually overshadowed the accomplishments of his organisational talents.