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2 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2 2021

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Shakespeare in purgatory: (re)writing the history of the post-war reception

100%

Cetera-Włodarczyk A.

tom 24

nr Special_Issue

17-32

The aim of the essay is to reflect on the current substantial and ethical complexity of the research into the history of Shakespeare reception in the post-war period, both within the Polish national context and, by parallel, within a wider context of post-Communist countries. This refers in particular to the large-scale release of documents, testimonies, and archives which cast light on the operation of Communist authorities in respect of artists and men of letters, revealing a variety of manipulative mechanisms such as censorship or selective patronage. Secondly, the essay proceeds to scrutinise the contents of the Archives of Jan Kott, showcasing the traces of Kott's continuous preoccupation with Shakespeare's themes and productions. The (un)finished projects (such as 1973 Hamlet) elucidate Kott's understanding of history and his compelling ability to endow drama with a contemporary and universal appeal.

Polish translations of Restoration comedy in early Communist period: the cross-section of ideology and academy

63%

Cetera-Włodarczyk A. , Pożar P.

tom 24

nr 1

136-145

The article sets out to explore the ideological complexity of the Polish reception of English Restoration Drama in the early Communist period, i.e. in the 1950s and beyond. With the relatively early influx of Shakespeare's repertoire popularized by strolling companies as early as the 16th century, the subsequent decades saw a steady decline of this cultural trend, leaving English Restoration drama entirely outside Polish theatrical experience for three centuries. However, the postwar period saw a surprising development of academic interest in Restoration comedy and even more so in the social processes which these plays were said to expose. Steeped in heavy Marxist jargon, the studies of English Restoration comedies foregrounded the analysis of the newly emergent capitalist relations, the hypocrisy and moral decay of the ruling elites, and the relevance of the new approach to the historical reading of literature. While the enterprise failed on theatrical grounds, the emergent translations can be said to exemplify an interesting case of ideological patronage which brought to light works entirely dismissed by previous ages and allowed them to sustain the initial propagandistic pressure.