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„Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką

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Okołowicz S.

Przestrzenie Teorii

2010

nr 14

217-233

Polemicising with Maria A. Potocka’s view, the author reflects on the problem of mask and facial expression in the life and work of S.I. Witkiewicz. They appear here as an expression of philosophy of man, a specific feature of the personality of the author of Szewcy [The Shoemakers] whose whole life, artistic and philosophical activity was marked by “facial expression”. The article also reminds the unusually important texts of Stefan Szuman, Witkacy’s friend, who points to the essence of Witkacy’s portraits. The last question discussed in this article is the problem of ascribing to Witkacy of the authorship of most of the photographs in which he is presented (since they are a documentation of his artistic creations) while actually the authors of these photographs are a dozen or so photographer friends of Witkacy.

Okołowicz Stefan, „Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką [“I have to have a mask, a mad mask”. Polemicising with Maria Anna Potocka]. „Przestrzenie Teorii” 14. Poznań 2010, Adam Mickiewicz University Press, pp. 217-233. ISBN 978-83- 232-2210-1. ISSN 1644-6763. Polemicising with Maria A. Potocka’s view, the author reflects on the problem of mask and facial expression in the life and work of S.I. Witkiewicz. They appear here as an expression of philosophy of man, a specific feature of the personality of the author of Szewcy [The Shoemakers] whose whole life, artistic and philosophical activity was marked by “facial expression”. The article also reminds the unusually important texts of Stefan Szuman, Witkacy’s friend, who points to the essence of Witkacy’s portraits. The last question discussed in this article is the problem of ascribing to Witkacy of the authorship of most of the photographs in which he is presented (since they are a documentation of his artistic creations) while actually the authors of these photographs are a dozen or so photographer friends of Witkacy.

„Witkacy rzucił się jak szczerbaty na suchary” Witkiewicz w czasie pierwszej wojny światowej

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Okołowicz S.

Przestrzenie Teorii

2010

nr 14

235-249

This text is a polemic with an article by Maria A. Potocka “Ja” jako materiał twórczy [“I”as a material for creation]. When considering the problem of the presence of Witkacy in the Tsarist army, the author comes to a conclusion that Witkiewicz went there where he did not intend to go, misled by inaccurate information. The choice of the Russian opportunity based on incomplete or untrue information and unsuccessful coincidences – according to the author – should be considered in the categories of Witkacy’s personal tragedy no matter what significance this fact gained later.

Okołowicz Stefan, „Witkacy rzucił się jak szczerbaty na suchary”. Witkiewicz w czasie pierwszej wojny światowej [“Witkacy darted like a gap-toothed person onto rusk”. Witkiewicz during the First World War]. „Przestrzenie Teorii” 14. Poznań 2010, Adam Mickiewicz University Press, pp. 235-249. ISBN 978-83-232-2210-1. ISSN 1644-6763. This text is a polemic with an article by Maria A. Potocka “Ja” jako materiał twórczy [“I”as a material for creation]. When considering the problem of the presence of Witkacy in the Tsarist army, the author comes to a conclusion that Witkiewicz went there where he did not intend to go, misled by inaccurate information. The choice of the Russian opportunity based on incomplete or untrue information and unsuccessful coincidences – according to the author – should be considered in the categories of Witkacy’s personal tragedy no matter what significance this fact gained later

Śliwka i tacet. O spotkaniach Schulza i Witkacego

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Okołowicz S.

Schulz/Forum

2016

nr 8

43-64

The paper focuses on the relationship between Schulz and Witkacy. According to Jerzy Ficowski, Stanisław Ignacy Witkiewicz “was the first great enthusiast of Schulz’s fiction.” Conducting an in-depth interview with Schulz and publishing a critical essay on his poetics, Witkacy turns out to be a precursor-reader who anticipated the writer’s future fame. How did Witkacy read Schulz’s Cinnamon Shops and what did the beginning of the two authors’ friendship look like? Here, a short poem, To Schulz, written by Witkiewicz on December 31, 1934 in reference to an illustration from The Booke of Idolatry, is a pretext to consider the fascination with boundary situations, which was common to both writers.