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Podstawy klimatyczne nawadniania roślin w regionie bydgoskim

100%

Peszek J.

1987

tom 314

Warunki opadowe produkcji ziemniaka sredniowczesnego na glebie bardzo lekkiej

51%

Zarski J. , Dudek S. , Peszek J.

1997

tom 110

129-135

Regionalne zroznicowanie przewidywanych efektow deszczowania roslin na glebach bardzo lekkich

45%

Grabarczyk S. , Dudek S. , Peszek J. , Rzekanowski C. , Zarski J.

Zeszyty Naukowe Akademii Rolniczej we Wrocławiu. Konferencje

1995

tom 09

45-54

Gombrowicz in Poland

26%

Morawiec E. , Guczalska B. , Dziewulska M. , Korytkowska-Mazur A. , Major R. , Smigasiewicz W. , Wojtyszko M. , Bunsch J. , Augustynowicz A. , Zapasiewicz Z. , K. D. , Seweryn A. , Peszek J. , Koecher-Hensel A. , Radziwillowicz J.

nr 1-4

462-591

Considering the problem of Gombrowicz's influence on the student theatres in Poland, E. Morawiec tries to identify Gombrowiczian motifs in some student productions, like, for example, 'Dumka on Hetman' (1968) or 'Introduction To...' (1970) of the 'Teatr 8 Dnia' (Eighth Day Theatre), and discusses 'The Polish Dream Book' (1970, 1973, 1974) and 'Operetta' (1978) by the STU Theatre, 'A Retrospective' (1973) staged by the 'Teatr 77' (77 Theatre) ensemble, and 'Halfway' (1976) staged by the Provisorium Theatre. The three studies mentioned below focus on the directors of the most renowned productions of Gombrowicz's works. B. Guczalska examines Jerzy Jarocki's productions of 'The Marriage', pointing out the major differences between the spectacles prepared in co-operation with Krystyna Zachwatowicz, and Jerzy Juk-Kowarski. She concludes that Jarocki becomes more and more preoccupied with the problem of transcendence and the metaphysical loneliness of the modern man. M. Dziewulska offers some suggestions concerning Jerzy Grzegorzewski's 'Operetta' and 'The Marriage' in the 'Narodowy' Theatre. She views both artists as similar in using conventions to free themselves from social authorities and conformity. A. Korytkowska-Mazur analyses 'Princess Yvonne' and 'The Marriage' directed by Krystian Lupa, emphasizing that in both cases Lupa concentrated on the subjective aspect of the plays. In turn 'the floor is given' to directors with experience in the Gombrowicz productions: R. Major explains the way he understands Gombrowicz's theatre, and describes 'Majoranka', the special kind of choreography devised by him for building dramatic situations in Gombrowicz's plays; W. Smigasiewicz talks about his approach to Gombrowicz's works and problems with adapting Gombrowicz's prose for theatre; M. Wojtyszko reminisces about the making of 'Ferdydurke' for the Polish TV theatre; J. Bunsch talks about the ideas that inspired him in Gombrowicz's plays each time he decided to stage them; A. Augustynowicz reflects on the concept of form of both productions of 'Princess Yvonne' she directed, and an ironic distance to one's own creations that comes from studying Gombrowicz. In conclusion, four renowned Polish actors: Zbigniew Zapasiewicz, Andrzej Seweryn, Jan Peszek, and Jerzy Radziwilowicz, comment on playing Gombrowiczian characters.