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Muzyczna scena Różewicza

100%

Wąchocka E.

Pamiętnik Teatralny

2024

tom 73

nr 3

165-186

This article presents the varied forms of music (classical and popular) as well as their applications in the theatre plays of Tadeusz Różewicz. Its author contests the hypothesis that Różewicz’s theatre is visual in nature, demonstrating that its aural qualities (phonetic characteristics of language, microdramatic properties of aural events, and the projected music) play no less important a role in engineering the audience’s perceptions than the visual aspects. Using the methodology of intermediality studies, she brings out the dramatic potential of musical intertextualities that come into dialogue with the text or that cannot be expressed by the spoken word; she shows how music can become the playwright’s side note, which can be satirical, parodistic, or grotesque in its metatheatrical nature. Musical elements in Różewicz’s plays are typically straddling the boundaries between the original context of the play and the cultural contexts evoked by those elements. At the same time, the modern, multifaceted approach to the aural aspect often leads to blurring the lines between the acoustic phenomena and, consequently, to the emancipation of the aural space-an emancipation that is not a secession from the visual but a new quality with new meanings that cannot be borne out of the visual.

Artykuł przedstawia różnorodne formy muzyki (klasycznej i popularnej) i sposoby ich zastosowania w dramatach Tadeusza Różewicza. Autorka poddaje weryfikacji opinię o wizualnym charakterze Różewiczowskiego teatru, wskazując, że sfera audialna (jakości foniczne języka, mikrodramaturgia zdarzeń dźwiękowych i projektowana muzyka) często odgrywa w aranżowaniu percepcji odbiorców równie istotną rolę jak obraz sceniczny. Korzystając z metod badań intermedialnych, wydobywa dramaturgiczny potencjał muzycznych intertekstów, niosących znaczenia dialogujące z tekstem lub nieprzekazywane przez słowo. Pokazuje możliwości użycia muzyki jako autorskiego komentarza, tworzącej w powiązaniu z metateatralnością środowisko sprzyjające satyrze, parodii, grotesce. Prawidłowością sztuk Różewicza jest usytuowanie elementów muzycznych na nieostrej granicy pomiędzy macierzystym kontekstem utworu a aktywizowanymi przez nie kontekstami kulturowymi. Zarazem nowoczesne, kompleksowe podejście do sfery brzmieniowej prowadzi nieraz do zacierania jakościowych różnic między zjawiskami akustycznymi, a w rezultacie – do emancypacji przestrzeni dźwiękowej rozumianej nie jako wynik zerwania więzi z obrazem, lecz jako zdolność do wnoszenia odmiennych sensów, nieredukowalnych do jego znaczeń.

Torments of Education (“Metaphysics of a Two-Headed Calf” by S.I. Witkiewicz

100%

Wąchocka E.

Przestrzenie Teorii

2010

nr 14

159-171

Identity crisis, one of the crucial problems tackled by Witkacy in his dramas, is linked first of all with the tradition of modernism by critics. The author of the article suggests a change in the viewpoint, and basing on the analysis of Metaphysics of a Two-Headed Calf presents that problem in the perspective of contemporary discourse concerning identity. The problems that Witkacy’s characters had with their own existence are in consonance not only with today’s quite common conviction that individuals can experiment with their own feeling of identity relatively freely, but also with the concepts of individual ego, that function within social sciences. The tools developed by social sciences allow to have a different perception on the relation between the processoriented/ process-driven nature of identity (self-creation of the ‘I’, game, mystification) and the conviction that its borders are delineated by the cultural pressure and social discipline. In Metaphysics of particular importance are the relations with parents, with the family – representing society – as well as constructions of double-gangers (Doppelgänger) that reveal the subject as the Other, or deprive the subject of its ‘individual-ness’ undermine her/his individual (subjective) status. The diagnoses of Witkacy are quite close to the contemporary ways of conceptualization of the ‘I’, which – as Lacanian psychoanalysis, Foucault’s constructionism – negating the subjective power to cause, do not confine themselves to unmasking the pressure of institutionalized forms of life, and reveal their activity even at micro-level.

Wąchocka Ewa, Udręki edukacji („Metafizyka dwugłowego cielęcia” Witkacego) [Torments of Education (“Metaphysics of a Two-Headed Calf” by S.I. Witkiewicz)]. „Przestrzenie Teorii” 14. Poznań 2010, Adam Mickiewicz University Press, pp. 159-171. ISBN 978-83-232- 2210-1. ISSN 1644-6763. Identity crisis, one of the crucial problems tackled by Witkacy in his dramas, is linked first of all with the tradition of modernism by critics. The author of the article suggests a change in the viewpoint, and basing on the analysis of Metaphysics of a Two-Headed Calf presents that problem in the perspective of contemporary discourse concerning identity. The problems that Witkacy’s characters had with their own existence are in consonance not only with today’s quite common conviction that individuals can experiment with their own feeling of identity relatively freely, but also with the concepts of individual ego, that function within social sciences. The tools developed by social sciences allow to have a different perception on the relation between the processoriented/process-driven nature of identity (self-creation of the ‘I’, game, mystification) and the conviction that its borders are delineated by the cultural pressure and social discipline. In Metaphysics of particular importance are the relations with parents, with the family – representing society – as well as constructions of double-gangers (Doppelgänger) that reveal the subject as the Other, or deprive the subject of its ‘individual-ness’ undermine her/his individual (subjective) status. The diagnoses of Witkacy are quite close to the contemporary ways of conceptualization of the ‘I’, which – as Lacanian psychoanalysis, Foucault’s constructionism – negating the subjective power to cause, do not confine themselves to unmasking the pressure of institutionalized forms of life, and reveal their activity even at micro-level.