Wyniki wyszukiwania - Biblioteka Nauki

1

Literatura jako wehikuł tajemnicy. O pisarstwie Jerzego Grotowskiego

100%

Kosiński D.

|

nr 38

59-74

EN

Jerzy Grotowski (1933–1999), considered to be one of the greatest theatre artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he had been creating and publishing text. The volume collecting them all in print has 1131 pages. Researchers interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators like Ludwik Flaszen many times underlined the importance of Grotowski’s writings, stressing a special function the literature played in the artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theatre appears to be also an aware creator of a literature paradoxically close related and working for a mystery beyond the words.

2

MICKIEWICZ JAKO „PRZYRZĄD DO GRANIA”. PRZYPADEK JERZEGO GROTOWSKIEGO

84%

Hoffmann-Piotrowska E.

|

tom 18

271-288

PL

Przedmiotem refleksji w artykule jest szczególny sposób lektury teatralnej twórczości Mickiewicza przez Jerzego Grotowskiego. Twórca Teatru Laboratorium, postrzegany tu przede wszystkim jako filozof kultury, buduje swoje koncepcje antropologiczne m.in. poprzez mediację z kulturą romantyczną. To, jak „używa” tekstów wielkich poprzedników, autoutożsamiajacy typ lektury utworów Mickiewicza czy Słowackiego, przekonuje, że Grotowskiemu nie chodziło o to, by zainscenizować romantyczny tekst, lecz by„wyrywać” z niego (też w sensie metaforycznym) to, co wydawało mu się przydatne i inspirujące – myśli, sceny, sytuacje i zbudować z nich sztukę potrzebną mu do istnienia oraz wspierającą rozumienie własnego istnienia. Paradoksalnie, taki bardzo podmiotowy sposób czytania zbliżał Grotowskiego do lektury, którą uprawiali sami romantycy

EN

The subject of reflection in the article is a special way of reading the theatrical work of Mickiewicz by Jerzy Grotowski. The creator of the Laboratory Theater, seen here primarily as a cultural philosopher, builds his anthropological concepts, among others through mediation with romantic culture. The way he «uses» the texts of his great predecessors, the self-identifying type of reading works by Mickiewicz or Slowacki, argues that Grotowski did not want to stage a romantic text, but to «pull» from it (also in a metaphorical sense) what it seemed to him useful and inspirational – thoughts, scenes, situations and build from them the art he needs to exist and support the understanding of his own existence. Paradoxically, this subjective way of reading brought Grotowski closer to the reading that the romantics themselves did.

3

Tadeusz Kantor – Jerzy Grotowski – Jerzy Gurawski

83%

Osiński Z.

|

nr 2(254)

122-149

EN

Contrary to widespread opinion (including enunciations of the artists themselves) I believe that one of the greatest artistic partners of Jerzy Grotowski’s was his great rival and opponent, Tadeusz Kantor. It may be said that Kantor was in a way obsessed with having an idea in art. At the same time, the relations of the two artists were marked with strong ambivalence. At the opening of the exhibition Witkacy a Teatr Cricot 2 (“Witkacy and the Cricot 2 Theatre”) that took place at the Cricot 2 Theatre Centre on 2 Kanoniczna Street in Cracow on 26 February 1985 Kantor publicly admitted that, among artists known to him at the time, only Grotowski had his own idea of theatre. Jerzy Gurawski was born in Lwów on 4 September 1935. He is twenty years younger than Tadeusz Kantor and two years younger than Grotowski, with whom he co-created the Laboratorium Theatre in Opole since the production of Siakuntala (“Śākuntalā”) based on Kalidasa’s play in 1960. What testifies to the import of Gurawski, an architecture graduate of the Cracow University of Technology whom Grotowski called “the doctor of theatre space”, are mostly his work at the Laboratorium Theatre in the 1960s, his correspondence with Grotowski and a number of comments, scattered here and there, made by himself and by other artists. Eugenio Barba was right in what he wrote in his autobiographical book, translated into many languages, Land of Ashes and Diamonds. My Apprenticeship in Poland. Followed by 26 Letters from Jerzy Grotowski to Eugenio Barba (Aberystwyth, Wales: Black Mountain Press, Centre for Performance Research, 1999), pp. 28-29: “The creator of the scenic space was Jerzy Gurawski, an architect (not a scenographer) of the same age as Grotowski. Their encounter belongs to the category of events that can well be described as historical. Neither one of them would have been capable of arriving at such extraordinary solutions without the other. Gurawski’s contribution to Kordian, Doctor Faustus and The Constant Prince was exceptional. When his collaboration was lacking, Grotowski’s scenic space was reduced to an empty room with the spectators seated at the sides, thus involuntarily becoming a theatre in the round. Gurawski was a modest man who was seldom to be seen at the theatre and who worked by himself while remaining in constant contact with Grotowski. In the case of Doctor Faustus too, where I was assistant director, he neither attended rehearsals nor intervened in the realisation of the designs. He was an unforgettable personality who, through his encounter with Grotowski, changed the conception of scenic space for generations to come. Theatre history has not given him the prominence he deserves, whereas Grotowski himself always underlined his importance. It is often the case that the creativity of a group, their collective tension and effective symbiosis, are associated with a single name.” This year Gurawski turns eighty. As it turns out, Tadeusz Kantor’s art has been one of the most important sources of his inspiration for many years. He has been interested in Tadeusz Kantor’s personality and art throughout his career as can be attested by his works from the cycle titled In memoriam Tadeuszowi Kantorowi – Jerzy Gurawski. Rysunki architekta z Teatru Laboratorium (“Jerzy Gurawski – In Memory of Tadeusz Kantor. Drawings by an Architect from the Laboratorium Theatre”) exhibited publicly for the first time at Wielopole Skrzyńskie in September 2014.

4

Le mani di Jacek Woszczerowicz, attore “di composizione”

83%

Randone G.

|

nr 6

141-154

EN

The article aims to draw attention back to the art of Jacek Woszczerowicz, once a well-known and beloved Polish actor. It focuses on his peculiar acting style by analyzing two adaptations of stage dramas and a documentary of a theatrical masterpiece Richard III (1960). In particular, the author highlights Woszczerowicz’s work on gesture and the role played by hands in building characters. This brief survey will lead us to re-discover the deep process of cognition and experience realized dramatically by the artist and to understand why Jan Kott considered him “the first contemporary Shakespeare”, while Jerzy Grotowski praised him as the greatest “actor of composition”.

5

Jerzy Grotowski a chiński teatr poszukujący i tajwański teatr tańca

83%

Łabędzka I.

|

nr 40

203-220

EN

This paper is devoted to the reception of Jerzy Grotowski’s ideas of theatre and actors’ training system in China and Taiwan at the end of the twentieth century. The author analyses the scope of Grotowski’s influence on Chinese and Taiwanese theatre reformers, stage directors and actors/dancers at a specific moment of deep social, cultural and political transformations in Asia. She also tries to determine the main reasons for Grotowski’s popularity in mainland China and Taiwan in the 80s and 90s.

6

Święty Jan od Krzyża, Wojtyła i Grotowski: Ku sztuce numinotycznej

71%

Krupa M.

|

nr 2(278)

37-53

EN

This article posits that in Karol Wojtyła’s and Jerzy Grotowski’s thinking about art, it is possible to identify commonalities by which their aesthetic and ethical concepts can be associated with the work of John of the Cross. The author argues that in both cases, the link might be the writings and views of Polish theater artists fascinated by John of the Cross: Juliusz Osterwa and Mieczysław Kotlarczyk. She offers a comparative analysis of selected aspects of the writings of Wojtyła, Grotowski, and John of the Cross, revealing similarities and differences in their understanding of art, and highlighting elements characteristic of the aesthetics of performativity. Interpreting terminological convergences in the analysed texts, she focuses on concepts concerning the aims of art and the methods of achieving these aims. She tries to demonstrate that all three authors variously employed performativity and the epiphanic character of art in exploring human experiences concerning the sphere of numinosum.

7

Święty Jan od Krzyża, Wojtyła i Grotowski: Ku sztuce numinotycznej

67%

Krupa M.

|

nr 2

37-53

EN

This article posits that in Karol Wojtyła’s and Jerzy Grotowski’s thinking about art, it is possible to identify commonalities by which their aesthetic and ethical concepts can be associated with the work of John of the Cross. The author argues that in both cases, the link might be the writings and views of Polish theater artists fascinated by John of the Cross: Juliusz Osterwa and Mieczysław Kotlarczyk. She offers a comparative analysis of selected aspects of the writings of Wojtyła, Grotowski, and John of the Cross, revealing similarities and differences in their understanding of art, and highlighting elements characteristic of the aesthetics of performativity. Interpreting terminological convergences in the analysed texts, she focuses on concepts concerning the aims of art and the methods of achieving these aims. She tries to demonstrate that all three authors variously employed performativity and the epiphanic character of art in exploring human experiences concerning the sphere of numinosum.

PL

W artykule postawiona została teza, że w sposobie myślenia o sztuce Karola Wojtyły i Jerzego Grotowskiego znaleźć można punkty wspólne, które łączą ich estetyczno-etyczne koncepcje z dziełem Jana od Krzyża. Autorka dowodzi, że ogniwem pośrednim w obu przypadkach mogły być teksty i poglądy zafascynowanych Janem od Krzyża twórców teatralnych – Juliusza Osterwy i Mieczysława Kotlarczyka. W analizie porównawczej wybranych aspektów pism Wojtyły, Grotowskiego i Jana od Krzyża, odsłaniającej podobieństwa i różnice w ich rozumieniu sztuki, uwypuklone zostały elementy charakterystyczne dla estetyki performatywności. Autorka interpretuje zbieżności terminologiczne w analizowanych tekstach, skupiając się na pojęciach dotyczących celu sztuki oraz metod osiągania tego celu. Stara się pokazać, że wszyscy trzej twórcy wykorzystywali na różne sposoby performatywność i epifaniczność sztuki dla eksploracji ludzkich doświadczeń związanych ze sferą numinosum.

8

The Political Hamlet According to Jan Kott and Jerzy Grotowski

59%

Świątkowska W.

|

tom 17

|

nr 32

61-68

EN

The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e. Stanisław Wyspiański and Jan Kott. The author argues that up-to-date readings of Hamlet, which started with Wyspiański’s study in 1905, flourished in the mid-1950s and mid-1960s when concerning specific political events: the Polish Thaw of 1956 and March 1968, when the Jews were expelled from Poland. Thus Hamlet of that time was updated and must be seen through the prism of political events.

9

Culture as parts of speech

42%

Wolska D. , Wolska D.

|

2019

|

nr 4