Wyniki wyszukiwania - Biblioteka Nauki

1

Dwie «Zemsty» Bohdana Korzeniewskiego

100%

Makaruk M.

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tom 70

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nr 1(277)

73-94

EN

This article discusses the history of Bohdan Korzeniewski’s work on Aleksander Fredro’s Revenge [Zemsta] at Teatr Polski in Warsaw from 1951 into 1952. When the theater director took over the management of Teatr Narodowy, rehearsals were halted. The author documents the traces of the unrealized production in order to juxtapose it with Korzeniewski’s 1953 staging of Revenge at Teatr Narodowy – not with the aim of reconstructing the former, but to investigate the latter and Korzeniowski’s approach to Fredro’s comedy. The perspective of cultural poetics (cultural history of theater) reveals Korzeniewski’s strategies and games, and, more generally, the functioning of Polish theater artists under Stalinism. Engaging with speculative history enables a nuanced look at Korzeniewski’s biography.

2

Dwie «Zemsty» Bohdana Korzeniewskiego

94%

Makaruk M.

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tom 70

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nr 1

73-94

EN

This article discusses the history of Bohdan Korzeniewski’s work on Aleksander Fredro’s Revenge [Zemsta] at Teatr Polski in Warsaw from 1951 into 1952. When the theater director took over the management of Teatr Narodowy, rehearsals were halted. The author documents the traces of the unrealized production in order to juxtapose it with Korzeniewski’s 1953 staging of Revenge at Teatr Narodowy – not with the aim of reconstructing the former, but to investigate the latter and Korzeniowski’s approach to Fredro’s comedy. The perspective of cultural poetics (cultural history of theater) reveals Korzeniewski’s strategies and games, and, more generally, the functioning of Polish theater artists under Stalinism. Engaging with speculative history enables a nuanced look at Korzeniewski’s biography.

PL

Artykuł przypomina pracę Bohdana Korzeniewskiego nad Zemstą Aleksandra Fredry w Teatrze Polskim w Warszawie na przełomie 1951 i 1952 roku. Kiedy reżyser objął dyrekcję Teatru Narodowego, próby przerwano. Autorka dokumentuje ślady po niezrealizowanym przedstawieniu, by skonfrontować je z Zemstą, którą Korzeniewski wystawił w Teatrze Narodowym w 1953. Celem nie jest rekonstrukcja niewystawionej premiery, lecz zadanie pytań o tę drugą Zemstę i podejście artysty do komedii Fredry. Perspektywa poetyki kulturowej (kulturowej historii teatru) przybliża strategie i gry Korzeniewskiego i – szerzej – praktyki funkcjonowania artystów w polskim teatrze w latach stalinizmu. Uruchomienie historii potencjalnej pozwala spojrzeć na biografię Korzeniewskiego w sposób zniuansowany.

3

Z badań nad repertuarem operowym Teatru Narodowego w drugiej połowie XVIII w. Nieznana praca magisterska obroniona na Uniwersytecie Warszawskim w 1938 r.

67%

Piekarski M.

Kwartalnik Historii Nauki i Techniki

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2022

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tom T. 67, nr 2

65--84

EN

Julian Pulikowski was an associate professor of Musicology who lectured at the University of Warsaw from 1935-1939. The article proves that although there was no formal possibility to defend a Master’s thesis in this field, Pulikowski became an informal supervisor of Gustawa Zysman’s (Krystyna Żukotyńska’s) work. The idea for the topic was conceived in 1934. Stefan Czarnowski, professor at the Department of Cultural History at the University of Warsaw, became the official thesis supervisor. The work titled Opera repertoire of the National Theater as a contribution to the cultural life of Warsaw in the second half of the 18th century was defended in June 1938. It has hitherto remained unknown to researchers - extant only in a typescript stored in the University of Warsaw Archive - as has been the case with Pulikowski’s letter in which he admits his supervision, held in the Jagiellonian Library in Krakow. Although Zysman obtained a Master’s degree in History, the content of the work indicates that it was, in fact, the first work in Musicology defended at the University of Warsaw.

4

Z badań nad repertuarem operowym Teatru Narodowego w drugiej połowie XVIII w. Nieznana praca magisterska obroniona na Uniwersytecie Warszawskim w 1938 r.

67%

Piekarski M.

Kwartalnik Historii Nauki i Techniki

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2022

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nr 2

65–84

EN

Julian Pulikowski was an associate professor of Musicology who lectured at the University of Warsaw from 1935–1939. The article proves that although there was no formal possibility to defend a Master’s thesis in this field, Pulikowski became an informal supervisor of Gustawa Zysman’s (Krystyna Żukotyńska’s) work. The idea for the topic was conceived in 1934. Stefan Czarnowski, professor at the Department of Cultural History at the University of Warsaw, became the official thesis supervisor. The work titled Opera repertoire of the National Theater as a contribution to the cultural life of Warsaw in the second half of the 18th century was defended in June 1938. It has hitherto remained unknown to researchers – extant only in a typescript stored in the University of Warsaw Archive – as has been the case with Pulikowski’s letter in which he admits his supervision, held in the Jagiellonian Library in Krakow. Although Zysman obtained a Master’s degree in History, the content of the work indicates that it was, in fact, the first work in Musicology defended at the University of Warsaw.

5

Tragedia Saul Vittorio Alfieriego w adaptacji Wojciecha Bogusławskiego. Rekonesans badawczy

51%

Purgał L.

Tematy i Konteksty

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2016

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nr 6(11)

238-253

EN

The work of Wojciech Bogusławski, adaptation from the tragedy by Vittorio Alfieri, depicts two characters who present their arguments to each other. King Saul is characterized by cruelty and quite pathological pride, whereas David, his adversary, is noble, valiant and ready to sacrifice himself for the good of his country. The events of the tragedy are modelled after the biblical story of King Saul, who is abandoned by the spirit of God, and David, favoured with the blessing of the Creator, presented in the First Book of Samuel. Yet, the tragedy of Alfieri-Bogusławski is not only a rephrased version of the biblical text because the time of the plot begins when the story in the Bible finishes. The biblical events in the tragedy are shown in flashback. The paper is a research reconnaissance, as it presents fundamental remarks on the interpretation of the tragedy and suggestions for further study, especially concerning the function of the characters’ performance. Further examination is needed of the technique used by Bogusławski in adapting the work of Alfieri, and of the translation. The paper only presents general characteristics of the Polish translator’s decisions. Boguławski himself was aware of the consequences of translating a rhyming piece as prose. He strove to write concisely, to salvage the depth of thought and the expressive power of the original, to preserve most of the language, which would enable accurate communication with the reader, delight of the audiences, compassion for the characters, pity, fear, and thus to recreate high style in order to reproduce the category of grandeur, pathos and heroism. From the analysis of selected aspects of Bogusławski’s literary technique and artistry, it appears that the tragedy is an artistically mature piece and should be subject to further, more detailed study.