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1

Wanda – between the mystery and the libretto

100%

Sokalska M.

Studia Norwidiana

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2018

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tom 36 English Version

103-124

EN

The article discusses the operatic filiation of Norwid’s works. On the one hand, these are forms borrowed from opera, which influenced the structure of the drama (e.g. choirs and the construction of collective scenes, solo parts of a quasi-recitative character or similar to arias, the composition of the finales of acts); on the other hand, Norwid’s work was interpreted in a broad context of 19th-century opera libretti, whose protagonist is Wanda. In addition to the produced operas (Vanda by A. Dvořák), the legend about the Krakow princess was adapted in numerous libretti (fragments in the work by L.A. Dmuszewski, the entire libretti by G. Olizar and W. Bełza, an operatic remake of the tragedy by F. Wężyk). The fact that most of these texts have never been musically elaborated encourages reflection on their borderline and indeterminate status as a literary work.

2

Wanda – między misterium a librettem

75%

Sokalska M.

Studia Norwidiana

|

2018

|

tom 36

95-116

PL

Artykuł „Wanda” – między misterium a librettem poświęcony został operowym filiacjom twórczości Norwida. Z jednej strony są to zapożyczone z formy operowej formy, które wpłynęły na strukturę dramatu (jak chóry i konstrukcja scen zbiorowych, partie solowe o charakterze quasi-recytatywnym lub aryjnym, kompozycja finałów aktów), z drugiej jednak Norwidowskie dzieło zinterpretowane zostało w szerokim kontekście XIX-wiecznych librett operowych, których bohaterką jest Wanda. Oprócz zrealizowanych oper (Vanda A. Dvořáka), legendę o krakowskiej księżniczce adaptowano w licznych librettach (fragmenty w opracowaniu L.A. Dmuszewskiego, całe libretta G. Olizara i W. Bełzy, operowa przeróbka tragedii F. Wężyka). Fakt, że większość z tych tekstów nie została nigdy opracowana muzycznie, zachęca do namysłu nad ich pogranicznym i niedookreślonym statusem dzieła literackiego.

EN

The article discusses the operatic filiation of Norwid’s works. On the one hand, these are forms borrowed from opera, which influenced the structure of the drama (e.g. choirs and the construction of collective scenes, solo parts of a quasi-recitative character or similar to arias, the composition of the finales of acts); on the other hand, Norwid’s work was interpreted in a broad context of 19th-century opera libretti, whose protagonist is Wanda. In addition to the produced operas (Vanda by A. Dvořák), the legend about the Krakow princess was adapted in numerous libretti (fragments in the work by L.A. Dmuszewski, the entire libretti by G. Olizar and W. Bełza, an operatic remake of the tragedy by F. Wężyk). The fact that most of these texts have never been musically elaborated encourages reflection on their borderline and indeterminate status as a literary work.

3

Zeyerův "kjógen" Lásky div

51%

Rozwalka Z.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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tom 22

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nr 2

169-193

EN

The study deals with a less-known work of Julius Zeyer – a one-act comedy Lásky div [Love's Wonder]. Zeyer was inspired by the description of the performance of Japanese kyogen Ishigami; the source of inspiration, as well as the form of its adaptation, is analysed in detail. The play was staged only after Zeyer's death, in the time of the collectors' fever of Japanese art, especially by various ladies' clubs, and there were only three professional productions. The play has also seen two music adaptations, each of them was nevertheless staged only once. Despite the inadequate response, it was the first drama of its type in the country – a theatre variant of in Europe very popular literary japonaiseries, a genre, which features to this day staged Madama Butterfly.

CS

Studie pojednává o méně známém díle Julia Zeyera – jednoaktové komedii Lásky div. Zeyera pro její napsání inspiroval popis představení japonského kjógenu Išigami a tento inspirační zdroj a forma zacházení s ním jsou zde podrobeny detailnímu zkoumání. Hra byla inscenována až po Zeyerově smrti, v době sběratelské horečky japonského umění především různými dámskými spolky, profesionální inscenace byly pouze tři. Dočkala se i dvou hudebních adaptací, nicméně obě byly nastudovány pouze jednou. I přes malý ohlas bylo toto drama prvním svého druhu u nás – divadelní variantou v Evropě velmi populárních literárních japonérií (AJ. japonaiserie), žánrem, do kterého spadá i dodnes uváděná Madam Butterfly.