Wyniki wyszukiwania - Biblioteka Nauki

1

O intermediach w pijarskim teatrze szkolnym

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2006

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nr 08

81-88

EN

There are two periods in the Piarist’s theatre. First lasted from 1664 till 1743, second – 1744 untill 1782. Information about interludes on Piarist’s stages are included predominately in (printed or hand written) theatre programmes. Interludes appeared mainly in the first period. They had various characters and names. They could be designed for entertainment or had educational aim (the titles of some of them summarized the content). They might have been performed in Polish, French, Italian or Latin. There have been no information in theatre programmes about interludes since Konarski’s breakthrough (in 1744), They could be e.g. displaced by comedies played after (not between acts) a given play. It was Piarist’s aspiration to maintain plays cohesive. Interludes appeared to disintegrate plays and that is why they were limited.

2

Dramaturgia Jana Bielskiego na tle przemian w teatrze jezuickim w XVIII wieku

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Mieszek M.

Pamiętnik Literacki

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2013

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tom 104

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nr 3

119-143

EN

The article discusses Jan Bielski’s dramatic works from the perspective of the changes that took place in Jesuitic schooling in mid 18th century. The changes are revealed in his writing on a number of levels: ideological (accentuation of civic issues), compositional (return to classical 5 act structure, preserving the principle of three unities), and the construction of the world presented. The Jesuit modernises and adjusts the plot and protagonist creation to the needs of the new dramaturgy. Referring to language and style of Bielski’s tragedy, we observe distinguisment of the Polish language. Since the Jesuit fringed upon two epochs, apart from classicistic elements, devices popular in baroque dramas (allegorical characters, dramas enriched with prologues and interludes, and writing the tragedy with resort to the technique of periaktori) also find their expression.

PL

Artykuł omawia dramatopisarstwo jezuity Jana Bielskiego z perspektywy przemian zachodzących w szkolnictwie jezuickim w połowie XVIII wieku. Ujawniają się one w utworach Bielskiego na kilku płaszczyznach: ideowej (akcentowanie kwestii obywatelskich), kompozycyjnej (powrót do klasycznej struktury pięcioaktowej, przestrzeganie zasady trzech jedności) oraz budowy świata przedstawionego. Jezuita unowocześnia i dostosowuje do potrzeb nowej dramaturgii fabułę i kreacje bohaterów. W zakresie języka i stylu tragedii Bielskiego następuje nobilitacja polszczyzny. Ponieważ jezuita był autorem stojącym na pograniczu dwóch epok, dlatego w jego dramatach obok elementów klasycystycznych znajdują się też rozwiązania popularne w dramatach barokowych (obecność postaci alegorycznych, wzbogacanie dramatów o prologi oraz intermedia, pisanie tragedii z myślą o wykorzystaniu techniki telari ).

3

Święty Genezjusz na scenie kolegium jezuickiego w Samborze

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Mieszek M.

Pamiętnik Teatralny

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2024

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tom 73

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nr 1

123-146

EN

This article sheds light on the Jesuit tragedy Genesius, hitherto unknown in scholarly literature, as recorded in a manuscript codex from the Jesuit college in Sambor (present-day Ukraine). It is the story of a Roman mime who, while performing a parody of baptism for Diocletian, was granted the grace of conversion and turned from a jester mocking the Christian religion into an ardent believer. The article discusses the Sambor performance against a broader historical and literary background, including earlier manifestations of the motif of Genesius, especially in Polish Jesuit theatre. The author shows how the eighteenth-century tragedy relates to its medieval textual source and to earlier theatre productions. The analysis reveals deliberate transformations of the theme made by an anonymous Jesuit, who expanded the story of Genesius to include family motifs, removed the figure of Diocletian, and strengthened the negative image of the eponymous character, portraying him as a tyrant and persecutor. The changes introduced in the tragedy were also related to the didactic-utilitarian function of the play, which criticized filial disobedience and the misuse of art’s creative potential and visualized the power of baptism.

PL

Artykuł przybliża nieznaną do tej pory w literaturze przedmiotu jezuicką tragedię Genezjusz, zapisaną w rękopiśmiennym kodeksie z kolegium w Samborze. Jest to opowieść o mimie rzymskim, który podczas odgrywania przed Dioklecjanem parodii chrztu świętego dostąpił łaski nawrócenia i z błazna wykpiwającego religię chrześcijańską zmienił się w jej gorliwego wyznawcę. W artykule rozważania o Samborskim przedstawieniu omówione zostały na szerszym tle historyczno-literackim, w tym wcześniejszych realizacji motywu Genezjusza, zwłaszcza na gruncie polskiego teatru jezuickiego. Artykuł pokazuje stosunek osiemnastowiecznej tragedii do średniowiecznej podstawy źródłowej oraz wcześniejszych realizacji teatralnych. W toku analizy uwidoczniono celowe przekształcenia tematu, których w historii o Genezjuszu dokonał anonimowy jezuita – rozbudowanie historii o wątki rodzinne, usunięcie postaci Dioklecjana, pogłębienie negatywnego wizerunku tytułowej postaci, nadanie jej cech tyrana i prześladowcy. Wprowadzone do tragedii zmiany wiązały się również z dydaktyczno-utylitarną funkcją dramatu, który krytykował nieposłuszeństwo synowskie i niewłaściwe wykorzystywanie kreacyjnej funkcji sztuki oraz unaoczniał siłę chrztu świętego.

4

Postaci kobiece w sztukach jezuickich od połowy XVIII wieku – na wybranych przykładach

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2019

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tom 53

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nr 2

287-315

EN

The article discusses selected Jesuit plays from the mid-18th century, in which there are female figures, contrary to the rules adopted at the end of the 16th century (Ratio studiorum). The analysis of the works was preceded by theoretical considerations on the attitude of the Jesuits to women’s roles. Polemical theoretical statements and the introduction of playwrights to the tragedies in which they justified the lack of female figures were reminded. The analysis showed that the heroines of collegiate art could be allegories, personifications or mythological figures. Their actions were most often a symbolic commentary on the main action of the dramas. The efforts of authors translating foreign-language dramas into Polish, aimed at adapting the original to the requirements of collegiate scenes, were also analysed. A significant part of the article consists of an analysis of several texts in which female roles appeared. Intentional dramaturgy has been presented, consisting of elevating female figures and constructing them on the basis of models known from male roles.

PL

Artykuł omawia wybrane sztuki jezuickie z połowy XVIII w., w których występują postaci kobiece, wbrew przyjętym pod koniec XVI w. regułom (Ratio studiorum). Analiza utworów poprzedzona została rozważaniami teoretycznymi na temat stosunku jezuitów do ról kobiecych. Przypomniano wypowiedzi teoretyczne o charakterze polemicznym, wstępy dramaturgów do tragedii, w których uzasadniali oni brak postaci kobiecych. Analiza pokazała, że bohaterkami sztuk kolegiackich mogły być alegorie, personifikacje czy postaci mitologiczne. Ich działania stanowiły najczęściej symboliczny komentarz do akcji głównej dramatów. Prześledzono też zabiegi autorów tłumaczących obcojęzyczne dramaty na język polski, mające na celu dostosowanie pierwowzorów do wymogów scen kolegiackich. Znaczną część artykułu wypełnia analiza kilku tekstów, w których pojawiły się role żeńskie. Ukazano celowe zabiegi dramaturgów polegających na uwznioślaniu postaci kobiecych oraz konstruowaniu ich w oparciu o schematy znane z ról męskich.

5

O sztuce krasomówczej w Ćwiczeniach krasomówsko-prawnych Jana Bielskiego

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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tom 18

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nr 4

23-31

EN

The work at hand deals with the art of orations in Jan Bielski’s Ćwiczenia krasomówsko-prawne. The analysis focused on the author›s remarks concerning rhetoric, which are to be found in the foreword, and in selected “juridical cases”. Rhetoric is perceived as helpful field in getting honours. Moreover, it is useful in unmasking the falsehood and reconciling antagonists. On the other hand, rhetoric is also shown as the “craft” which can serve vile, godless cells and which, “uncontrollable”, causes the disaster. Bielski’s Ćwiczenia... made young people aware, that acquaintance of rhetoric has a real influence on the outside world.

6

Kilka uwag o intermediach z lwowskiego kolegium księży teatynów

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2007

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nr 09

53-61

EN

The article concerns interludes on Theatine order’s stage in Lwow college. The very little information about interludes available is included in manuscripts and printed theatre programmes. Interludes were designed for entertaining the audience, and at the same time served the purpose of propagating the Unified Catholic Church among the Armenians. The use of Armenian and Polish languages made them closer to the audience, which made the interlude’s task of complementing and commenting the play, and trying to convince the spectators to the idea of unification, much easier.

7

Teatr, który wychodził na ulice: Przestrzeń miejska w dawnych teatrach szkolnych

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Mieszek M.

Pamiętnik Teatralny

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2022

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tom 71

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nr 1

51-72

EN

The article discusses the use of urban space in plays and theatrical and paratheatrical undertakings of school theatres in the Old Poland period (16th to 18th century). The analysed texts include dramas, dialogues, as well as chronicles and occasional accounts of paratheatrical events organized in various cities to celebrate religious and secular holidays. The interpretation focuses on how the cityscape and atmosphere changed during performances staged in cemeteries, streets, or squares. Attention is paid also to the expansion of the visual aspect of the performances and multiplication of means of artistic expression in the urban space (costumes, song and dance, pyrotechnics, the use of symbols, references to emblematic images, props). The article emphasizes the social and culture-making dimension of the participation of school theatres in local and nation-wide events. Leaving the school buildings behind, students got involved in a performative process of creating a theatre of participation; the people in the streets were to become active co-participants in the performance. An important factor in their activation was the theatrical transformation of the familiar urban space.

PL

Przedmiotem artykułu jest sposób wykorzystania przestrzeni miejskiej w sztukach i przedsięwzięciach teatralnych i parateatralnych związanych ze środowiskiem staropolskich teatrów szkolnych. Wśród analizowanych tekstów znalazły się utwory dramatyczne, dialogi oraz kronikarskie i okolicznościowe relacje z parateatralnych wydarzeń organizowanych w rożnych miastach z okazji świąt religijnych i świeckich. Interpretacja obejmuje wydobyte z tych tekstów elementy obrazujące przemiany, jakim w widowiskach realizowanych na cmentarzach, ulicach czy rynkach poddawano pejzaż i atmosferę miasta. Zwrócono również uwagę na rozbudowywanie strony widowiskowej i zwielokrotnianie środków wyrazu artystycznego w przestrzeniach miejskich (strojne kostiumy, śpiew, taniec, efekty pirotechniczne, operowanie symbolem, nawiązywanie do wyobrażeń emblematycznych, rekwizyty). Podkreślono społeczny i kulturotwórczy wymiar udziału teatrów szkolnych w wydarzeniach lokalnych i państwowych. Gdy teatr wychodził poza szkolne mury, uczniowie byli włączani w performatywny proces kreowania teatru uczestnictwa, w którym zgromadzeni na ulicach mieli stać się aktywnymi współuczestnikami widowiska. Istotną rolę w ich aktywizacji odgrywało widowiskowo-teatralne przekształcenie dobrze znanej przestrzeni miejskiej.

8

Postaci aniołów i diabłów w wybranych intermediach staropolskich

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2005

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tom 07

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nr 1

151-172

EN

The article introduces various aspect of angelic and devilish presentation and shows some functions they were supposed to fulfil in old Polish interludes. There are almost no records about physical appearance of havenly messengers. They were usually presented as static characters, which after delivering their speech, according to staging clues, limited themselves to entrance or descent from the stage. As far as angels’ functions were concerned, they used to mediate between humans and God, from whom they passed vital messages. Moreover, individuals were usually forewarned of damnation and proved to be weak and unable to keep their promises (Chłop oskarża ojca Adama). Additionally, angels took care of human beings, which however, not always brought them satisfaction. That is why the Angels were “mątny” (‘cheerless’) in interludes Gryzidzban because of the failure in fight with the Devil. Occasionally, messengers form God revealed as periolous, when they deterred devilish tempters from winning over human soul. On the other hand, the stron faith in heavenly messengers made it possible to present some characters that posed as angels and their abuses. That is why, the fraud deceived gullible widower and deprived him o f his “precious” items (Wdowiec z Usarzem niebieskim). Not only did old Polish interludes describe functions and appearance of angels but also showed the place lhat heavenly messengers came from. Heaven existed as a dreamland in aulhors' imagination. It could have been described as the splendid palace (Maksym, Denis, Rycki, Wołowcowie) or prosperous farm, where untroubled people live eternally. Furthermore, some of the characters, living people, could visit the great beyonds, escorted by an angel. After such an unusual trip, they revealed what they had seen and sometimes changed their lives for better (like Jew did after visiting hell in the play Komunija duchowna świętych Borysa i Gleha). Such plot patterns used to be typical for visionary literature such as St. Peter's Apocalypse. In contrast to the virtues characters, the devils were presented in quite a different way. The evildoers have been presented in a more dynamic way. Interludes described them as usually balak individuals that would often use violence in their communication with people. Devils were able to change into any material form. Therefore, they could appear as a peasant, a cook, or a foreigner (e.g. German). Nevertheless, different faults of character and inconveniences they had to bother with brought devils closer to people. Demons could have been accused of being inconsiderate and indolent because of being poor at capturing new souls for the undergrounds (Diabeł z Tatarzynam i Śmiercią). Consequently, not only did they entertain people but also delude human beings easily. Besides, devils from old Polish interludes had a greater force of convincing haw dangerous and malicious it would be after taking an individual to hell. Descriptions of the place of damnation were supposed to frighten the audience and to make those who participated in the performance improve their lives. Devils presented different kinds of brutal corporal punishments and various ways of inflicting pain on sinners. Piercing, amputating limbs or burning and frying damned people - these are only a few from a wide range of devilish tortures. Hell as the opposite of heaven was located underground. The darkness that was said to cover this place could be seen as another kind of punishment. It is clearly seen that apart from entertaining qualities old Polish interludes played a moralistic role. Even though oversimplification could be inappropriate, one may venture to make a statement that the devils surpassed angels in terms of hilarious beghaviour as well as vivid, still ironic and delusive, way of warning prospective sinners.

9

Limeryki, czyli przykład poezji niepoważnej

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2008

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nr 11

151-165

EN

The article discusses Polish limericks. It shows that authors’ invention can affect different aspects o f a piece, and can be noticed on the auditory level, in startling rhymes and neologisms invented by the author, as well as in the employment of humorous topics and surprising (often absurd) plot solutions. The article also shows that the primary function of limericks is that of entertaining both their authors and audiences. That is why limericks can be labelled ‘lightweight poetry’.

10

Jak pan Rajewicz do Piotrkowa jechał, czyli o wierszu z rękopisu Działyńskich uwag kilka

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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tom 30

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nr 4

29-48

EN

The article focuses upon the analysis of poems written down in the manuscript associated with the Działyński family. The works have satirical in nature and are addressed to the circle of the closest people, relatives and family. What is more, their author is using different types of literary styles and literary genres (e.g. prayer, laudatio, speech). The poems have a carnivalesque character. That is why they are upsetting rational order of the world. The author is mocking and unmasking conventions. Of course, the value of these poems should not be overrated. These literary pieces are examples of composition inconsistency and stylistic ineptitude. The article is taking also a matter of the authorship of poems, however, it verifies the authorship of Marcin Działyński, the governor of Nakło.

11

Kategoria milczenia w staropolskich intermediach szkolnych

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Mieszek M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2009

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nr 12

51-60

EN

The article’s primary focus is the use of silence in Old-Polish allegorical and dramatic interludes. The thesis that the article puts forward is that silence was one of the most important means of scenic expression.