Wyniki wyszukiwania - Biblioteka Nauki

1

Grzegorz Sinko. Sylwetka badacza i krytyka teatru

100%

Kuźnicka D.

Pamiętnik Teatralny

|

2012

|

tom 61

|

nr 1-2(241-242)

211-222

EN

Grzegorz Sinko (1923–2000) was an excellent English philologist, uncommonly insightful theatre critic, outstanding theatre theoretician – in one word, a scholar of great stature. He was also an exceptional, often difficult and always interesting person. He was born in Kraków in 1923 as son of the Classical philologist of great renown, Professor Tadeusz Sinko, and Anna Starzewska, and it is in that town that he spent his childhood and youth. In 1944, he started studying English philology at the Jagiellonian University and completed his course of study in 1948. The first five years of Sinko’s academic work were spent at the University of Wrocław. This is where he received his PhD degree in 1950. He continued his fast-paced academic career in Warsaw. In 1953–1957, he was employed at the State Institute of Art (Państwowy Instytut Sztuki), and was promoted to associate professor, in 1955. Until 1971 he worked at the University of Warsaw where, after being promoted to full professor in 1964, he held various positions. According to his own opinion, he was a demanding professor. Since his debut in 1947, he published more than 450 historical and critical articles, reviews, essays, translations, and commentaries. In the 1950s, his research focused mostly on English theatre and drama. He combined his knowledge of literature and philology with competence in theatre studies. From 1959 to 1977, and especially in the1960s, his essays, analyses and critical studies appeared in Dialog monthly, where he also published his translations of English and German dramas. At the beginning of the 1970s, just as he started working at the Institute of Art of the Polish Academy of Sciences, Sinko intensified his collaboration with Teatr. The English- and German-speaking spheres of culture, productions of plays coming from these regions, accounts of what was going on in their theatres and literature of the field were to remain Sinko’s specialty as he was fluent in both languages. In 1970–1988 there appeared in Teatr 138 articles by Sinko; they included theatre and book reviews, essays, etc. It seems that the critical essay, with its less rigorous structure which enabled him to freely combine academic writing, elements of the history of literature and theatre, philology and theoretical approach with descriptions of particular theatre productions and their careful appraisal, supplemented with free expression of his intellect, suited him the most. He was a gifted writer; his articles were erudite, insightful and clear, and his vivid, witty and ironic style, coupled with his penchant for anecdote, were invaluable qualities of his writing. Sinko supported and encouraged theatrical experiments and those in search for something new who were breaking away with tradition just as long as they had a clear understanding of what they were trying to achieve and were able to show it in a convincing, compelling fashion. His critical essays displayed also a new research programme, which Sinko initiated while working at the Institute: the semiotics of theatre. Sinko had a clear and definite idea of how to study theatre. In his view, theatre studies needed a solid methodological foundation in the form of a well-developed theory, which made ample use of structuralism, semiotics, and theory of literature in general. Sinko wrote three remarkable books: Kryzys języka w dramacie współczesnym – rzeczywistość czy złudzenie? (A Crisis of Language in Modern Drama: Reality or Illusion? Wrocław, 1977), Opis przestawienia teatralnego – problem semiotyczny (Description of Theatrical Performance As a Semiological Problem, Wrocław, 1982), and Postać teatralna i jej przemiany w teatrze XX wieku (The Theatrical Character and Its Evolution in Twentieth-century Theatre, Wrocław, 1988). In his research he referred to a substantial body of English, German and French literature in the field of linguistics, literary theory and theatre studies, drawing from there categories and concepts to grasp, analyse and describe with precision the phenomena he focused on. He saw the importance of the of the paradigm shift that had been taking place in the modern humanities and paid close attention to post-structuralism. He died a tragic death.

2

Lidia Kuchtówna (1940–2023): Wspomnienie

100%

Kuźnicka D.

Pamiętnik Teatralny

|

2023

|

tom 72

|

nr 2

191-204

EN

A memory about Professor Lidia Kuchtówna (1940–2023), a scholar of the Polish art of acting, directing, and stage design, who was affiliated with the Institute of Art, Polish Academy of Sciences, for fifty-eight years. The article discusses her most important works in theater history and editorial projects, devoted to Wilam Horzyca, Irena Solska, and Karol Frycz. It describes her approach as combining the biographical and aesthetic perspectives. It emphasizes the methodical and thorough quality and wide range of her library and archive research, which involved numerous research trips. The author also highlights Professor Kuchtówna’s interest in theater iconography.

PL

Wspomnienie o prof. dr hab. Lidii Kuchtównie (1940–2023), badaczce polskiej sztuki aktorskiej, reżyserskiej i scenograficznej, która przez pięćdziesiąt osiem lat była związana naukowo z Instytutem Sztuki Polskiej Akademii Nauk. W artykule omówiono jej najważniejsze prace historycznoteatralne i edytorskie poświęcone Wilamowi Horzycy, Irenie Solskiej i Karolowi Fryczowi. Scharakteryzowano jej styl badawczy polegający na łączeniu perspektywy biograficznej z estetyczną. Podkreślono systematyczny i gruntowny charakter oraz szeroki zakres prowadzonych przez nią kwerend i badań źródłowych, związanych z licznymi podróżami naukowymi. Uwypuklono również jej zainteresowanie ikonografią teatralną.

3

Instrumenty muzyczne w scenografiach Jerzego Grzegorzewskiego. Wieloznaczności i nierozstrzygalniki

100%

Kuźnicka D.

Pamiętnik Teatralny

|

2013

|

tom 62

|

nr 1(245)

98–112

EN

Introduction of musical instruments or their representations onto the stage of Polish dramatic theatres is a rarity. Productions by Jerzy Grzegorzewski are an exception to that rule. Musical instruments and their parts, as well as other objects related to music making were an integral element of the director’s artistic universe. Through many-dimensional associations and various modes of their appearance, they pointed to the dynamics of Grzegorzewski’s artistic imagination, indicated various conceptual fields and set the aesthetic and intellectual horizons. The authorial theatre of Jerzy Grzegorzewski, who mostly designed the settings to his productions by himself, presents the world as being multidimensional, unstable, moved by interplay of opposing forces, dark and yet beautiful. Such a vision was shaped by complex, artfully constructed structures of meaning whose character is best grasped by the concept of open form. The stage design was one of the key elements that created this form. The director set representations of musical instruments and their parts into multidimensional orders of meanings evoked by his theatre productions. He pointed to various aspects of materiality of these objects, to their functionality and the sphere of their cultural associations, with the symbolic order included. yspiański’s Wedding at the Stary Theatre in Cracow in 1977. Grzegorzewski appreciated texts in which music was made part of the structure not only as songs but also in the form of poetic organisation of the spoken word, its rhythm and sound orchestration. The principle of constructing the open form with musical instruments as its elements reached the high point in Grzegorzewski’s deconstructionist strategies, especially in Derridean undecidables.