Autorka podejmuje się obserwacji obecności poematu dramatycznego w Młodej Polsce. Zestawia tę formę z innym gatunkiem, równie hybrydycznym, czyli baśnią dramatyczną. Porównanie to pozwala autorce dostrzec szczególne znaczenie, jakie obydwie te formy miały dla procesów konstytuowania nowych form dramatycznych pod koniec XIX i na początku XX wieku. Utwory takie jak Uczta Herodyady Jana Kasprowicza, Odwieczna baśń Stanisława Przybyszewskiego, Rokita Andrzeja Niemojewskiego czy Zdziczenie obyczajów pośmiertnych Bolesława Leśmiana autorka postrzega nie tylko jako wehikuł treści łączący twórczość młodopolską z tradycją romantyczną, lecz także jako bardzo pojemną formę pozwalającą szukać nowej formy opisu rzeczywistości. W tekście zwraca się także uwagę na zdolność rozsadzania przez nowe sposoby kompozycji, montażu, układu scen zastosowane w poemacie dramatycznym klasycznej, skostniałej formy scenicznej.
The article attempts to look at the nativity play in a genological context. The author’s aim is to broaden the context of reading this form of the show. It represents a polemical position towards the unambiguous linking of the nativity play with folk culture. Instead, he suggests looking at it in the context of such forms as literary mimes, mysteries, comedy dell’arte and some mass spectacles. The consequence of this type of considerations is noticing the characteristic, according to the author, tension between the mystery and the farce, sacrum and profanum.
The article discusses the coexistence of two phenomena in the drama of the second half of the 19th century and the early 20th century. By combining affect and convention, the author seeks to point out the dramatic use of the forgotten plot schemes, characters, and construction solutions, which still remain strongly preserved in the cultural memory of the viewers. These were highly characteristic of the comedy dell’arte, the Russian balagan, which was at the time regaining its popularity in Italy, as well as of the Polish fairy tale. The authors used them in order to evoke in the viewer a certain kind of affectation. This, in turn, allowed them to build ties with the audience based on completely new rules of participation, which gave rise to the theatrical phenomena characteristic of the second half of the 20th century.
The article reflects on the connections between the Polish drama of the interwar period with such stage performances as a nativity play, farce, cabaret, and circus. The text attempts to point to the possible inquiries into this important problem of the dramaturgy of the 1920s and 1930s. The author concentrates on Adam Polewka himself and his political farse plays, especially the record of Igrce w Barbakanie, a performance prepared for the Cracow Days in 1938. She reads critically the introduction to the post-war edition of this text. In her opinion, this authorial commentary includes precious information about such stage forms of the interwar period as a farse play and circus.
The author discusses the question of the so-called zero viewpoint in the context of the presence of epic elements in the dramatic text. Using the category of perspective in her study, she observes that one of the characteristic features of drama is the intersection of dramatic background and the protagonist’s perspective. Contrary to the traditionally accepted view, the author argues that it is natural for drama to position the addressee not simply outside or inside the dramatic microcosm but at the point of a permanent intersection of these two lines. It is this moment of overlap between the extra- and intra-textual perspectives that she defines as the zero viewpoint. The variety of solutions by means of which this perspective can be achieved is demonstrated on excerpts she analyses from Bolesław Leśmian’s The Possessed Fiddler, Tadeusz Różewicz’s The Trap, and Marian Pankowski’s Camping Rough.
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