Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932)
For Nikolai Evreinov, a Russian playwright, director, and theatre thinker, author of the theory of the “theatralisation of life”, the Polish theatre culture of the 1920s became a real window to Europe. This article presents selected contexts for the Polish reception of his manifesto play, Самое глав...
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| Format: | Article |
| Language: | English |
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Institute of Art of the Polish Academy of Sciences
2020-05-01
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| Series: | Pamiętnik Teatralny |
| Subjects: | |
| Online Access: | https://czasopisma.ispan.pl/index.php/pt/article/view/20 |
| _version_ | 1797322867827802112 |
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| author | Mateusz Masłowski |
| author_facet | Mateusz Masłowski |
| author_sort | Mateusz Masłowski |
| collection | DOAJ |
| description | For Nikolai Evreinov, a Russian playwright, director, and theatre thinker, author of the theory of the “theatralisation of life”, the Polish theatre culture of the 1920s became a real window to Europe. This article presents selected contexts for the Polish reception of his manifesto play, Самое главное (The Chief Thing), from the first stagings at Teatr im. Juliusza Słowackiego (Juliusz Słowacki Theatre) in Kraków and Teatr Polski (Polish Theatre) in Warsaw, through the discussions about the theoretical message of the work, to attempts at assimilating the Russian author’s whole output. It discusses the influence of Stanisław Przybyszewski’s work on the theory and practice of Evreinov’s monodrama. It compares Evreinov’s understanding of naturalism and his views on the art of acting and theatre with those of his friend Stanisława Wysocka, the Polish actress. It presents the balance of the Russian director’s guest appearances in Warsaw in 1925: the legal regulations concerning his works and his new contacts with representatives of the art world, but also negative reviews. The appendix features a selection of Evreinov’s correspondence with Polish theatre figures: Zofia Nałkowska, Julian Tuwim, Emil Zegadłowicz, Stanisława Wysocka, and Eugeniusz Świerczewski, from the turn of the 1930s. |
| first_indexed | 2024-03-08T05:20:27Z |
| format | Article |
| id | doaj.art-ec913daeffcf468798814fea965a5292 |
| institution | Directory Open Access Journal |
| issn | 0031-0522 2658-2899 |
| language | English |
| last_indexed | 2024-03-08T05:20:27Z |
| publishDate | 2020-05-01 |
| publisher | Institute of Art of the Polish Academy of Sciences |
| record_format | Article |
| series | Pamiętnik Teatralny |
| spelling | doaj.art-ec913daeffcf468798814fea965a52922024-02-06T13:27:30ZengInstitute of Art of the Polish Academy of SciencesPamiętnik Teatralny0031-05222658-28992020-05-016917114410.36744/pt.2015Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932)Mateusz Masłowski0https://orcid.org/0000-0003-3119-6184Российский институт театрального искусства (GITIS)For Nikolai Evreinov, a Russian playwright, director, and theatre thinker, author of the theory of the “theatralisation of life”, the Polish theatre culture of the 1920s became a real window to Europe. This article presents selected contexts for the Polish reception of his manifesto play, Самое главное (The Chief Thing), from the first stagings at Teatr im. Juliusza Słowackiego (Juliusz Słowacki Theatre) in Kraków and Teatr Polski (Polish Theatre) in Warsaw, through the discussions about the theoretical message of the work, to attempts at assimilating the Russian author’s whole output. It discusses the influence of Stanisław Przybyszewski’s work on the theory and practice of Evreinov’s monodrama. It compares Evreinov’s understanding of naturalism and his views on the art of acting and theatre with those of his friend Stanisława Wysocka, the Polish actress. It presents the balance of the Russian director’s guest appearances in Warsaw in 1925: the legal regulations concerning his works and his new contacts with representatives of the art world, but also negative reviews. The appendix features a selection of Evreinov’s correspondence with Polish theatre figures: Zofia Nałkowska, Julian Tuwim, Emil Zegadłowicz, Stanisława Wysocka, and Eugeniusz Świerczewski, from the turn of the 1930s.https://czasopisma.ispan.pl/index.php/pt/article/view/20nikolai evreinovstanisław przybyszewskistanisława wysockatheatralisation of lifepolish-russian theatre exchangethe chief thing |
| spellingShingle | Mateusz Masłowski Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932) Pamiętnik Teatralny nikolai evreinov stanisław przybyszewski stanisława wysocka theatralisation of life polish-russian theatre exchange the chief thing |
| title | Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932) |
| title_full | Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932) |
| title_fullStr | Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932) |
| title_full_unstemmed | Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932) |
| title_short | Arlekin zza kordonu: Z recepcji Nikołaja Jewreinowa w Polsce (1921–1932) |
| title_sort | arlekin zza kordonu z recepcji nikolaja jewreinowa w polsce 1921 1932 |
| topic | nikolai evreinov stanisław przybyszewski stanisława wysocka theatralisation of life polish-russian theatre exchange the chief thing |
| url | https://czasopisma.ispan.pl/index.php/pt/article/view/20 |
| work_keys_str_mv | AT mateuszmasłowski arlekinzzakordonuzrecepcjinikołajajewreinowawpolsce19211932 |