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ESTUDIS ESCÈNICS. núm. 44. 2019
Some Issues Concerning Fabià Puigserver’s Relationship with Poland Ivan Garcia Sala [email protected] biographical note: Degree in Slavic Philology (1999) and PhD from the Universitat de Barcelona (2004). He has worked in the Slavic Philology Department of the Universitat de Barcelona since the 2001-2002 academic year. He has taught Russian language and literature classes as well as the history of Russian and Polish theatre. His research interests focus on the reception of Russian literature and culture in Spain and Catalonia, and on the study and reception of Russian and Polish theatre.
English translation, Neil Charlton
Abstract
When speaking of Fabià Puigserver’s life and artistic career, we inevitably refer to his experience and training as a set designer in Poland, where he lived and studied between 1951 and 1959. According to his biographies, he did not return until 1966; from that year, he maintained regular professional and personal contact with his adoptive country. However, despite the impor- tance that all academics and acquaintances of Puigserver attach to the early Polish period, the published information is still quite general. The objective of this article is to provide more data about the 1951-1959 period based on the documentation found in archives and interviews with those who knew him, as well as to clarify certain issues concerning Poland and Puigserver after his return to Catalonia between 1959 and 1966.
Keywords: Fabià Puigserver, Polish theatre, Catalan set design, Polish set design, Leokadia Bielska-Tworkowska, Jerzy Grotowski, Eugenio Barba, Fira de Barcelona ESTUDIS ESCÈNICS 44 and who, inaninterviewIconductedwithhim,toldme: 1961, from (EADAG) Gual d’ArtAdrià DramàticEscola the attended server count, for instance, comes from Manolo Núñez Yanowsky, with whom Puig ac Poland.One in received he education artistic other,and trainingthe the on and, challenges, design costume and set of kinds all face to him enabled set design, usually mention, on the one hand, his extraordinary talent, which and theatre to contribution his and art his to referring when Poland, from return his Moreover, after first years the in particularly him, met who those 158). (Sawicka,2007: designs” set his of analysis the particularly artist, alan greatevolutionCat the reviewsthe of the of in systematically appear ences refer Polish “the notes, Sawicka Anna As 21). 2012: (Graells, Poland with link his is militancy) political and commitment ideological as (such others to related be to needs theatre, to approach original and personality artistic his understand to order in that, FabiàPuigserver of facets many the of One Introduction Poland with Fabià Relationship Puigserver’s Some Issues Concerning Ivan tween 1951 and 1959, he undertook artistic and intellectual training that in no country, adoptive be his in lived he period the in that noting while fluence of crafts.” thousands you teach they design, set teach they Poland,when in that guess level: same the at “He had gold, privileged, hands… I don’t know how he could do anything… training I Polish and talent personal puts (2006), Noms programme TV3 the in teatre” de ànima Puigserver, “Fabià the documentary in who Soldevila, Carlota by words following the are illustrative Also Moisés Villèlia and Subirachs, and who knew how to describe his theatre expe theatre his describe to how knew who and Subirachs, and Villèlia Moisés Obiols, Brossa, Espriu, as such guests their and professors Catalan the to peer peer-to- spoke who figure theatre renowned a already Fabiàwas time that At rience in a socialist country (Poland) in, for me, unexpected ways. ways. for me, unexpected (Poland) in, country rience asocialist in In fact, Puigserver himself emphasised the importance of the Polishin the of importance the emphasised himself Puigserver fact, In Garc i a Sala a ------2 GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some each otherclosely.” theatre itsaspects. inall practical encyclopaedia Montserrat Ramos, Enric Bastardes, Antoni Codina) and the Polish environ Humbert, JordiJornet, i Benet M. Josep Hernández, Santos Aymerich, lar Pi Serrahima, Ernest Lorés, Maite Nel·lo, Francesc Graells, Guillem-Jordi Pasqual, Lluís Núñez, Puigserver,Manolo Enric and (Lola environment lan Cata his in acquaintances and friends relatives, to spoke I him. knew who those of help the Warsawwith in training intellectual and theatre server’s carried outforseveral years inWarsaw andBarcelona. our to do with this article. The results I present here come from the research (Sawicka,depth 157-158,more 2007: in issue the plore endeavI which 163), 223; Bravo, 1996: 25-29). 1993: (Abellán, tradition design set and theatrePolish the within it framing or 2007) Sawicka, 78-79,90-99; 15, 13, 1996: Bueso, Graells; 1993; (Sagarra, data documentary and from diverse biographical instance, experience for Polish providing, perspectives, the of influence the understand to tried have who Sawicka), Anna Sagarra, de M. Josep Abellán, Bravo,JoanIsidre Bueso, Antoni Graells,Jordi (Guillem work his of scholars some of tention austere “anti-paraphernalia” style (Gabancho, 1988:159;Sagarra, 1993:28). characteristic his determined problems, economic serious Poland,with like (BenetiJornet,visually translate thebackboneofaplay” 1971:52). phasise the meaning of the play while giving it a visual parallel. Yes, that’s it, em example,and givefor any— not although, did — playwrights classic the it has to be told. If necessary, disregard the stage directions of the playwright take away was the concept according to which a play must not be dressed up; artwork(Bravo, 41).1996: He fromthat, added Polish did I “what design, set another of imitation the than rather experience lived, real, a on based be to had always design, set anyartwork, any that principle the with him imbued and 266), 1993: (Roig, realist was period the of Spain the of that while tion, stylisa and design set concise a of conception a with him provided it that signer and how to approach the process of designing a (Bravo,set” 1996: 30); “the conceptual and formal foundations underpinning the nature of a set de life entire his for him gave it and “solid” was education this that say could westatements, Puigserver’sdisperse together bring weIf Febrés,44). 1990: waywouldhe have Barcelonathe (Roig,in time do that to of able been 1978; i 1. finally I why is This expected. I than specific less was training his about me gavethey information XymenaMarrodan,the (Carlos but Zaniewska)ment made tome,according towhichat theEAD my intention toenter thiscontroversy Ifinditinteresting nevertheless, but, to reproduce the comment that Núñez Spanish of P between aconservation be taken intoaccount that Salvat’s reaction in viewsare tothepublication expressed that isanangry inanarticle corresponds truth,at leasttheway tothestrict itwastoldtomeinWarsaw” 1994:100).However, (Salvat, itshould P some of thesescholars: “Ivisited Warsaw in1962, invited bytheWorldP enteredserver theEAD uigserver hadstudied,uigserver methisteachers andthey talked tomeabouthim.Nothingthat professor Bravo explains t is worth mentioning,t isworth asacounterpoint, R Initially, when I started the research, the aim was to reconstruct Puig reconstruct to was aim the research, the started I Initially,when significance, therefore,The Puigserver’s of drawn at has the Polishness Moreover, Puigserver also acknowledged that living in a socialist country AG hehadlittlebackground asasetandcostume designer, andquestions thecomments of 1 uigserver andNúñezYanowskyuigserver inG However, as Sawicka argues, it is still possible to ex AG, “although R icard Salvat’s viewsonthisissue,whopointsoutthaticard whenP he two young littleage men(thereThe two difference) wasvery observed icard wasawalkingtheatreicard Fabià encyclopaedia, wasthe eace C raells andHormigón’sbook(1993).raells I ouncil. Idroppedbytheschool,where t isnot uig 3 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some Teatr Domu Wojska Polskiego on 8 March 1957 (Graells; Bueso, 1996: 96). 1996: Bueso, (Graells; 1957 March 8 on PolskiegoWojska Domu Teatr for Teatr Dramatyczny and contributed to Andrzej Sadowski’s set design project year,academic fourth the 1956-1957, the at design set in internship an did he if they were madethere, orlater, intheFine A Arts “P from 1956)are held(Fabià P the Centre de Documentació i Museu de les Arts Escèniques (MAE). side set design, costume and preparatory sketches, some of which are held at along 92-95), (1996: Bueso and Graells by book the in reproduced are that drawingssurvive and severalpaintings school the at period this From lems. prob health records, the from see can we as claiming, attend, not did ally usu he training,which military subject therea physicalwas education, also from Apart drawing. technical and typography composition, sculpture, ing, drawing,paint included courses artistic The grade). highest the got always he which in subject (the French and RussianPolish, studied he history) art and culture,(history, of humanities history chemistry,physics,and biology) received there a little more.he Apart from the science courses (mathematics, education geography,the clarify us help can which grades, his with cord re academic the archive its in Warszawie)holds w Wojciecha Gersona im. server’s school (currently known as Zespół Państwowych Szkół 7). Plastycznych 1963: (Bonet, courses” arts fine and general comprises school ary age of 7, and until 13 pupils receive primary education. From 13 to 18, second there were also artistic courses. As Puigserver explains: “School begins at the lar secondary education for five years where, apart from the general subjects, regu offering began it 1948 fromyears, two of training professional offered (Febrés, 1957 initially it 1945although in and, founded been had School The 43-44). 1990: until studied he where Plastycznych), Sztuk Liceum wowe Puigserver,design, 15,aged enrolledVisual the in (Pa School Public Arts ńst Warsaw in 1953, against his father’s will, who wanted him to study industrial into exile along with his family, first to France and, later, in 1951, to Poland. In At the end of the Spanish Civil War, Fabià Puigserver i Plana (1938-1991) went Academic Training tionship withPoland. rela direct the resumed he biographers, the to according when, 1966, until yearsPuigserverthe of family’s exile Warsawin returnthe and Barcelonato and 1966. The chronological framework chosen, therefore,1951 encompasses the between life his of period the concerning issues biographical certain docu mentary information (and some accounts) some that complete, broaden or specify provides sought, initially I as exhaustive as result, being The not archives.despite Barcelona and Warsaw the on research my focused the costume and set designs of 3. A whichmay someconfusion, cause Arts”), itisnotclearwhetherhereferring because totheSchool,Fine Arts suchastheonewithMontserrat R other interviews, P inthisarticle, 2. cademy, time. orbothat thesame rojecte d’escola”, MAEholdsstudies of costumes, historical costume sketches I andportraits. The Diary of Anneof TheDiary Frank directed, by Jan uigserver usesthetermuigserver “EscuelaSuperiordeB P number Call collection uigserver 82). name, underthetitle Also, call withthesame (1956), Balladyna cademy. oig ontelevision (1978), he usedasimilarname(“Escola deB Joan of Arc and ellas artes deVarsovia” artes ellas torefer totheSchool.In widerski and premieredand Świderski the at A Midnight Summer’s Dream (the latter also two t isdifficulttodiscern 3 During 2 Puig elles elles 4 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some © MAE.Institut del Sworn translation intoFrench of theentrancecertificate for the A Fine Arts E ntrance certificate ntrance certificate for the A Fine Arts T eatre. cademy. ©MAE.Institut del T eatre. cademy. 5 GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some cdm hs o oe nomto, u ME od sm csue sketch yearprojectsacademic that during (SummerNohanmade at , costume some holds MAE but information, more no has Academy design, Polska plastyka teatralna, andTeresa Roszkowska (Bravo, 1996:26). Polishset on studies comprehensive most the of one published 1963 in who Strzelecki, Zenobiusz designers set the Sadowski, from apart teachers, as unable to find specific documents from the period, but Puigserver mentioned with hisparents in1959takingadvantage ofanamnesty (Febrés, 1990:19). Barcelona to returned he that and five years for lasted studies the that mind in bearing surprising not is moreover, which, 20-30); 2008: (Włodarczyk, Arts Fine Academy, the because at he does not appear in the list training of graduates from the centre finish to able not was he that however,indicate, in KulturyPrzyjaciol Klub the for jects actor an as participated and Iberyjskiej liet and of the Klub Mi headquarters the at Culture) Iberian of Friends of (Association Iberyjskiej KulturyPrzyjaciol Klub 1958,the organisedbyand between1956 made ings drawing, painting and French) and the in catalogue A of an an exhibition got of he his that paint records (which 1955-1956 year academic the for grades probably submitted as merits for being accepted in the Academy: the School the first year afterhaving passedthe exam. Warsaw,in Academy Arts Fine entered the he of archive the at held mation they do not specify if he sat for the exam. In contrast, according to the infor although MAE, at held French into translation sworn its and Academy the from in Polish certificate a by confirmed is this 44); (Febrés,1990: year ond (Sagarra, 1963:7). design Bonet, set 27; first 1993: his as it called programme,play’sre the Puigserver in appear not does name his Although 4 sort of relationship.sort and she could not provide any information about athe beginworking theFineA Arts Szkoła (1949-1951), Plastyczna andlater, and1955,at theWarsaw 1954 between the higherschoolsof P theatre andfinearts, at theSchool orat theA ihave beenunable tofindoutwhat Strzelecki’s influence P over 6. heldatAE M,FabiàP 5. (Bonet, 1963: 7). It is likely that during this period he did set design pro design set did he period this during that likely is It 7). 1963: (Bonet, that he chose because, as he used to say, for Poles “my surname was difficult” which he would later use in Barcelona in his early years as a set designer, and to explain, he did it without an entrance exam and went directly into the sec used himself he As painting. of JulyAcademyspeciality in Arts the 1958, for Fine the at enrolled and design set study to decided actor.Finally,he an as grouptheatre a joined he workin, to wanted he discipline theatre the about clear being without and, school the at studies his completed he year same asetdesignsketch isheldat M AE, whichbearsthesignature “Slèvia”(FabiàP . (Graells; Bueso, 1996: 96). Everything seems to seems Everything 96). 1996: Bueso, (Graells; habladorespobrecitos Los In terms of the teaching staff at the School and the Academy, I have been he that documents other holds archive the information, this fromApart Danton’s Death). ę dzynarodowej Prasy i Ksi all number P82, Call andreproduced collection, uigserver inG cademy. We shouldtake intoaccount that apparently Strzelecki mainlyinŁódź, taught cademy inWarsaw.cademy Ispoke toStrzelecki’s wife, Mazur, thesetdesignerKrystyna 5 Some of these works bear the pseudonym of Slèvia, stwowa Wyaństwowa ższa Szkoła P uigserver. In any this does not rule out them having case, some ąż ki Warszawy in March 1958. The uigserver involveduigserver washisteacher orifhereally T eatralna (1948-1950) and P all number P Call collection uigserver Theatre A raells; Bueso,raells; 1996:90, 97-99. cademy. Onlyfrom 1972 did RomeoJuand 4 In JulyIn that stwowa Wyaństwowa ższa 82). 6 6 ------
GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some in his pictorial works, particularly in some of the portraits reproduced in Graells; Bueso, 1996:92.reproduced portraits the of some in particularly works, pictorial his in stylisticsimilarities some weleast,see at can 1950s; youngthe Puigserverin 40). Her ironic and somewhat impressionist style might have influenced the 92 o dsly t h Ntoa Msu o Pln (Serafi Poland of Museum National the at display on 1932, of her mosther of renowned works portraitthe is Adam writer the of Wa war.the One after and before from newspapers and magazines in critic a as worked She distinctions. and prizes severalawarded was and Brussels, and post-impressionism. London Stockholm, French Amsterdam, Bielska-TworkowskaGeneva, in exhibited by influenced highly Pruszkowski, Tadeusz painters that had emerged in the 1930s within the Fine Arts Academy around sign, had formed part of the Warsaw School (Szkoła Warszawska), a group of (Manzano, delC., 1966). 1966;A. views from 1966, Puigserver calls Leokadia his teacher along with Strzelecki friendship at the School with her elder daughter Maria, “Isia”. In some inter was Leokadia Bielska-Tworkowska (1901-1973), and he met her thorough his question in painter The 44). (Febrés, 1990: time that at Barcelona in find to weredifficult that writers French other Sartreand of works the with miliar fa became he where there was it country,”and the to in intellectuals connected the centre, all city the in painter, famous very a of daughter the of house the in time a for livemovedpractically to “I notes, himself he As tual. saw Warthe with established he contact the studies, academic the from Apart The TworkowskiFamily eoe h wr BesaTokwk, h as wre i gahc de graphic in worked also Bielska-Tworkowska, war, who the Before was key to Puigserver’s training as an artist and intellec and artist an as training Puigserver’s to key was intelligentsia Institut del P Fabià P rzyjaciol Kultury ©MAE. Iberyjskiej. uigserver performing at performing theKlub uigserver T eatre. Unknown photographer. n k, 92 39- 1972: ska, ż yk, fromyk, - - - - - 7 GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some Tworkowskis lived at number 1 (35) of the the square, Specifically, known as Kamienica Walthemselves. people the of initiative the on years post-war early the during rebuilt faithfully was capital, the of most like Nazis the by destroyedbeen had the which district, old city,the the of of all citizens because for place significant very Warsaw,a of City Old the in Square Market the at Academy,lived Arts Fine the at professor and (1907-1995),architect in one of Puigserver’s favourite cafés in the centre of Warsaw,Telime of the centre the in cafés favourite Puigserver’s of one in Fabià P young daughteroftheTworkowskis, confirmed. house livedwho intellectuals there,artistsand by of and family that Helena,as that the by impressed greatly was district, class working a in lived and tween 1951 and 1953. The young Puigserver, who came from a humble family bachowska (Gizi professors, who turned the courses into an experience that decisively marked ing, by providing a real grounding in art, with very passionate and demanding Tworkowski’s house, whichIreproduce inthisarticle. family photographs she talked about, she showed me two with Puigserver at ing to Helena, showed Puigserver’s sensitivity and pictorial potential. Of the pia had he Mickiewicz’sof Wys(one on birthday another her and for givenpoetry her that books two photos, memento: a as kept affectionately had she objects some me showed Helena enthusiasm. and veneration of mixture a with him about talked Helena him, knew who people the of most Like na. only the basement and the ground floor walls were left and it was rebuilt be Unknown photographer. ń Leokadia, alongside her daughters and her husband, Stefan Tworkowski I was able to talk to Helena Tworkowska-Cegieła, painter and illustrator, According to Helena, the School gave Puigserver his fundamental train fundamental his Puigserver gave School the Helena, to According ski’s painting) and two portraits he did of her in 1956 and that, accord that, and 1956 in her of did he portraits two and ski’spainting) uigserver holding the weathervane on holdingtheweathervane uigserver ń ska), which dated from the late 15th century. After the war T workowski’s house. ©MAE.Institut del T eatre. 8 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some very important; she particularly noted the young Fabià’s interest in the liter Fabià’sthe young in the interest noted particularly she important; very was School the at training literary the that added Helena And school. the at demanding and fostered love for theatre and organised theatre performances Dołę Maria of influence the that considered Helenaquestions, other Among ums. muse to visits and MAE) at held are instance, for 1956, in Sandomierz and Dolny Kazimierz in Puigserver by done paintings (some outings art regular ter (Bravo, 1996: 45, 48). At the School, according to Helena, there were often other things precisely for his love for what he did and his demanding charac among him Teatreremember del Institut the at him with design set studied have marked him as a future teacher, because the accounts from students who also must experience educational This Krauze). Antoni filmmaker the dents, all those who completed them (Helena recalled one of Puigserver’s fellow stu P recommended aplay thathehad seenasmany tofive times. wasshowthat he on occasion years, one those on during that mentioned and everything seen had Puigserver Warsaw.that in believes theatre Helena the at on anything miss to not tried he because theatreFabià’s for called passion and determined 20th century Polishinfluenced theatre and set design. Moreover,that Helena re staging and dramaturgy of type a proposed theatre, of Adam Mickiewicz, the “Goethe” of the Polish literary tradition, who, in terms of works complete the of volumes Polishthe arein books the among notable nationalism. In fact, in Puigserver’s personal library, held at the Teatre Lliure, pro-Catalan of those and movement this of values identity the between ism Polishsawatureof parallelhe a perhaps Romanticism,venturingthat while © MAE. Institut del A heisposinginfrontportrait of, althoughtheenlargement of thephotographseemstoindicate that itishis. uigserver atuigserver B ccording toHelena,thepaintingof isher, theyoung womanwithaponytail alsobyB bina, a Polish language teacher, was decisive. Maria was enthusiastic and ielska- T eatre. Unknown photographer. T workowska’s studio. Helena T workowska believes that her motherpainted the ielska- T workowska. 9 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some until April 1963. of issues,twomoresurvived section only which fora”, de escenaris magazine,“Els the new a in appeared It 124). 2009b: 120; 2009a: Aszyk, 88; 2000: (Yaycio, Kacprak, director the 20; Polish about 1995: Spain in news first the in published and (Polònia)” Opole a laboratori teatre “Un entitled article, The 1962. October in published he other clear candidate. planning, cinema,etc.). ofwork craftsmanship. on the theatre and its operation, section Joan- Lluís Marfany, who was its secretary, told me: “Serra d’Or was a 8. (G i 7. as Núñez,Tworkowska-Cegieła andJoan-Lluís Marfany toldme. 1964,ship.”and Poland that through1963 stayedin between he that seems It letters sending try to wanted “he because also but 21) 1990: (Febrés, sailors the with Polish in speak to there went only not Puigserver 1959, in Poland, When Núñez and Puigserver met at France.”the Barcelona port in by a livedboat coming from who Lola sister his through “sent he censorship, Franco’s throughhave gone not would they as which, Polishacquaintances his to ters let Yanowskywrite Núñez to sources.As differentthroughused me,he told verify to able been have I as Poland, with ties his miss Gual not did he Adrià (EADAG), Dramàtic d’Art Escola the and (ADB) Barcelona de Dramàtica Agrupació the for and workshops design set Barcelona-based in worked he service, military did he when However,years,79). those 1996: Bueso,during to according and, 1959 in Graells and Bueso’s Catalonia chronology, in he did not arrivedreturn to Poland Puigserver until 1966 (Graells; mentioned, As onGrotowskiThe Article theatre school,asLluísPasqual toldmeinaninterview. great first his fact, in was, Barcelona, 1960s in find would he those to pared com advanced and different so productions with time, the of theatres saw cutting and sewing clothes (Roig, 1978), the frequent attendance at the War what he learnt studying at the School and the Academy or seeing his mother beyond that, out pointing worth is it Tworkowska-Cegieła,perhaps by tion I attended regularly. […] professionally Maria A still himselfFabiàOnly Carbonell, fluid. called he groupwasvery Slèvia. T Fabià’swithout doubt, was published, who, article indeed, some years before had arrived from dependedonthepure chanceofof someonehaving somethingelse,and theneverything anidea. asked ifsomeonewanted totake charge Ifthere of were it. orbookstoreview, noperformances we hadtothink someoneofferedCatalan, todothereview. twoorthree the pages thatto findthingsfill couldbeassignedtous.Ifinsometheatre there wassomethingin fromthese meetings,apart chatting, we decidedwhat about inthefollowing we issueor, wouldtalk rather, we tried or maybe fifteen every days, then wastobringtogetherat hishome,intheevening after having dinner, withrelative regularity —onceamonth Montanyès, who I think neverMontanyès, returned, another dayA in P Fabià that hecould or, said write thisarticle, more likely, Maria A what happened is that we asked, as usual, what we have for the next issue, it turned out that there was not much, or think wasnotrepeated. Idon’thave any specific memory, butgiven thecharacteristics of thesemeetings,probably alittlelessregularly,came later P raells; Bueso,raells; 1996:80). oland andFabià agreed and,ashewasaseriousman,didit.” t is likely that coincided the stay with the hiatus in his professional in 1964, pointed activity out in the chronology To conclude this section on academic training, following the last reflec last the followingtraining, academic on section Tothis conclude A good example of his ties with Poland is the article on Grotowski that Grotowski on article the is Poland with ties his of example good A I There wasaneditorialboard,witheditorsof thediverse (economics, sections literature, town t was necessary, however, the pages to fill of the magazine somehow. What guess because, at first, thereThe editorof Iguess at the theatrebecause, wasno first, wasJordi Carbonell, section 8 And Maria A
I don’t remember anymore — a group of people more or less related to theatre. […] epe R urèlia tried to introduce young people from the EAD uiz L ifante. arbonell mentioneditand ifsomethinghadbeenpublished:Carbonell The same his is how on one occasion she broughtFabià,This ishow ononeoccasion that I anoccasion (Puigserver, 1962: 47-48),(Puigserver,was 1962: d’Or Serra drià G ual, who was a schoolmate and friend of mine and who urèlia said that Fabiàurèlia said could dosomethingontheatre AG: one day she brought urèlia Capmany and P oland and, in fact, oland and, in fact, 7
This washow, arbonell did Carbonell 10 In - - - - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some in French by Raymonde Temkine(Osi Raymonde by French in articles the to GrotowskiEuropethanks fromin 1963 popular reallybecame mired Grotowski’s theatre (Barba, 2000: 70). 2000: (Barba, theatre Grotowski’s mired book, thirty-page a from extracts were Mostwere byBarba, pseudonyms. or name press own his under the European sometimes in appeared that articles first the So ing, Barba andGrotowski hadplannedastrategy toensure itssurvival: continu group the against were Opole of authorities the that 71-72).Given tioned Strzelecki and Mazur), who had barely known it before (Barba, 2000: aforemen Warsawthe the as among (such er,and intellectuals abroad both (Osi Norway and Denmark land, 1964: 16-48. work. althoughIhave I thinkthat mostare of notbeen abletoread basedontheaforementioned thesearticles, all 9. Catalan the for remote too been have would they because probably article, his in Barba by cited Mickiewicz, or Witkacy as such playwrights Polish or possibilities. In contrast, there was no mention of specific shows of thesound group their explore to but characters create to used not was which text, ic printed thanks to the intercession of one of the censors of Opole, who ad who Opole, of censors the of one of intercession the to thanks printed scholarship, discovered Grotowskian theatre and became its main promot main its became and theatre Grotowskian discovered scholarship, Poland1959.a in wasSeptember on who Barba,in Eugenio founded 1962 In “evangelising campaign”ofEugenioBarba. and efforts the of result the werePuigserver’s, including them, of All piece. oe re rprs a apae i Hnay Rmna Sizrad Fin Switzerland, Romania, Hungary, in appeared had reports brief some iul Scnl, e eerd o h pyia ad oa wr o te actors, the their training to achieve mastery of the body, of and the free use of the dramat work vocal and physical the to referred he Secondly, ritual. showthe psychomagicinto between audience,and actor secular of kind a in into a stage and making the actor interact directly with the audience, turning room whole the transforming audience, and actors between separation the break to first, sought, which group, the of nature laboratory the to referred chosen information The 179). 2012: (Garcia, fragments translated and it of selection a made he book: same the from started also Puigserver Serrad’Or, ugevrs ril arvd ey al i w tk it acut that account into take we if early very arrived article Puigserver’s 2000: 72).2000: (Barba, Italian mine, than easier understand to language, international an was it because French in so did I write. to started articles, I how is This materials, drawings. photos, leaving Opole, of theatre the promoting and en vironments artistic figures, theatre parties, political visiting newspapers, and azines Rz 13 Teatr the about articles my placing involved It itinerary. the planned I and Grotowski restaurant, station the in or room my In known. was Grotowski that Polishauthorities hostile the and critics the impression to the giving and Theatre the of Testament New the disseminating of objective They short. dual the very had abroad, all trips to make of this I took advantage With my passport I Italian was able to enter and leave Poland whenever I liked. ez Goosi n Ldi Fazns har o te 3 os was Rows 13 the of Theatre Flaszen’s Ludwig and Grotowski Jerzy The fragments of thetexts includedinalater that byBarba I hadaccesstomake publication methinkso: Barba, xeine d tételbrtie 3 Rz 13 théâtre-laboratoire du Experiénces ń ski, 1997: 96-97), including the including 96-97), 1997: ski, ń ski, 1980: 105, 110). Before this date this Before 110). 105, 1980: ski, 9 In the case of the article in article the of case the In ę ę (1962), dów dów in mag in dów Serra d’Or Serra 11 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some about it: “I remember the article by me Puigserver very well, but I told don’t remem Barba Eugenio strategy. survival group’s Grotowski the in play to Poland a copy of his article because he had fully understood what role it had to sent who he was it that then, think, to logical Puigserver.is byIt written French in fragment a includes 1963, May in Grotowski by premiered play a of programme The Opole. in publication its about learned in appeared article the after months few a after because, theatre) the close not did authorities the that so Poland in known familiar with Barba’s strategy (to publish on Grotowski abroad and make this land through France. But the important thing is to verify that Puigserver was Po from it brought who someone from or correspondence through Maybe spectator, between stage andpublic”(Bueso, 1996:51). “focused the staging on establishing a proper relationship between actor and Antoni Bueso says, with the As 18). (Barba,1962: performed actors bunks,wherethe of form the turesin struc around room the throughout distributed was audience the concept: for the article, he chose one of the drawings by Jerzy Gurawski for the set design set designer. That is also why, of all the graphic and photographic material in Puigserver read Barba’s text and selected fragments from his perspective as a and light effects, with which he probably felt no music affinity. decor, It can be said, then, that of renunciation the theatre: poor Grotowski’s of thetics aes the of questions central the of one including avoidedHowever, also he theatre. religious and mystery with ritual the of link the and subconscious the and archetypes with theatre of relationship the as such text, Barba’s in with dealt werelargely that issues other cite not reader.did also Puigserver explained by this set designer, she met him at the Barcelona Fair in the ear the FairBarcelonain the at him designer,met set she this by explained As Zaniewska-Chwedczuk. Xymena with friendship his to thanks projects numerous out travelcarry Polandoften wouldand to Puigserver 1966 From The Barcelona Fair the show withnoproblems. Puigserver’s conversation in Polish with Grotowski, they were able to attend to thanks but room; more no was there and full was auditorium the arrived, of performance the see to Aix-en-Provence to went Puigserver,1960s Nel·lolate and the Soldevila me.In Carlota Nel·lotold esc Franc as later, little a personally him met Puigserver that seems It years. those in theatre his and Grotowski with relationship direct confirm hypothetical a cannot I But culture. its and Poland with contact some had turn, tunity tomeethim.” oppor havedidn’tthe I afterwards and travelSpain didn’t to I died, Franco ber how I received it and how he learned about Grotowski. Until 1975, when 30). At the Exhibition Fair, since Puigserver had Puigserver Fair,since Exhibition the At 1997: 30). Zaniewska 1993: 27; (Sagarra country her visit to Puigserver for visa the managed and 1960s ly Kordian, which probably seemed interesting to him because of the spatial I have not discovered how the book about Grotowski came to Puigserver. In any case, I think that this episode shows that Puigserver,that showsre episode his this after that think case,I any In Serra d’Or article, we can see how far Puigserver , they had already had Serrathey d’Or, . When they When Akropolis. Doctor Faustus, Doctor 12 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some other, in April 1946 Poland, instigated by the USSR, denounced the Fran the denounced USSR, the by instigated Poland, 1946 April in other, 121-125;2001: (Eiroa, exile Polishin Governmentthe Podolska,the On n.d.). of representation diplomatic the host to continued and Poland Communist of government new the recognise not did that countries few the of one was P Poland. and Spain between relations economic allow ustoexpand theexisting informationonthisissue. account, Núñez’s Manolo with together that, documents are there archive Barcelona de Fira the However,in account. Zaniewska’s and 1996: 80), so, interpreter.any of ity activ the of proof providing of difficulty usual the other,to the due on and, activity professional secondary a was it because hand, one the On facet. this about information little is there known, being Despite world. theatre lona Barce the involvedin became he as years few a for stopgap a provided that Polishinterpreter.job a a workedas exile,JunewaseveryIt he of out come see E onthediplomatic relations P between 11. 247; Alonso, 2008:436). archival often, documents,etc.) that, meetings, articles, of onlyilluminate theobject study indirectly (Bowen, 1995: different withvery must work sources texts, (personalandautobiographical soundfiles,proceedings of international 2008: 430 ‑ sources andveracity andthesubjectivity ofprimary somesources (Cronin,2002:47-49; Bowen, 1995:247; A lonso, invisibility istheresult of interpreting of theparticularities itself: thedispersionof thevolatility of oralsupport, it hashadover of of interpretation, invisibility. despite thehistory time,isthestory theimportance 10. The peace. world to threat a as Council Security UN the before regime co the monograph by Guillem-Jordi Graells and Antoni Bueso (Graells; Bue (Graells; Bueso Antoni and Graells Guillem-Jordi by monograph the in published and MAE fair,at the held at interpreter as working Puigserver uigserver acting as interpreter acting uigserver at theFira deBarcelona. ©MAE.Institut del iroa 2001:21-22, 45-48. After the Second World War there was a breakdown in diplomatic and diplomatic in breakdown a was WorldWarthere Second the After 434). For this reason, thehistoriography that attempts toreconstruct of theactivity a given interpreter 10 In our case, the proof available was a photograph of photograph a wasavailable proof the case, our In oland andSpainduringtheSpanish C 11 n h oe ad Spain hand, one the On ivil War andtheSecond World War, T eatre. Photographerunknown. This 13 - - - - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some the Polish Chamber of ForeignTrade,TadeuszSzumaof Chamber Polish the of delegate The service. military doing was designer set the when 1961, in with technical information. Even so, Puigserver’s name appears documented letters some and delegations foreign the of members the of names the with the of copies keeps basically archive fair the since tion toPoland. Anonymous addi in participated also Hungary Czechoslovakiaand 1958, In 15; 11). 1957a: 1957b: (Anonymous operations import commercial and compensation, export and cooperatives,worker in transactions re-export and and products, reciprocity machinery agricultural devices, scientific and electronic machinery, mining textiles, rubber, leather, products, ical chem and animal of companies Fairthirteen the Trade, at eign presented man needs”(Anonymous, 1957a:11). because it is impossible to close off the essential trading channels from hu circumstances, other surpass humanity of ends economic “the that saying The Mostres. mous, 1957c: (Anony countries both of ports the at call to ships Polish and Spanish ing allow to addition in 105-108), 92-93, 2007: (Miró, products other iron, among and fruits citrus exporting and cement; and meat mid-1960s, the in and material, industrial and machinery products, chemical and steel coal, Poland from two importing began the Spain agreement, between this to trade Thanks countries. from derived payments of regulation the lowed al that Covenant Payment a Paris in signed (IEME) Extranjera Moneda 2007: 83-84). 1957, due to the problems that could arise from the creation of the EEC (Miró, conditions that some of these countries offered for certain products; 3) from good disregardthe to allowit not did which situation, economic serious the to due 2) Curtain; Iron the behind countries the with economically able ally was to it isolation, of out come to order in that, demonstrating powers, es western the pressure to 1) reasons:in three for relations trade these tablishing interested was Spain reluctance, the all of spite In 85). 2007: Miró, 1954, although the first contacts had already begun in 1948 (Eiroa, 2001: 126; economic isolation(Eiroa, 2001:70-71; Cavalieri, 2014: 35). barked on against Spain and that led the em country to diplomatic UN ostracism and the that sanctions diplomatic of process the started denunciation a few days before the start of the Fair, he asked that the issue be urgently be issue the that asked Fair,he the of start the before days few a nia, Lieutenant General Pablo Martín Alonso, and in one of them, on 25 May, Catalo of Marshall Field the to matter the about letters few a wrote Tiffon June.30 to May 15 from permit a given be he that asked he reason that for Pavilion,Polishand the in interpreter” as services usual “his provide could Sappers, of Regiment 4th the in was time Puigserver,that that at quest who of that year a letter to the General Manager of the Fair,the GeneralManagerof the to letter yeara that of reto Tiffon, José A. There is no document indicating which year Puigserver started work, started Puigserver year which indicating document no is There Poland, with seven exhibitors, organised by the Polish Chamber of For In autumn 1957, the Polish Central Bank and the Instituto Español de Español Instituto the and Bank Central Polish 1957,the autumn In after resumed were countries two the between relations economic The
38). That same year, Poland began to participate in the Fira de of that time announced the innovation by innovation the announced time that of Feria la de Diario , lists Feria, la de Diario ń ski, wrote in March in wrote ski, 14 ------GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some on a 1962 list of the members of the Polish delegation as an interpreter. How from 1to20June. Puigserver to permission granted Martín 29 May language.”Finally,on the speak not do they as stand, their up set haveto who staff Spanish the stand under can Delegation Polish the of members the of “none since resolved, as the paviliondesigner.the as appears Zaniewska 1966. time: first the for Barcelona in arrived Zaniewska Xymena which in year the determine to us allow visas, for apply to merce Com of Chamber Polish the by sent usually delegations, of lists ever,these Szuma however, it should be borne in mind that the list of the members of the 1964 12. Puigserver no longer appears in any other document of the Fair,the exceptof document other any in appears longer no Puigserver ń ski’s letter requesting apermitfor Fabià P 12 In that year, in which a whole day was devoted to devotedwas day whole year,a that which In in uigserver. Fira deBarcelona archive. P olish delegation has not survived. 15 - - - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some the previous years (1,100 m to compared five by multiplied area surface stand’sPolish the country, the L mous, 1966a:4;Anonymous, 1966b:18). of informative and cultural activities were provided for the public (Anony public the for provided were activities cultural and informative of Fira deBarcelona archive. ist of P olish delegates at theFira de Barcelona in1966. 2 covered and 500 m They includeXymena Zaniewska. 2 in the open air) and all kinds 16 - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 P olish stand at theFairolish stand in1966.Fira deBarcelona archive. . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some alvet, 2009;Morbitzer,see Calvet, 2009andP Barcelona before and after the Second World War, on the affair and especially of the veals somethingaboutPuigserver’s activityattheFair: núñez refers to Wanda Morbitzer 13. and information aboutand information world the socialist on the other side of the Iron Curtain. news get Poles to the to talk to came actually they butFabià, see to came who place friends a formeeting left-wing soon Polishbecame Catalan stand annual presencethe at “socialist” Fira the only deofficial Barcelonaunder theFranco, public important an twothe theSincePolands. Polish representation relationsbetween officer was also but interpreter an only not was Fabià exile. in late government in exile. A lady of the Polish nobility was the consul general. consu Polish a was there late that had to nothing do Barcelona with Poland, socialist in it was a consulate time of the Polish that At people. these with relations peo professional his in serious Fabiàwas that mainly know I me, trade. to and industry Poles from ple introduced he fair, the in Fabià see to went I 62 In juic. Mont in fair exhibition the hosted Barcelona mistaken, notI’m June, if Every re Yanowsky’saccount Núñez documentation, archive the from Apart framework of his work at the fair ended up drinking tea at the Polish consu Polish the at tea drinking up ended fair the at work his of framework the in knew Fabià that trade and industry Polish of representatives The alive. language academic his keep to him for important was it Polish, in lot a spoke They consulate. the at tea take to us invited she sometimes lot, a Fabià loved odolska, n.d. T ozer (Febrés, 1990: 21). n her work atOn her work the P olish refugee children in Spain, onorary Honorary P olish C onsulate in 13 She She 17 - - - - - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some with the painter Bielska-Tworkowska opened the world of Polish intellec Polish of world Bielska-Tworkowskathe painter opened the with relationship the addition, In Barcelona. in have could he than grasp better but the knowledge he had acquired as a Polish theatre goer gave him a much Arts Fine of Academy the at training finish not did He design. costume and academic training and began to make his first approaches to painting and set main his received he School Arts Fine the At Barcelona. to return his after and exile family his during both close was theatre and culture Polish with relationship Puigserver’s provided, information the from seen been has As By way of conclusion attending theopeningofanexhibition onPolish poster artheldin1973. Puigserver with photo a holds MAE example,Forculture. Polish on events with links had also to He 27). 1993: contacts (Sagarra, agreement cooperation established a create networks television Spanish and Polish the even 1970s; the in Poland visited Pasqual Lluís and Esteban Manuel Bonet, Mar del Maria Llach, Lluís as such artists Catalan mediation, his to thanks also, professors (Vilà, 2009-2010; Graells, 1990: 144-145; Ciurans, 2009: 13-14) and dance Teatreand Polishdel mime Institutof the at arrival the for sponsible culture.re was Catalan He between and link Polish a as role his intensified was laterusedby Xymena Zaniewska inoneofhersetsWarsaw. in meadow grass famous the of idea the that explained exhibition the frameworkof the in Puigserver about lecture Guillem-Jordia in Graells by given was example illustrative but small A design. set Puigserver’s and Polishbetweenexchange and interaction clear a of talk can we that so atre, elled to his adoptive country and maintained a fluid relationship with its the shows: television the for designs set did and in Poland in her was to Puigserver tervention, thanks and Fair, the at Zaniewska meeting after months few A From 1966 all numberF545-22. call 14. a that materials) MAE’s and Puigserver on bibliography the to (both seems indicate everything article, this in it examined not have I although 1966, from that say can Weshows. Grotowski on article his as Poland, with link his maintain to able was he difficulties, the despite Barcelona, to returned he When training. personal and pictorial his completed and him to tuality the importanceofnewperiod. gauge to us allow that facts a few just out point briefly to interesting it find I but analysis, detailed and thorough a deserve would it since this, discuss to article this of objective the not is It Poland. with relations Puigserver’s (Graells; Bueso, 1996:132-133, 135). On the other, it must be remembered that Puigserver, from 1966, also 1966, from Puigserver, that remembered be must it other, the On On the one hand, from 1966 to the end of his life, Puigserver often travoften Puigserver life, his of end the to 1966 from hand, one the On in began period prolific, very new, a that said be can it on then From Antygona, PawelRouba. and tanca Nauczyciela El gest que perduraque 22March2010.gest on Graells El held , Ż lir kóoe Madagaskaru królowej ólnierz (1977) Lena i Leonci 14 18 - - - - - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some , Joan. “FabiánAbellán P Bibliography (Farré-Escofet; Garcia, 2006). and Spanish culture. As if, by talking in Polish, he could explain his country” Polish thinking, he showed the world what was incredible about his Catalan ture, — how can I put it? — of the Polish spirit… Somehow, based on a kind of cluded by saying that “he contributed something incredible to European cul programmetelevision the in included Xymenanot death, interview his an of fragment a in Zaniewska, after that then, surprising, not is It Catalonia. in culturePolish disseminate helped and IT the to professors Polish brought designers, set Polish other and Zaniewska with collaborated television, for worked He design. set ish interactivefirm relationship strengthenedwas between Puigserver and Pol A. delC.“FabiánA. P Alonso, Icíar. “H Anomymous nuevas: México yP . “Dosparticipaciones Anomymous. “Elacuerdodepagos entre EspañayP Anomymous. “P — La tierra decenizas ydiamantes. — Le théâtre-laboratoire “13 Rzędów” d’OpoleouLe théâtre comme auto-pénétration Barba — “Sobre larecepción del‘teatro pobre’ enEspaña”.ADEteatro, No. 128, 2009b, Aszyk, Urszula. “Orecepcji „teatru ubogiego’’wH Anomymous. “P Anomymous. “P In: Graells, G El Noticiero Universal (25 February 1966). PPU. Vol. 2,2008,pp. 429-440. lingüística ycultural enelsigloxxi.Barcelona 22-24 demarzo de2007. Barcelona: de Estudios de Traducción eInterpretación. La traducción delfuturo: mediación Bernal, E.(eds.).Actas delIIICongreso Internacional delaAsociaciónIbérica oral”.In:Pegenautede lamediaciónlingüística , L June 1957a), p.(2 June 1957a), 11. edition: La terra dicenere ediamanti (1998).Buenos A dynamique”. Opole,1964. Matériauxcollective. bibliographiques annexes au mémoire “lethéâtre psycho- pp. 124-130. pp. 120-123. (4 June 1966b),p. 18. (5 June 1966a),pp. 4-5. p.1957c), 36. , E ugenio. Experiénces duthéâtre-laboratoire 13 Rzędow.Opole,1962. olonia”. DiariodelaFeria p. (11June 1957b), 15. olonia, enlaXXIVFeria de BarcelonaDiario delaFeria delaño1966”. rimera Jornada dedicada enlaFeriarimera Jornada dedicada aP istoria, historiografíaeinterpretación. P uigserver presenta suexposición presenta uigserver deescenografíayfigurines”. uillem-Jordi; Hormigón,Juan Antonio,uillem-Jordi; 1993, pp. 195-225. uigserver. Escenógrafo. 1961-1983. L , when explaining Puigserver’s art, she con she Puigserver’sexplainingNomsart, when , T ranslation from I iszpanii”. Didaskalia, No. 94,2009a, talian byLluísMasgrau.talian Original olonia”. ABC(11September , J.;Tricàs.; Decesaris , M.; olonia”. DiariodelaFeria olonia”. DiariodelaFeria ropuestas paraunahistoria ropuestas ires: 2000. Octaedro, os añosdecisivos”. 19 - - - GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some Bueso, Antoni.“Espaisperalteatre: larecerca d’unmodelderelació entre espectacle Calvet, Josep. ”H Cronin, Michael. “TheE Cavalieri, Elena.EspañayelFMI: laintegración delaeconomía españolaenelsistema Bravo, I Bowen, Margareta. “Interpreters andtheMakingof H decoradorBonet, Jesús.“Elactual deteatro máscerca delaarquitectura debeestar Benet iJornet, Josep M.“Fabià P Garcia, I Gabancho, P Febrés, Xavier. Fabià Puigserver. Manolo NúñezYanowsky . Barcelona: A Graells, G Farré-Escofet, Gerard;Garcia, Uri. “Fabià P Eiroa Graells, G Catàleg constant”. — “Una iunactivista completa del’exposició: personalitat Fabià Graells, G Miró, L Manzano, Rafael. “Fabián P In: Graells, G robats pelsnazis(1946-1956). Barcelona: A (ed.). Polonesos aBarcelona. Un munt d’històries.L’acolliment delaciutat alsnens enfavorLa tasca delsrefugiats delaSegonaG i públic”.In:Graells, G monetario internacional,1943-1959. Madrid:Banco deEspaña,2014. General delaR que delapintura”. SolidaridadNacional(15May 1963), p. 7. (A teatre. Barcelona: Diputació deBarcelona: Institut del de Barcelona 1990(Diàlegs aBarcelona; 38). ctober 2010]. [Last accessed:10October T Philadelphia: John B Woodsworth, JudithTranslators (eds.). through History . Amsterdam, i dramat ostatnich stu lat. Krakow: Ksi ęgarnia Akademicka,2012,pp. 177-190. Urszuła; Olkusz, P Barcelona: E pp. 45-62. Translation andPower. AmherstandBoston:University of 2002, Massachusetts, Institut del p. 21. Puigserver. Teatre. MAE,IT enllibertat 2006.
iszpanii”. In:Aszyk, juntament juntament dwin (eds.). onsolat ultural , 67 V3, 20 GARCIA SALA GARCIA ESTUDIS ESCÈNICS 44 . Some Issues Concerning Fabià Puigserver’s Relationship with Poland Poland with Relationship Puigserver’s Fabià Concerning Issues . Some Sagarra deFabià, Josep M.“L’herènciapolonesa P — “Fabià P Vilà, Jordi (coord.).Pawel Rouba. Elgestque perdura. DVD R catalogue. Morbitzer, Wanda. “Lameva primeraiúltimamissióconsular aBarcelona”. Puigserver, Fabià. “Un teatre laboratori a Opole (P Podolska, Hanna.Polònia iCatalunya. Les relacions diplomàtiques durant elsanys — Teatr “13 Rzędów”i Teatr laboratorium „13 Rzędow”.Opole1959‑1964. Kronika - Serafi Sawicka, Anna.“Fabià P Salvat , Xymena. desdeP Zaniewska “Carta Włodarczyk, Wojciech. Miejsce Wydział malarstwa. Malarstwa Akademii Sztuk Yaycio Osi Roig Personatges., Montserrat. Fabià Puigserver. ń 1993. Hormigón, JuanAntonio (eds.).Fabià Hombre Puigserver: deteatro. Madrid:ADE, CO Barcelona: C de laciutat alsnensrobats pelnazis(1946-1956). Barcelona: A In: Pernal, Marek (ed.).Polonesos aBarcelona. Un munt d’històries.L’acolliment 1918 bibliografia. Opole,1997. Wydawniczy, 1980. 2007, pp. 157-163. Homenaje aPiotrSawicki.Breslau: Wydawnictwo Uniwersytetu Wrocławskiego, Losada Palenzuela, José L de Directores deEscenaspaña,1994,pp. 98-102 (ADE;34). por laAsociacióndeDirectores deEscenaspaña”.Madrid:Asociación d’espectadors del d’espectadors Teatre Lliure, 13,1993, pp. 26-28.
eus: omplutense uillem-Jordi; uillem-Jordi; 21