CURRICULUM VITAE Revised: October 9, 2008 KAZIMIERZ P
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En Pologne – Coopération Avec Le CNRS
vol. Varsovie-Paris 2012 14 Académie Polonaise des Sciences Pałac Kultury i Nauki 00-901 Warszawa Académie Polonaise des Sciences Centre Scientifique à Paris 74, rue Lauriston 75116 Paris Tél. +33 (0)1 56 90 18 34, fax +33 (0)1 47 55 46 97 e-mail : [email protected] Directeur : Jerzy Pielaszek Comité de rédaction : Dorota Chłanda, Piotr Daszkiewicz, Jean Delaperrière, Arnaud Hurel, Kinga Łężniak-Bellec, Jerzy Pielaszek, Bartłomiej Szmoniewski Couverture : Izabela Agnieszka Tracz Crédit de photos : Jacques Comolet-Tirman, Andrzej Ćwiek, Vincent Gaudillat, Philippe Gourdain, Jean-Christophe de Massary, Jean-Philippe Siblet, Audrey Savouré-Soubelet, Jakub Śliwa, Filip Taterka, Musée Maria Skłodowska-Curie à Varsovie, étudiants du Faculté d’Architecture de l’Ecole Polytechnique de Łódź Impression : Stämpfli Polska, Varsovie Édité par : Polska Akademia Nauk ISSN 1641-8697 TABLE DES MatIÈRES Avant – propos ................................................................................... 7 CALENDRIER 2011 ........................................................................ 10 La célébration polono-française du 100e anniversaire du Prix Nobel de Chimie de Maria Skłodowska-Curie ............... 20 RECHERCHES ET ENSEIGNEMENT ........................................... 24 Claudine Kieda Un exemple de la coopération franco-polonaise en biologie : la coopération dans la recherche contre le cancer ........................ 24 J. Bardowski, R. Gromadka, J. Rytka, W. Zagórski Le fondement du développement de la génomique en Pologne – -
Reflecting on the First Polish Post-War Staging of the Tempest
[ Theatralia 23 / 2020 / 1 (131—149) ] https://doi.org/10.5817/TY2020-1-10 The Vacant Utopia: Reflecting on the First Polish Post-war Staging of The Tempest Przemysław Pożar ] Abstract In 1947 Leon Schiller staged The Tempest as his first post-war Shakespeare play. From today’s perspective, his choice possibly reveals the intention to counter the harshness of post-war reality or to display a sense of an unbroken connection to pre-war efforts. How- spectrum ever, the inherent utopianism of The Tempest coupled with all too fervent championing of [ his own theatrical theory laid bare the vanity of Schiller’s endeavours. Furthermore, the new translation of the play turned out defective, as it was found to be coalesced with the 19th century canonical Polish version. Schiller’s partisan aspirations raise additional doubts as to his motivations. Several central ideas of the play were lost in this staging, leaving one to doubt whether the utopic character of the play was been contaminated by the new hope the Soviet regime brought with it. Reviewing this production of The Tempest can provide insights into an interim period when cultural processes in Poland were moulding, a new Polish Shake- spearean canon was but anticipated, and Kott’s Shakespeare, Our Contemporary (1964) had yet to enter the stage. Key words The Tempest, Shakespeare, Polish post-war theatre This article incorporates the research results of the state-funded project The e-Repository of the Polish 20th and 21st Century Shakespeare Translations: Resources, Strategies and Reception 2018–2021 (NCN Opus 14 2017/27/B/HS2/00853). -
Karol Samsel
MIĘDZYNARODOWA KONFERENCJA NAUKOWA CYPRIAN KAMIL NORWID WCZORAJ I DZIŚ. W DWUSETLECIE URODZIN. POETY – EMIGRANTA. INTERNATIONAL ACADEMIC CONFERENCE CYPRIAN NORWID: YESTERDAY AND TODAY. .ON THE BICENTENARY OF THE BIRTH. OF THE POET - EMIGRANT. POLISH UNIVERSITY ABROAD OF THE NAME OF IGNACY JAN PADEREWSKI (PUNO) 10 –11.04.LONDON 2021 2 Pierwszy dzien konferencyjny / First Conference Day 10.04.2021 . WYKŁAD INAUGURACYJNY / INAUGURAL LECTURE. Prof. dr hab. Kazimierz Braun, The University at Buffalo, State University of New York, Instytut Naukowy im. Oskara Haleckiego w Kanadzie Norwid wczoraj i dziś / Norwid Yesterday and Today Słowa kluczowe : Norwid, naród, sztuka, prawda Key words : Norwid, nation, art, truth Abstrakt Cyprian Norwid (1821-1883) wcześnie rozpoczął błyskotliwą karierę literacką, by w następnych latach stworzyć arcydzieła. Jego twórczość nie została jednak za jego życia doceniona, wiele utworów nie zostało opublikowanych. „Wczoraj” nie zajął właściwego miejsca w polskiej literaturze, w polskiej kulturze. Dopiero w około ćwierć wieku po śmierci poety zaczęto jego dzieła odszukiwać i wydawać. Niektóre dochowały się tylko znacznie uszkodzone. Norwid stopniowo ogromniał. Badali jego twórczość wielcy uczeni, wprowadzali jego dramaty na sceny znakomici inscenizatorzy, podążali jego śladem najwybitniejsi poeci. Ogłuszony – z czasem – otaczającym go milczeniem, Norwid zwracał się często jakby ponad głowami niechętnych wydawców, nieuważnych czytelników, niewrażliwych adresatów jego listów 3 wprost do narodu i do następnych pokoleń. „Dzisiaj” zwraca się w ten sposób do nas. W świecie współczesnym zagadnienie narodu stoi w centrum wielu ważnych procesów. Samo istnienie państw narodowych jest kwestionowane, znajdują się równocześnie ich obrońcy. Norwid uważał naród za wielką wartość. Uznawał naród za „obywatela” i za „dzieło miłości”. Pisał o „narodowej sztuce”, „narodowej oryginalności”, „narodowej pracy”. -
1. SPENCER GOLUB Professor of Theatre Arts and Performance Studies; of Comparative Literature; and of Slavic Studies
1. SPENCER GOLUB Professor of Theatre Arts and Performance Studies; of Comparative Literature; and of Slavic Studies 3. Education University of Kansas, Ph.D., Theatre, 10/77. Dissertation: "The Monodrama of Nikolaj Evreinov" Intensive Russian Language Program, Middlebury College, Middlebury, VT, 6/74- 8/74. Syracuse University, M.A., Theatre, 6/72 Union College (Schenectady, NY), B.A., Cum Laude with Honors in History, 6/70 4. Professional Appointments PROFESSOR OF THEATRE ARTS AND PERFORMANCE STUDIES; OF COMPARATIVE LITERATURE; AND OF SLAVIC LANGUAGES, Brown University Appointed member of the graduate faculty of Letters and Arts, Lucian Blaga University of Sibiu, Romania (2015-). DIRECTOR OF GRADUATE PROGRAM IN THEATRE AND PERFORMANCE STUDIES, 2007-10, 2014, 2016-17. CHAIR AND PROFESSOR OF THEATRE, SPEECH AND DANCE; OF COMPARATIVE LITERATURE; AND OF SLAVIC LANGUAGES, Brown University, 7/1/01 to 6/30/07. PROFESSOR of THEATRE, SPEECH AND DANCE AND COMPARATIVE LITERATURE, Brown University, 7/95 to the present. ASSOCIATE PROFESSOR (with tenure) OF THEATRE, SPEECH AND DANCE AND COMPARATIVE LITERATURE, Brown University, 10/89-7/95 ASSOCIATE PROFESSOR (with tenure), Brown University, 8/89-7/95 ASSISTANT PROFESSOR, Brown University, 7/87-8/89 ASSISTANT PROFESSOR, University of Virginia, 9/81-5/87. Resigned at rank of tenured Associate Professor, effective 9/1/87. ASSOCIATE ARTISTIC DIRECTOR, The New Works Project, New York City, 1980- 81. ADMINISTRATIVE ASSISTANT, The New Works Project, The Chelsea Theater Center, New York City, 1979-80. SCRIPT CONSULTANT, New York City, 1979-80. -The New York Shakespeare Festival (Public Theatre) -The Manhattan Theatre Club -The Chelsea Theater Center ARTIST-IN-RESIDENCE, University of Tulsa, 9/79-11/79. -
Polish Theatre After the Fall of Communism
Polish Theatre after the Fall of Communism Polish Theatre after the Fall of Communism: Dionysus since '89 By Olga Śmiechowicz Polish Theatre after the Fall of Communism: Dionysus since ’89 By Olga Śmiechowicz This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Olga Śmiechowicz All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-1309-2 ISBN (13): 978-1-5275-1309-9 CONTENTS Preface ....................................................................................................... vii Acknowledgements .................................................................................... xi Chapter One ................................................................................................. 1 Before and After ’89 Chapter Two ................................................................................................ 7 Krystian Lupa 1. To believe in the communion of souls 2. Insanity measured out with steps – Krystian Lupa and the writings of Thomas Bernhard 3. Рукописи не горят – Krystian Lupa and Russian literature 4. Towards the precursor 5. Centaur 6. The time to plant… Chapter Three ........................................................................................... -
The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement
Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters. Caplan, Debra Leah. 2013. Staging Jewish Modernism: The Vilna Citation Troupe and the Rise of a Transnational Yiddish Art Theater Movement. Doctoral dissertation, Harvard University. Accessed April 17, 2018 4:03:23 PM EDT Citable Link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125995 This article was downloaded from Harvard University's DASH Terms of Use repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http://nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA (Article begins on next page) Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement A dissertation presented by Debra Leah Caplan to The Department of Near Eastern Languages and Civilizations in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Near Eastern Languages and Civilizations Harvard University Cambridge, Massachusetts April 2013 © 2013 – Debra Caplan All rights reserved. Dissertation Advisor: Ruth R. Wisse Debra Caplan Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement ABSTRACT This dissertation is the first study of the avant-garde Yiddish art theater movement, which flourished across five continents during the interwar period. From Warsaw to San Francisco, Buenos Aires to Winnipeg, Mexico City to Paris, and Johannesburg to Melbourne, the Yiddish art theaters were acclaimed by critics and popular with Jewish and non-Jewish spectators alike. -
R O Z P R a W Y I a R T Y K U
doi: 10.15584/tik.2018.29 ROZPRAWY I ARTYKUŁY TEMATY I KONTEKSTY NR 8 (13) /2018 Wyspiański, Schiller, Osterwa – Pillars of Modern Polish Theatre Kazimierz Braun University at Buffalo, USA Wyspiański, Schiller, Osterwa – filary nośne nowoczesnego teatru polskiego Abstract: Spośród wielu artystów, którzy zakładali fundamenty, a następnie budo- wali wielki gmach nowoczesnego teatru polskiego, historia wyróżniła trzy wielkie postaci. Stanisław Wyspiański, związany z modernizmem, przez wielu zwany „ojcem nowoczesnego teatru polskiego”, zbudował fundamenty polskiego teatru, tak jak był on rozumiany i praktykowany w XX w. w dziedzinie dramaturgii i inscenizacji. Two- rzył sztuki teatralne nierozdzielnie związane z ich projektami scenicznymi. Były to „dzieła sztuki teatru”, w których materia utkana była ze słów i obrazów, z wizyjnej poezji i dosadnego realizmu. Leon Schiller poszedł śladami Wyspiańskiego. Stał się czołowym twórcą Wielkiej Reformy Teatru w Europie. Uprawiał reżyserię jako wyod- rębnioną dziedzinę sztuki; stworzył „polski teatr inscenizacji”; zapoczątkował także nauczanie reżyserii jako dziedziny akademickiej. Jego głównym reżyserskim dokona- niem (obok innych widowisk) były inscenizacje polskich dramatów romantycznych, z których mickiewiczowskie Dziady (Lwów 1932, Wilno 1933, Warszawa 1934) były szczytowym osiągnięciem polskiego teatru w XX wieku. Juliusz Osterwa, aktor, reżyser, ROZPRAWY I ARTYKUŁYROZPRAWY organizator życia teatralnego oraz reformator teatru, stworzył teatr Reduta, modelowe laboratorium nowego aktorstwa. Rozwinął i ugruntował psychologiczny i realistyczny nurt w polskim aktorstwie. Propagował polską dramaturgię współczesną (m.in. prapre- miery sztuk Szaniawskiego, Żeromskiego, Rittnera) i poetycki teatr wspólnoty aktorów i widzów (Wyzwolenie jako dialog Konrada z widzami, misteryjny Książę niezłomny, przedstawienia podziemne i projekty z czasu II wojny światowej). Włączył swe prace w specyficznie polską tradycję „teatru służby” – służby narodowi i służby Bogu. -
The Art of Playing Patriot: the Polish Stardom of Helena Modjeska
7KH$UWRI3OD\LQJ3DWULRW7KH3ROLVK6WDUGRPRI+HOHQD %HWK+ROPJUHQ0RGMHVND Theatre Journal, Volume 62, Number 3, October 2010, pp. 349-371 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/tj/summary/v062/62.3.holmgren.html Access provided by Duke University Libraries (1 Jun 2015 00:41 GMT) The Art of Playing Patriot: The Polish Stardom of Helena Modjeska Beth Holmgren In July 1876, Poland’s premier actress, Helena Modrzejewska (1840–1909), quit the Warsaw Imperial Theaters for a year’s leave of absence in America, claiming poor health. By August of the following year, she had memorized two roles in English—Eugène Scribe and Ernest Legouvé’s salon melodrama Adrienne Lecouvreur and Shakespeare’s Romeo and Juliet—and debuted with great success under the Americanized name of Helena Modjeska in San Francisco’s California Theater. San Francisco provided her a sophisticated yet less demanding entrée into the American theatre than did the main stages of New York. Applauded for her sure psychological grasp of her roles, meticu- lous technique, and beauty of person and costume, the foreign-accented Modjeska subsequently reigned for almost thirty years as an American star, acknowledged as America’s greatest Shakespearean actress of her day and heeded as an authoritative spokeswoman for a refined late-nineteenth-century American theatre. Even more remarkable was Modjeska’s simultaneous rebirth in August 1877 as a Polish star overseas. Both Polish and American theatre historians have yet to analyze how this extraordinary actress maintained a bi-national career until her death in 1909. American scholars have presumed that hers was an immigrant success story, a predictable passage from a poor “old world” to the new world’s “promised land.” In coming to the United States, however, the actress had intended no permanent defection, but the launching of a parallel English-language career that she vainly hoped would culminate in regular guest tours on the London stage. -
Shakespeare in Purgatory: (Re)Writing the History of the Post-War Reception
Chapter 1: Raising the (Iron) Curtain: The Heritage of 1989 in the New Europe [ Theatralia 24 / 2021 / Special Issue (17—32) ] https://doi.org/10.5817/TY2021-S-2 Shakespeare in Purgatory: (Re)Writing the History of the Post-war Reception Anna Cetera-Włodarczyk Abstract The aim of the essay is to reflect on the current substantial and ethical complexity of the research into the history of Shakespeare reception in the post-war period, both within the Polish national context and, by parallel, within a wider context of post-Communist countries. This refers in particular to the large-scale release of documents, testimonies, and archives which cast light on the operation of Communist authorities in respect of artists and men of letters, revealing a variety of manipulative mechanisms such as censorship or selective patronage. Secondly, the essay proceeds to scrutinise the contents of the Archives of Jan Kott, showcasing the traces of Kott’s continuous preoccupation with Shakespeare’s themes and productions. The (un)finished projects (such as 1973Hamlet ) elucidate Kott’s understanding of history and his compelling ability to endow drama with a contemporary and universal appeal. Key words archive, post-Communism, Jan Kott, rewriting history 17 Anna Cetera-Włodarczyk Shakespeare in Purgatory: (Re)writing the History of the Post-war Reception So tell him with th’occurrents more or less Which have solicited. – The rest is silence. (Hamlet 5.2.341–342) When old Hamlet returns to Elsinore, his goal is explicitly revisionary. ‘Remember me’ says the ghost and retreats to his secret vantage point. Young Hamlet, an agnostic, does not invest much trust in messages coming from the land ‘from whose bourn / No trav- Theatralia eller returns’ (Hamlet 3.1.78–79).