Alicja Kędziora, Emil Orzechowski Institute of Culture, Faculty of Management and Social Communication of the Jagiellonian University

Managing an Artist's Legacy on the Example of Foundation for Support of Modjeska's Life and Art Research in Kraków

Abstract: The Foundation for Support of Helena Modjeska’s Life and Art, established in 2009 in Krakow, is an organization whose principal purpose is to preserve and disseminate the memory of the great artist. This article is a presentation of the Foun­ dation’s structure, its way of functioning, and the most important tasks until now, as well as an attempt to place the organization in the context of memory management processes. The authors try to point out the need to remember about artists as those who build cultural identity, to highlight the role of the past as a tool for the interpre­ tation of the present, and to find the standards that define the ethics of social behav­ ior for generations, the existence of which is made known by the ideas represented by outstanding Polish artists.

Key words: Foundation of Modjeska, memory management, theatre, heritage, Hele­ na Modjeska

“Nobody knows the roads to posterity” - said the one, who, in fact, did pass to posterity, but the road he had taken was long and winding. He was the One, who, a century after his death, became the inspiration for the marvelous honours paid to the memory of Chopin - an artist omnipresent within the world of culture, and he was the one who told us about Józef Bem, a gener­ al remembered only by Poles and Hungarians (“Czemu cieniu odjeżdżasz...” [Why are you leaving dark shadow...]) - restoring the memory of his exist­ ence through the art of Czesław Niemen. The recalled citation from the work of C.K. Norwid called “Laur Dojrzały” (“The Mature Laurel”) seems to be a reasonable introduction to the theme of artist’s legacy in memory. In this 180 Alicja Kędziora, Emil Orzechowski case we wish to debate the legacy of a female Artist, a mistress of such an ephemeral art as is the art of acting on the stage. It is a part of a much broader theme than only cultural or national heritage. It is signified by: the authen­ tic Wawel castle, present over the course of centuries, the reconstructed old town in Warsaw - a proof that the annihilated may be reborn. People’s Hall in Wrocław - the symbol of the uneasy relations between Poles and Germans, and thousands of other tangible traces. This is the so-called tangible heritage and we may say we somehow know how to manage its resources. A different story relates to the so-called intangible heritage, especially such an ephem­ eral art as is the theatre, and in particular the theatre before the technology of phonographic or video recordings. Is it reasonable then, to address these issues? It seems downright idiotic to pose this question for those who know what Bogusławski had done for the Polish cause, and how the Polish actors cared for the proper use of the Polish language during the time of Russifica­ tion and Germanization. Modrzejewska is an exceptional case - she encom­ passes all of the above-mentioned values with an additional bonus - she of­ fers her English name Modjeska and her career abroad, which allowed her to spread Polish art in America and England. This text is an attempt to present how to try to ensure proper care for the artist’s legacy in memory.

An exquisite talent in every respect, waist, and a beautiful face. Will become a star on a stage. What else? - a woman she is.

pseudo-Fredro

Helena Jadwiga Modrzejewska (Modjeska) - whom she was and whom she should be

Certainly, the old and remarkable Fredro, presently residing in the afterworld, does not mind how we paraphrased his work. Modjeska contributed very much to the names of Fredro, Słowacki, Wyspiański and many others. She also did much for us - although (with small exceptions) we are not aware of that fact or we do not wish to remember about it and promote other types of national heritage. It is, however, important to note that actors constituted a part in this heritage, and it was a considerably greater part than only speak their achievements and the ephemeral nature of their art. Therefore we dedicate this text to politicians for education (and especially to Mr President and the Ministers responsible for the “national heritage”), actors to reflect on what is and what could their profession be, the Polish, Managing an Artist's Legacy on the Example of Foundation for Support... 181

Fig. 1. Helena Modrzejewska. Private collection photograph. Photo. Napole­ on Sarony, about 1880, New York Source: Private ownership.

American, English, Irish, Scottish and Czech to think about what she had done for them, and the Russian and German to consider why she disregarded or had to disregard their generous invitations for her to perform. ^ e finest actors of the 19th and 20th centuries were referred to as the stars, today they are called celebrities and just recently there was a new term cre­ ated - delebrities - death celebrities.1 Never mind the definition. The media create a growing number of new concepts and the academic wise men - chas­ ing to earn the points and forgetting that their quest is to search for the truth - participate in this insane gibberish. In the long term, however, it is the facts that count. Modrzejewska/Modjeska is an extremely charming object of reflection, seriously, as a “womyn,” an actress, and a Pole. She would expressly respond to Fredro’s paraphrase with this: “^ e first prerequisite for a successful actress is to have a soul; then, a beautiful face, a compelling voice, and an attractive

1 J. Szulbrycht, “Gdy mi ciebie zabraknie,” Polityka 2014, No. 41, p. 94. 182 Alicja Kędziora, Emil Orzechowski personality. But this condition is first.”2 It all seems clear, but what is this soul? As such it is certainly responsiveness or sensibility, but also, as other of her statements point to - a hierarchy of values. By assuming the language of management we can say it is a quest, i.e. a response to the question: why I am doing this, for whom and in the name of what, etc. Continuing with the use of management terminology let us begin with the simplest matters. What was her socio-cultural as well as legal-political envi­ ronment, what resources she had at her disposal when building the mission of her life? Helena Jadwiga (*1840-f1909), was born in Kraków, as one of the many children of Józefa Benda and an unknown father. Her mother was a widow of a wealthy man, Benda, but in 1850 a great fire in Kraków deprived her of her property. Helena witnessed all of this, and more. She had seen from the window of her home, located on the corner of Grodzka St. and St. Dominican Square, the Austrians shooting at Poles, while the latter were raising barri­ cades against the enemy. She saw Radwańscy, at Stolarska St., making contact with the prisoners across the street and the conspiracy organized against the oppressor. After the fire, her mother opened a coffee house or some kind of a sweet shop. Helena worked there as a waitress or cleaner, and performed all the duties that were needed. She was lucky to have her mother provide her with an education. Benda wanted her daughter to become a governess, a teacher, which was the utmost dream a contemporary “womyn” could have. However, Helena, influenced by her half-brothers - especially Felix Benda, who would become a renowned actor in the future - was preoccupied with an idea of thinking about the theatre.3 The peaceful life of the adolescent was interrupted by Gustav Zimajer, her mother’s tenant, who sustained her passion in such a convincing way, that a 20-year old Helena was already in love with F. Schiller’s and W. Shakespeare’s plays and became the mother of Rudolf Zimajer. They seemed to be genuinely happy, but it is a “womyn” and mid-19th century. The couple left for Boch­ nia where they gave an amateur performance for the benefit of victims from a mine disaster. It was so successful that they decided to continue trying. They set out to conquer Galicia as the “Nowosądeckie Towarzystwo Artystów Sceny Narodowej” (The Nowy Sącz Association of the National Stage Artists). They were somehow getting by, but then Helena for a short time found employ­ ment in a then very respected Lvov Theatre. Their daughter Maria was born “on their way.” The Galicia peregrination found its final step in Czerniowce, where a decent theatre, employing mainly young actors, was created. The Vi­

2 H. Modrzejewska, Artykuły, referaty, wywiady, varia, comp. E. Orzechowski, Kraków 2008, p. 124. 3 H. Modrzejewska, Wspomnienia i wrażenia, Kraków 1957. Managing an Artist's Legacy on the Example of Foundation for Support. 183 ennese reconnaissance was a failure, and although Zimajer’s dream was for Helena to act in German speaking theatres, she might not have yet been ready for that. Their four year old daughter was killed in a tragic accident; due to unknown circumstances Helena - with the assistance of her half-brothers - managed to escape from Zimajer with their son Dolcio (Rudolf). She was employed in the Kraków’s theatre under the new management of Skorupka and Koźmian. Her talent was noticed at once, and she imme­ diately became the star on this stage. She changed her life completely: all that mattered was her career on the stage and its continual growth. During one of the guest performances the Kraków theatre gave in Poznań she met Karol Chłapowski. He came from an expansive landowning family, known for ultra-patriotic as well as pragmatic (in respect to estate management) ap­ proaches. Karol had never left her. He followed the Kraków theatre to Kry­ nica, took her to Paris and finally - despite his family’s opposition - married her in 1868. An obvious dilemma arose: a married actress should leave the stage behind. However, Helena and Karol decided otherwise. Shortly after the wedding, Helena performed in Warsaw and she was suc­ cessful. A visit to Greater Poland and Chłapowski’s estates resulted in a posi­ tive outcome. Senior Chłapowski (an ex-aide to Napoleon) and his wife - nee Morawska advised Helena to stay on the stage, but decline the roles of har­ lots. Moreover, they suggested to try conquering Paris (supposedly Karol spoke French better than Polish). Oh, and they should have a mansion in the country. It was a bit early for that last task to be implemented, however, later on, there was an Arden in California, a house in Zakopane and a house in Kraków. The French-speaking scene was also not there for Helena - it already had its queen - Sara Bernhardt. Warsaw was the only remaining place, and ex­ tremely important due to the friendship with Maria Kalergis - a wife to Mu- chanov, the chair of the Warsaw State Theatres, and a close friend of all the great world artists. When Maria was gone, the following problems started arising: conflicts with the censorship and opinions of the milieu. In the end, it was heard that during the meetings with notables and prospective artists, taking place in the Chłapowscy’s salon, there emerged an idea to move to America and establish a phalanstery of artists there. A young journalist, Henryk Sienkiewicz was sent for reconnaissance. He was enthralled with America (and probably in love with Helena as well). In that case we are going - they concluded. However, at the last minute Wit­ kiewicz and Chmielowski backed out of the expedition, which may well have been. If they had gone we would not have the Zakopane style or the works of Brother Albert. As a result of that, Modjeska debuted in America in English and became a great success. The only remaining dreams were to conquer New York and Boston, and still, her greatest dream - to play Shakespeare in England. And 184 Alicja Kędziora, Emil Orzechowski here we can again witness the amazing brilliance of the actress - in the field of managing her own career: to test a language and acting as far from Europe as possible and then return in style as a renown American actress. She did it. Such were her socio-cultural resources; and she had maxed out on them. Her political and legal resources were obvious: partitions of Poland, and three different methods of approaching the Polish. Helena seemed to be re­ luctant to perform in German from the beginning. It had all culminated in an invitation to an already internationally renowned Berlin theatre, as well as Breslau, and others. She replied that Bismarck may think he can destroy the Polish territory, but he will not annihilate the Poles, whose talent lets them be present and emphasize their identity in the world. And they need not ask for permission to do that.4 It was even worse with Russia. In 1895 she was banned to enter the Empire’s lands. The ban was not even lifted after her death. She compromised her position while delivering a patriotic pro-Polish speech at the Women’s Congress in Chicago. Russians tempted Helena with amazing remuneration, however she performed neither in St. Petersburg, nor in Mos­ cow or Odessa, etc.5 The above part seems to be the easiest theme, but there remain two, proba­ bly more difficult to describe. One of them was her mission, i.e. the hierarchy of priorities and how she was working on it. The other - her legacy in remem­ brance, how they have tried to organize it, and how it has been present through­ out the times. And the final touch is the conclusion, left to reader’s discretion. The matter is simplified insofar as one day there was a text published under quite a provoking title: “She competed well, completed the run and preserved the faith” and it did not evoke any opposition.6 An effort has been made to show that her well-known phrase taken from a letter to Faleńska: “Insane, who does not want to go higher if he can” may have referred to acting, however it was always followed by the question that Helena kept on asking herself: what for? What should result from this? In terms of art the answer was given at a benefit arranged by Paderewski at the Metropolitan Opera House in 1905: “In the end it is not the applause that matters the most to the actor. It is the mindfulness that she will continue to be alive in the hearts and memories of the viewers.” However, her Polish identity was always in the first place. Throughout her career she sought to prove to Bismarck and the Russians that the Polish can and are able to do things the former did not imagine. At the same time she was a follower of Positivism - to live and prove it in action; she feared yet an­ other patriotic uprising resulting in deaths of her people. It is another theme

4 E. Orzechowski (ed.), Korespondencja Heleny Modrzejewskiej i Karola Chłapowskiego, Kraków 2000, p. 185. 5 J. Michalik, Modrzejewska w Kaliszu? Między Chicago a Petersburgiem, in: idem, Teatr w Sejm ie, Kraków 2009. 6 See: Pamiętnik Teatralny 2009, pp. 3-4. Managing an Artist's Legacy on the Example of Foundation for Support. 185 worth to be described in a separate paper - her correspondence with Kornel Ujejski and other patriotic correspondents. The most beautiful proof of her thinking is admitting that she had organized the great New York performance to help the victims of Prussian deportations not only for pure financial profit, but also to make Americans realize the scope of the problem and convince them to sympathise with the Polish case. And she really strove to do this. In Washington her performances were frequented by presidents and senators and politicians in general, so strikingly that her impresario wrote to William Winter that he is not certain what success was more spectacular: the diplo­ matic, Polish social success or the artistic one. It was the same in Boston - the poem by Celia Thaxter, a statue of Modjeska on the desk of Henry W. Long­ fellow, and numerous other examples.7 The conclusion of this thread may seem slightly risky, but it needs to be voiced. It was this “womyn” that opened up the path to glory for Sienkiewicz and the doors to the White House for Paderewski. And finally the last thread here - her legacy in memory. Immediately after her death the Kraków City Council had chosen the burial site on Skałka as the most honourable place for Modjeska to lie in. However, Karol stated that she wished to be buried next to her mother on the Rakowice cemetery. Right after her death, the Americans were curious when will a monument be erected in her honour in Kraków - we all know it has not been built until these times - and perhaps, in a quite literal sense, it ought not to be here (one instance is Karol Wojtyła [who wrote about Helena in “The Brother of our God”], whose legacy is preserved in many ways and the least appealing of them are his statues.) There is a museum of Modjeska in Arden, California, however her house in Kraków, at Grottgera Street, is dilapidating and if we are to do any reasonable thing it should be taking care of this house and making Hele­ na’s Salon there - a place open to everyone, especially young, aspiring artists. Pamiętnik Teatralny (Theatrical Diary magazine) once printed an article called “The Trouble with Modjeska.” The main idea was to show that the syn­ theses of her life and work precede conscientious research of the sources.8 As a result she has ended up in numerous conventions: a “star” (“The Star of two and a half continents”), nearly a saint (“The Life of Modjeska”) and in Amer­ ica: “Fair Rosalind” and “Starring Modjeska.” When she was debuting in San Francisco, one journalist hit the nail on the head, sensing the real intentions of Helena: “Leave Poland in the memory of a lonely heart, with America they will not let you part.”9

7 See: footnote 4, a letter to Mr Wallack, as well: E. Orzechowski (ed.), Madame Modjeska Countess Bozenta. American Poets in Honor o f Madame Modjeska..., Kraków 2010, p. 38. 8 See: Pamiętnik Teatralny 1995, pp. 3-4. 9 We referred to the following books: J. Kydryński, Gwiazda dwóch kontynentów, Warsza­ wa 1973; J. Szczublewski, Żywot Modrzejewskiej - several editions; M.M. Coleman, Fair Ro- 186 Alicja Kędziora, Emil Orzechowski

It looked quite well. If Adam Chmielowski had completed her portrait of supernatural size, meant to adorn the entrance to the future national muse­ um building it might have been different. Then many poems were written in her honour (with a few exceptions most of them were of poor quality), a lot of money went to commission her portraits (of miserable quality) and after all that jazz she was simply forgotten with the exception of some occasional conferences, publications, theatre patronages, street names, etc. ^ e time has come to re-enact her legacy. However in a different style: not as the star, and a wonderful creature, but as a “womyn,” “the air of patriotism abroad” and a few other categories, which are in particular significant for us today. One of the attempts is to establish ^ e Research Lab on the Life and Work of Modjeska at the Jagiellonian University, as a unit supporting the Modjeska Foundation. The effects of their activity can be tracked on their website. It is enough here to quote just one statutory statement of the Foundation: “it is an initiative of people convinced that their obligation is to capture the legacy and memory of great Artists, who passed away, but their life and work are a sig­ nificant part of national heritage and set an example of model citizenship.”10 “^ e y seemed, in the view of the foolish, to be dead” ^ e Book of Wis­ dom. Are they dead? - it only depends on us.

II

In the end it is not the applause that matters the most to the actor. It is the mindfulness that she will continue to be alive in the hearts and m em ories of viewers.

Helena Modrzejewska

Foundation for Support of Modjeska's Life and Art Research in Kraków

Foundation for Support of Modjeska’s Life and Art Research in Kraków (Modjeska’s Foundation) based in Kraków was established in March 2010. Emil Orzechowski is its founder and president from the beginning of Foun- salind, Cheshire, Conn. 1969; B. Holmgren, Starring Madame Modjeska. On Tour in Poland and Am erica, Duke 2013. t t e only monograph that does not stigmatize her as a star or saint is called Pani Helena by T. Terlecki published in London by Katolicki Ośrodek Wydawniczy „Veritas” in 1962 and re-printed by Wydawnictwo Literackie, Kraków 1991. 10 Archiwum Fundacji dla Modrzejewskiej w Krakowie ( t t e Archive of the Modjeska’s Foundation in Kraków), 5 Sienna St. Managing an Artist's Legacy on the Example of Foundation for Support. 187 dation’s activity. The board also includes three vice-presidents: Aldona Gibal- ska, Alicja Kędziora, and Halszka Kurleto, appointed by the president of the Foundation. The Management Board, pending the establishment of the sec­ ond body - the Foundation Council, shall be appointed by the founder The Council is comprised of people especially accomplished in their work for the Foundation, appointed by the Management Board, and the Council shall be appointed if there are at least three accomplished members to be. The Coun­ cil shall establish the Management Board of the Foundation and shall have an advisory and opinion forming role. The members of the Council may not at the same time be the members of the Management Board. So far, the Foun­ dation has not yet appointed the Council. Legal basis of professional activities of the Foundation for Modrzejewska are included in the Act of 6 April 1984 on foundations11 and The Foundation Statute.12 The main goal of Foundation’s activities is to preserve and disseminate the legacy of the outstanding Polish representative in the world of culture - He­ lena Modjeska. The operational objectives are as follows:

• Research on the life and work of the actress, her artistic, social, politi­ cal, and culture forming roles; • undertaking any actions to popularize Modjeska and her work in the society; • obtaining any objects or copies of objects associated with the actress in order to examine, describe, secure and disseminate them; • Promoting artistic activities, with a particular emphasis on theatrical initiative.

In order to achieve the objectives pursued, the Foundation collects and provides information about life and work of Helena Modrzejewska, carries out research, the effects of which shall be published in scientific journals or books, participates in projects aiding the popularization of the actress, works with institutions, organizations and media, which may contribute to the dis­ semination of her legacy. The Foundation is using a registered trademark (fig. 2), based on one of the pictures of Helena Modrzejewska as Camille in the work of Alexander Dumas, fils - The Lady of the Camellias. The Modjeska Foundation is a public benefit organization offering both paid and unpaid services. The following fall within the scope of its activity:

11 J. of L. of 1991 No. 46, item 203 as amended. 12 Available on Foundation’s website: http://modjeskafoundation.org/uploads/statut.pdf [accessed on: 10 October 2014]. 188 Alicja Kędziora, Emil Orzechowski

• Obtaining materials and memorabilia associated with life and work of Helena Modjeska, their compilation and popularization in the form of lectures, exhibitions, publication as well as lending these objects to other cultural and educational institutions; • initiating activities and projects related to life and work of Helena Modjeska within the scope of her theatrical and social work as well as contribution of theatrical art to social causes; • supporting and promoting worthwhile artistic endeavours within vari­ ous areas of art, but in particular within the art of the theatre presented by Helena Modjeska; • initiating and supporting educational, scientific, and informational projects aimed at raising awareness of life and work of Helena Modrze­ jewska; • supporting activities associated with popularization of young artists’ endeavours, in particular theatrical initiatives; • promoting the history of theatre activities undertaken primarily in Kraków, Modjeska’s place of birth and Her first successes on stage; • initiating and supporting activities associated with popularization of the theatre culture.

In the years 2012-2014 the Modjeska foundation obtained grants for im­ plementing seven public tasks appointed by the Department of Culture and National Heritage of the Kraków City Hall: hosting a salon of Mme Modjeska between the years 2012 and 2013, preparing and implementing the virtual cultural tour on two websites: the Foundation’s and the City of Literature’s Managing an Artist's Legacy on the Example of Foundation for Support. 189 called the “Traces of Helena Modrzejewska in Kraków,” an iconographic al­ bum “Helena Modrzejewska in engravings,” the theater production of young playwrights “Nie-Dzisiejsi” (Un-Contemporaries), publishing a series of de­ bates prepared and carried out by the Modjeska Foundation together with the Jagiellonian University’s Institute of Culture under the patronage of the daily Dziennik Polski, called “With culture about culture - Culture against the wall,” and the publication of Polish authors on Modjeska titled “Madame Helena Modrzejewska. Polish poets in honour of Helena Modrzejewska” All of these tasks are non-investment, soft, cultural and social projects. In addition to the above mentioned, a number of cost-free projects were prepared and implemented with Foundation’s own resources and contribu­ tions by members and volunteers. They include, inter alia, hosting meetings with directors and representatives of theatre and music institutions, which had taken place from 1 October 2013 to 22 May 2014 at the Sixth Centenary Jubilee of the Renewal of Kraków University campus. The series was inspired by interviews carried out in 2013 by the daily Dziennik Polski, which were then published in the paper. Debates had been organised along the following red threads:

• The cost disease - fiction or reality? Impact of the public budget subsi­ dies on the development of theatre. • Public or private theatres? • The mission and the economics; • An artist or a manager? The artistic institution - a temple or a factory of art? • The mission and projects of self-governed cultural institutions. The hosts’ perspective. • The nature of managing a musical art cultural institution. • Art organizations - the employee perspective.

The guest speakers were, among others, Jan Tomasz Adamus - the di­ rector of the Opera Capella Cracoviensis, Romana Agnel - the director of the Court Ballet Cracovia Danza, Stanisław Dziedzic - the director of the Department of Culture and National Heritage at the City Council of Kraków, Krzysztof Markiel - the director of the Department of Culture and Nation­ al Heritage of the Lesser Poland Voivodeship, Krzysztof Mieszkowski - the director of the Polish Theatre in Wrocław, Bogusław Nowak - the director of the Kraków Opera, Krzysztof Orzechowski, the director of the Słowacki Theatre in Kraków, Henryk Jacek Schoen - the director of the Bagatela The­ atre in Kraków, Barbara Szalapak - the chair of the Kraków branch of ZASP (Association of Polish Stage Artists), Bogdan Tosza - the director of the Karol Szymanowski Philharmonics and others. 190 Alicja Kędziora, Emil Orzechowski

The project was primarily referred for the undergraduate and graduate university students studying the management of culture and the media, how­ ever the debates were joined by a wide handful of people from outside of the university, expressing their interest in theatre activities in Kraków as well as in the operating methodology of theatres within the three following sectors: public, private and the third sector. ^ e debates enjoyed over 500 partici­ pants. ^ e content of the debates is undergoing conceptual as well as editorial development and is being prepared for print, the financial measures for the publication have been obtained from the grant issued by the Department of Culture and National Heritage of the Kraków City Hall, within the priority of the “Dissemination of literature and publishing activity.”

Fig. 3. "fte guest speakers of the first debate: “Culture against a wall - with culture about culture.” From left: dr Joanna Szulborska-Łukaszewicz ("fte Institute of Culture, Jagiellonian University), Rafał Stanowski (D ziennik Polski), Jacek Henryk Schoen (Bagatela 'fteatre), Bartosz Szydłowski (Łaźnia Nowa te a tre ), Piotr Sieklucki (Nowy 'fteatre). Tdie Campus of the 650-anniversary of the Jagiellonian Univer­ sity Revival in Kraków, 10 O ctober 2013. Photo: Alicja Kędziora Managing an Artist's Legacy on the Example of Foundation for Support. 191

III

The past is not simply there in memory, but it must be articulated to become memory

Andreas Huyssen

Management of the legacy of Helena Modrzejewska

The projects mentioned in the first two parts of the article, which serve the purpose to remind and anew introduce Helena Modjeska into the general discourse, are the result of the deep conviction of the Foundation members that Helena Modjeska’s contribution to the contemporary cultural, social, economical and political life is crucial. Halina Mielicka-Pawłowska believes that for contemporaries, the past becomes a manner of thinking about the present, it is a tool that allows them to interpret and understand the events they are in the process of witnessing.13 On the other hand, there were also norms of social behaviour constructed in the past, which are still valid in present times, with the assistance of which we recognize acceptable and un­ acceptable behaviours. The past conditions the present, but at the same time allows to map/delineate the future. Andrzej Szpociński, highlighting the idea of a linear and mythical time, places the functioning of values and ideas, dominant in a given culture in the linear time, while the other, mythical time is not perceived in a regular, natural way, does not divide time into individ­ ual stages in a cause and effect manner, and does not separate the past from the present and future.14 These timeless values determine present behaviours, patterned on the socially approved behaviours from the past, which at some point obviously become idealized and developed into the rank of an idea. Barbara Szacka notes that the migration of values and behavioural patterns, which mainly serve the purpose of creating and supporting a sense of identi­ ty, occurs with the assistance of some particular people and events from the past, which at some point in history become reformulated into the symbols of attitudes and behaviours utilized by next generations.15 Helena Modjeska had already embodied an icon of certain values during her lifetime. Her cultural, social and political activities were already so widely

13 H. Mielicka-Pawłowska, “Przeszłość jako projekcja rzeczywistości współczesnej,” in: J. Styka, M. Dziewońska (eds.), Pamięć jako kategoria rzeczywistości społecznej, Lublin 2012, p. 15. 14 A. Szpociński, “Pamięć przeszłości jako element kultury współczesnej,” in: A. Szpociń­ ski (ed.), Wobec przeszłości. Pamięć przeszłości jako element kultury współczesnej, Warszawa 2006, pp. 5-8. 15 B. Szacka, Czas przeszły, pamięć, mit, Warszawa 2006, pp. 48-50. 192 Alicja Kędziora, Emil Orzechowski approved in her times that the process of spreading her legacy had begun ex­ ceptionally early. The successive decades resulted in a selection and imminent reformulation as well as harmonization of the ideas most significant to the society. However, according to Szacka, the collective memory lies not only within individuals, but also in a wide variety of cultural artefacts,16 such as literary texts, works of art, monuments and all the other, according to Pierre Nora - sites of memory,17 whose main role is maintaining ties with the past, recalling and strengthening relationships with values important for a given community by means of a reference to specific facts and figures from the past. The Modjeska Foundation implemented a number of projects aimed at cultivating and promoting certain attitudes and behaviours, appealing to the number of frameworks within which we see collective memory, such as ar­ chitecture, visual culture, virtual space, art and scientific areas. Joanna Karbońska in the book Architecture as a form of Memory. The Role of Architecture in Creating the Contemporary Horizon of Values analyses the techniques of shaping memory through different types of architectural de­ sign, its occurrence in specific spatial solutions, treating architecture as a cul­ tural text, which indeed expresses specific content and ideas of the past.18 The intention of the Modjeska’s Foundation’s Board was to obtain such a place for the Foundation’s location that would clearly mark the values embodied by the actress and the sites associated with her. The building that houses the Foundation’s headquarters and at the same time the Salon of Helena Modjeska belongs to the Arch-Brotherhood of Charity, a Christian organization founded by Piotr Skarga, with a mission to help the poor. Nearly from the beginning they have been established in the tenement house at 5 Sienna St. in Kraków, frequently called “residen- tial.”19 The Arch-Brotherhood has not only preserved the modus operandi, principles and objectives they have been guided by from the beginning of their existence, but even the original structure of the organization have been kept. It is headed by the Senior Brother - the President of the Management Board, which also includes the Sub-Senior Brother, the Prosecutor and two members of the Arch-Brotherhood. The Management Board is supported by the three-member Arch Brotherhood Council.

16 Ibid., pp. 43-45. 17 P. Nora, “Między pamięcią i historią: Les Lieux de Memoire,” Tytuł Roboczy: Archiwum 2009, No. 2; A. Szpociński, “Miejsca pamięci (lieux de memoire)” Teksty Drugie 2008, No. 4; A. Kędziora, “Miejsca pamięci w zarządzaniu pamięcią o artyście,” Zarządzanie w Kulturze 2012, Vol. 13, pp. 101-112. 18 J. Karbońska, Architektura jako form a pamięci. Rola architektury w tworzeniu współczes­ nego horyzontu wartości, Gdańsk 2008. 19 Accessible via the Internet: www.arcybractwo.com [accessed on: 15 November 2014]. Managing an Artist's Legacy on the Example of Foundation for Support. 193

The tenement house at Sienna Street is related to Modjeska in a much more complex way than it might seem. It is not only significant by its location nearby her place of birth, her childhood years and the first stage successes in the Theatre at Szczepański Square. At the time when Modjeska lived and worked in Cracow and also later, when she was very successful in Warsaw and the USA, the Arch-Brotherhood gathered the most outstanding people of the city, who were able and wished to take the effort to help people of an impoverished status. Although there is no outright evidence that the actress cooperated with the organization in her charity work, it is highly probable, as there was a great number of charity campaigns in which Modjeska participat­ ed or even organized and the people from her milieu were also involved in the work of the Arch-Brotherhood. One of these people was Walery Rzewuski, a distinguished “court photographer” of the actress, and not only a relative, but also a great friend of Madame, as was, after many years, described by Józef Szczublewski. A number of photographies taken by Rzewuski of Modjeska have been preserved until today. We can dare to say that they are the most beautiful photos of the actress ever taken, an evidence for the next generations that she was a great artist and quite a useful tool to promote her professionally among her contemporaries. The photographer had given two tenement hous­ es to the organization of the Arch-Brotherhood. One of them is located at Flo­ riańska Street, and the other at Westerplatte Street. Both of them have served as the basis of organization’s operation.20 A somehow symbolic expression of Modjeska’s presence among the Arch-Brothers is the fact that the building lo­ cated at Sienna 5 St., where we can now visit her Salon, held the outer coffin of the actress, the one that carried her body to Kraków. This coffin is at present an exhibit at the Historical Museum of Krzysztofory in Kraków. However, the very nature of Modjeska’s relations with the Arch-Broth­ erhood, once located on the outskirts of the city and now in its very centre, is a residential area for the working class, established by Henryk Jordan as the low-cost housing association, along with the villa of the actress, called Modrzejówka, designed and built under the supervision of Modjeska’s half brother Adolf Opid. The villa was purchased by the association at the same time at which the decision to use this area for residential purposes was made. In the year 2000 the entire area, including the villa and the former working class buildings, were listed as monuments. The location of the Foundation, which houses the Modjeska’s Salon as well as the Modrzejówka villa, are not the only places making up the remem­ brance landscape of the actress in Kraków. There are many more places con­ nected to Modjeska, all of the identified locations became the basis for one of the Foundation’s initiatives - the virtual tour: following in the footsteps of

20 Ibid. 194 Alicja Kędziora, Emil Orzechowski

Modjeska in Kraków. It is a multimedia journey combining historical pho­ tographs of buildings, their present images and descriptions of these places provided by Modjeska herself, found in her memoirs or letters. All the parts of the virtual journey are historical sites associated with Modjeska. Grouped together into a virtual trail they allow for a more profound and comprehen­ sive understanding of her life and work. We experience the past in various ways. One of them is certainly the tech­ nological approach, the contemporary platform of the new media, which not only facilitates the design of certain projects, but also their implementation within the virtual reality.21 This concept comes to life not only in the form of the virtual tour, but also in the virtual Salon of Modjeska - a digital muse­ um accessible online. It does not only present the reconstruction of the real Salon, but also every exhibit displayed such as the photographs, historical newspapers with articles on Modjeska, theatre programs, posters, costumes and others presented in 3D technology. The Salon of Helena Modjeska in its actual, and not virtual form is an attempt to reconstruct a gathering place corresponding to the 19th century salons, a continuation of the tradition abandoned in the after war period, which has been an important passageway for exchange of ideas and estab­ lishing social as well as artistic bonds. The Salon is an attempt to create a col­ lective space for the devotees of the great actress, as well as people who either professionally or in an amateur way deal with the 19th century theatre of the second half of the century and the popular customs of the time. Another goal is to create a space for young and unknown artists, following the example of Modjeska, who opened the doors of her Salon to Stanisław Witkiewicz, Igna­ cy Paderewski, Henryk Sienkiewicz or Adam Chmielowski. Mielicka-Pawłowska believes that

Practices and customs based on tradition can only exist as far as they are a popular cul­ tural model transforming the ideas and ideologies into socially sanctioned behaviour. [...] The behavioural framework of social practices confirms the ideological existence of such actions in the past, which reinterpreted and repeated periodically reproduce and at the same time establish a valid model of behaviour.22

The Salon is an attempt to cultivate a forgotten practice of spending time in the company of others who think alike, believe in the same values and ideas, an attempt to foster the need for face-to-face contact, conversation, exchange of ideas. Joanna Bielska-Krawczyk, by analyzing the works of Jan Lebenstein through the idea of an image being a medium of memory, notes that each work of an artist is the footprint in the memory left in the world, as each

21 H. Mielicka-Pawłowska, op. cit., p. 17. 22 Ibid., pp. 18-19. Managing an Artist's Legacy on the Example of Foundation for Support. 195 work of art preserves and imparts his/her ways of perceiving reality.23 Cer­ tainly, these considerations only refer to artists who left a material evidence of their art such as sculptures, paintings, poems, music pieces or plays. The circumstances of the art of acting are, however, less comfortable, as actors create a highly ephemeral craft that dies with the moment of uttering the last words on the stage. Helena Modjeska left so many places of memorial heritage in Poland as well as in America or England, Czech Republic, Vien­ na, Munich, and France. These sites refer to both her professional as well as private lives, but do not constitute a mnemotype in the meaning presented by Bielska-Krawczyk; they do not directly reflect her art of acting, they are not a work of her art, but only traces of her existence in the society, scraps of her art, transformed into other forms of expression such as photography, painting, poetry, criticism and even everyday use objects such as clothes and cosmetics. Collecting all these tangible traces of Modjeska in one place be­ came the objective in creating the Salon. The role of an image as mnemotype, which has been growing since the second half of the 19th century, manifests itself in many areas, its role with­ in the culture develops, an image becomes an easily recognizable, clear and readily applicable element of communication. The domination of visual cul­ ture sets two premises for functioning of an image within culture. The first of them says that an image is a medium of memory, the other refers to re­ membering by applying images.24 Taking into account that both meanings of the image are forms of memory, the Foundation implemented a few projects reaching back to abundant iconographic materials associated with the art­ ist, presenting her life and work, sometimes in a more comprehensive way than mere verbal communication. In 2010, poems on Modjeska written by American poets were published. This publication was prepared in two lan­ guages and can boast a very abundant set of illustrations. In 2013, all of the recovered engravings presenting the artist were published. They came from Poland, England and America. The content was meticulously described (they were given an exact bibliographic data and a commentary in two languages - Polish and English) and the graphics adapted (many times poor copies were adapted to print). The album includes a preface consisting of four parts:

1) speaking about the need to remember Helena Modrzejewska, 2) presenting the features of the iconographic material left after Modjeska 3) relating to the art of wood graving,

23 J. Bielska-Krawczyk, „Obraz pamięta... Relacja pamięć - obraz na przykładzie twórczo­ ści Jana Lebensteina,” in: J. Adamowski, M. Wójcicka (eds.), Pamięć jako kategoria rzeczywisto­ ści kulturowej, Lublin 2012, p. 214. 24 Ibid., p. 213. 196 Alicja Kędziora, Emil Orzechowski

4) a chronological table of engravings according to the order of her roles on the stage.

The publication has assumed an intriguing mode of a spatial file holding engravings in the form of boards sized in such a way that they can be framed in glass clip frames. Hence, the album is not only attractive to specialists deal­ ing with the iconography and theatre of the second half of the 19th century, but also to people who need to be convinced to discover the great actress anew. However, without a doubt, the compilation of the publication’s con­ tent and other materials printed by the Foundation as well as lectures, talks, participation in research, conferences or discussion panels are an essential part of the scientific activity of the Foundation, within the scope of which, the Foundation is closely cooperating with the Department of Document­ ing the Life and Work of Helena Modrzejewska at the Jagiellonian University in Kraków, established at the hundredth anniversary of her death in 2009. The article raised multiple issues, too many to be discussed in more detail. However it was important for us to show the following:

a) what where the reasons for selecting this particular artist b) what measures have been taken to revive the memory of the actress.

The first theme does not need further explanation - the selection (ac­ cording to the given criteria) cannot really be undermined. The other thread entertained many ideas, however we should especially pay attention to the tangible signs of her presence in physical locations as well as her entrance into the virtual reality. These activities are conducted in a parallel manner, in a harmonized way, and above all, they are complementary. It appears that this is occurring for the first time in history. Konopnicka or Sienkiewicz have their establishments donated to them by the Polish Nation in Żarnowiec or Oblęgorek. Chopin, Szymanowski and other fortunate artists have their own “homes.” Nevertheless, there are still many homeless, however worthy, repre­ sentatives of the Polish cultural heritage. How can we find a place for them? Kantor has his Cricoteka, Grotowski His Institute. But where is the place for Bogusławski, Schiller, Osterwa, Żółkowski and Modjeska? It is not even an issue of museums, but of the humblest places of remembrance. So indispen­ sable, as they allow for developing an idea of national identity by witnessing an object located in the vicinity, symbolizing the essential values. These ob­ jects and spaces where they have been located are afforded with the function of serving as the legacy of the past.25 In situations where there are no chances for a house, or an authentic apartment, there only remains a substitute - a reconstruction of the place

25 See: A. Kędziora, Miejsca pamięci... Managing an Artist's Legacy on the Example of Foundation for Support. 197 and props. By the way, they happen to be so valuable sometimes, that making them accessible could threaten their existence (photographs, scrapbooks, old posters, perfumes, chocolates - obtained by Modjeska with a sizable financial effort). And at this point the latest technology comes to save us. The Salon of Modjeska holds treasures inaccessible to many - exhibited and stored as they are in traditional museums and archives - in glass cases, drawers, etc. But... it was one of the reasons for writing this article, to say that they are accessible to anyone and on the top of that in 3D visual, at all the possible angles and close-ups, and in the comfort of your own home. The Salon of Modjeska is now a virtual endeavour, accessible on the Modjeska Foundation’s website and prepared by Aneta Maj. We dare to believe that the presented proposal is worthy to be a 21st century custom made offer. Will it be popularized? - Now, it all depends on the readers of these texts: politicians, artists and certainly ourselves. However, as no one is a prophet, especially in their own country, and we wish to avoid being megalomaniacs it is always useful to return to accurate Norwid: “the present shall pass in an unstable manner, but the future - the ominous Reviser - will persevere” (To Walenty Pomian Z.)

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Modrzejewska H., Artykuły, referaty, wywiady, varia, comp. by E. Orzechowski, Kraków 2008. Modrzejewska H., Wspomnienia i wrażenia, Kraków 1957. Nora P., Między pamięcią i historią: Les Lieux de Mśmoire, Tytuł Roboczy: Archiwum, 2009, No. 2. Szpociński A., “Miejsca pamięci (lieux de memoire)” Teksty Drugie 2008, No. 4. Pamiętnik Teatralny 1995, 2009. Szacka B., Czas przeszły, pamięć, mit, Warszawa 2006. Szczublewski J., Żywot Modrzejewskiej, Warszawa 1977. Szpociński A., “Pamięć przeszłości jako element kultury współczesnej,” in: A. Szpo­ ciński, Wobec przeszłości. Pamięć przeszłości jako element kultury współczesnej, Warszawa 2006. Szulbrycht J., “Gdy mi ciebie zabraknie,” Polityka 2014, No. 41. Terlecki T., Pani Helena, Kraków 1991. www.modjeskafoundation.org www.arcybractwo.com

Alicja Kędziora - assistant professor in the Department of Cultural Management at the Culture Institute of the Jagiellonian University, head of the Centre for Docu­ mentation of Helena Modjeska’s Life and Art, vice president of the Foundation for Modjeska. Author of a monograph Polish theatrical life in Russia from 1882 to 1905, editor of several collective volumes, author of dozens articles relating to culture ma­ nagement and issues concerning the history of theater, co-author of a textbook for teaching Polish as a foreign language (Material for teaching Polish to foreign student CM JU). The laureate of the Ars Quaerendi Prize, the scholarship of the Foundation for Polish Science and the scholarship for young scholars of the Ministry of Science and Higher Education.

Emil Orzechowski - b. 1944, Jagiellonian University emeritus prof.Ph.D 1974 at JU, Polish Literature. Author of c.20 books an c. 100 articles on Polish Theatre and Lite­ rature; Polish-American Ethnic Theatre; Helena Modjeska; Management in Cultu­ re. The first Dean of the Faculty of Management and Social Communication at JU; author and manager of the first in Poland studies on Culture Management; creator and the first editor of Culture Management/kulturmanagement/zarządzanie kulturą and JU academic edition of Zarządzanie kulturą. Visiting prof. of Stanford Universi­ ty, SUNY at Buffalo, at Storrs and others. He organized JU School of Polish Language for the foreign students of medicine. Founder and the President of the Foundation for Modjeska’s Life and Art Research Support.