Hostname: page-component-cd9895bd7-gvvz8 Total loading time: 0 Render date: 2024-12-21T19:46:43.705Z Has data issue: false hasContentIssue false
  • English
  • Français

Stanislavsky in Poland: Ethics and Politics of the Method

Published online by Cambridge University Press:  15 January 2009

Juliusz Tyszka
Get access Rights & Permissions [Opens in a new window]

Abstract

The reception of most manifestations of Russian art and culture in Poland is linked inextricably with the political situation, and official and popular attitudes are often widely divergent. From the first visit of the Moscow Art Theatre to Warsaw in 1908, when most Poles boycotted the performances, through enthusiasm tempered by ignorance in the inter-war period, to the 'Stalinization' of Stanislavsky as official mediator of socialist realism in the late 'forties, Polish attitudes to the 'method' which was Stanislavsky's legacy are here examined by Juliusz Tyszka. Today, he concludes, Poles have largely consigned Stanislavsky to the lumber-room of history – though there are a few cautionary voices who urge his continuing relevance.

Type
Research Article
Information
New Theatre Quarterly , Volume 5 , Issue 20 , November 1989 , pp. 361 - 369
Copyright
Copyright © Cambridge University Press 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes and References

1. Lorentowicz, J., ‘An Open Letter to Mr. Stanislavsky, a Director of Russian Theatre’, (‘List otwarty do pana Stanislawskiego, dyrektora teatru rosyjskiego’), Nowa Gazeta, 213 (1906), p. 2Google Scholar.

2. Niemirovich-Dantchenko, V. I., From the Past (lz proshlogo) (Moscow, 1936), p. 343Google Scholar.

3. Schiller, I., Stanislavsky and the Polish Theatre (Stanislawski a teatr polski) (Warsaw, 1965), p. 201Google Scholar.

4. In my opinion the idea of the ‘holy actor’ as conceived by Jerzy Grotowski descends directly from ideas of Wyspiańiski and Osterwa. Unfortunately, in Poland this topic is not yet well explored.

5. Schiller, L., Immense Theatre (Teatr ogromny) (Warsaw, 1961), p. 290Google Scholar.

6. Seem Polska, Nos. 8–10 (1922), p. 29.

7. Was, G., ‘Old Theatre – New Audiences: Impressions of a Director of Theatres of Lódź from Moscow Theatres, Part One’, Clos Poranny, No . 275 (1934), p. 6Google Scholar.

8. Jaracz, S., On Actor and Theatre (Oteatrze i aktorze) (Warsaw, 1962), p. 63.Google Scholar.

9. Limanowski, M., ‘Stanislavsky’. Scena Polska, Nos. 2–3 (1938), p. 340–2Google Scholar.

10. Korput, S., ‘For a New Style of Acting’ (‘O nowy styl gry scenicznej’), Scena i Widownia Warszawska, No. 6 (1946—1947), p. 7Google Scholar.

11. Kreczmar, Jan, ‘In Search of a Method’ (‘W poszukiwaniu metody’), Nowiny Literackie, No. 39 (1948), p. 4Google Scholar.

12. S. Jaracz, op. cit., p. 124, 133–4.

13. Zawieyski, J., ‘For a Style of Theatre’ (‘O styl teatru’), Dziennik Polski, No. 29 (1945), p. 5Google Scholar.

14. Ibid.

15. ‘For Art and the People: the Moscow Art Theatre’, Moda i Życie Praktyczne, No. 33 (1948), p. 7.

16. Kruczkowski, L., ‘The State and the Theatre’ (‘Państwo a teatr’), Trafr, No. 3 (1946), p. 5Google Scholar.

17. I am thinking here of an ideology in a way fixed by Marx and Engels in ‘German Ideology’, not in the way we consider it today.

18. Bechczyc-Rudnicka, M., ‘On a Great Reform of Stanislavsky’ (‘O wielkiej reformie Stanislawskiego’), Tydzien Liieracki, No. 43 (1950), p. 1Google Scholar.

19. Popov, A., ‘An Idea: a Base of Artistic Creation’ (‘ldea – podstawą twórczości artystycznej’), Teatr, Nos. 4–5 (1951), p. 50Google Scholar.

20. Zavadsky, Y., ‘RemarksonPolishTheatre’ (‘Uwagiopolskim teatrze’), Teatr, No. 11 (1953), p. 18Google Scholar.

21. Abalkin, N., ‘Stanislavsky and the Theatre’ (‘Stanislawski a teatr’), Literatura Radziecka, No. 12 (1951), p. 144Google Scholar.

22. Czanerle, M., ‘The Superior Task of an Art: Still on Stanislavsky’ (‘Zadanie nadrzędne sztuki: jeszcze o Stanislaw-skim’), Nowa Kultura, No. 14 (1951), p. 5Google Scholar.

23. Pudovkin, V., ‘In Accordance with Laws of Reality’ (‘Zgodnie z prawami rzeczywistosci’), Teatr, No. 3 (1951), p. 61Google Scholar.

24. Kreczmar, Jan, ‘From the Problems of Stanislavsky's System’ (‘Z zagadnieri systemu Stanislawskiego’), Teatr, No. 23 (1953), p. 16Google Scholar.

25. Axer, E., ‘On the Method and Its Means’ (‘O metodzie i sposobach’), Trafr, No. 8 (1952), p. 22Google Scholar.

26. Kreczmar, Jerzy, ‘One Should Consider’ (‘Warto się zastanowić’), Teatr, No. 13 (1953), p. 19Google Scholar.

27. E. Axer, op. cit.

28. Pomianowski, J., ‘Shall We Be Wiser After the Damage?’ (‘Czy będziemy madrzy po szkodzie?’), Nowa Kultura, No. 43 (1953)Google Scholar.

29. Balicki, S. W., ‘On the State and Tasks of Polish Theatre: a Report Delivered during the Theatre Congress’ (‘O stanie i zadaniach polskiego teatru: referat wygloszony na Zjeździe Teatralnym’), Teatr, No. 12 (1954), p. 8Google Scholar.

30. Kreczmar, Jerzy, ‘Theory and Practice: an Article from before 90 years, Part III’, (‘Teoria i praktyka: artykut sprzed 90 lat, odcinek III’), Teatr, No. 9 (1956), p. 23Google Scholar.

31. Korzeniewski, B., ‘Posthumous Tragedy of Stanislavsky’ (‘Pośmiertna Tragedia Stanislawskiego’), Pamiętnik Teatralny, No. 4 (1956), p. 523–7Google Scholar.

32. Csató, E., ‘Stanislavsky’, Teatr, No. 5 (1963), p. 3Google Scholar.

33. Kreczmar, Jan, ‘Polish Art of an Actor After the Second World War’), (‘Polska sztuka aktorska po wojnie’), Wprowadzenie do nauki o teatrze, Vol. II (Wroclaw, 1976), p. 401Google Scholar.

34. Schiller, I.: Stanislavsky and the Polish Theatre (Stanislawski a teatr polski) (Warsaw, 1965), p. 306Google Scholar.

35. Wolicki, K., ‘Stanislavsky: New Theatre’ (‘Stanislawski: nowy teatr’), Teatr, No. 11 (1970), p. 10Google Scholar.

36. Hübner, Z., ‘Routine against the Method’ (‘Rutyna przeciw wetodzie’). Dialog, No. 10 (1977), p. 140Google Scholar.