Polonya Tiyatrosu`nda Jozef Szajna ve stüdyo tiyatrosu

Abstract

62 STTMMABY When ve have a look at the history of the Polish Theatre, we see that (like the other European countries) its roots are in the Kiddle Ages. In this period of a thousand years, `feudality` has shaped and the Christian church has `benome the most effective power on the personal and social lives of the people in Europe. This sitvation causes the `birth of a..religious theatre. `Mystery plays` are the sources of the theatre which flourishing in Poland.But after `mystery- plays` wjere ````first `f`orh`idâ~en^:in``1548 `in: ^FranceyPoiand- inerita.hl3'r -wais ^ ^Influenced from this case. In the 16th century, the Polish Theatre can he mentioned as a theatre of the `palace`.We cannot see a `people's theatre` ajlike the rest of Eur ope. In this century the first non-reli gious play was written and followed it some other plays which. are not so_ important.. In the second half of the 18th. century, King Stanislaw August founds the first `people's theatre`, and the play `The Vagahonds` that we can call the first national play of Poland is staged. But -fcfhe real founder of the Polish Theatre is an ex-officer »Bogus-. llawski (1757-1829) who left the army `because of his love for the theatre. In 1781 `The National Actors Theatre` was founded. Boguslawski writes ahout 80 plays, `besides acting and direct- ijng.Ee favors novelty in the Polish Theatre and works hard for a national` theatre. With Romanticism the greatest writer and poetof Poland readies: Adam Mickiewicz (1798-1855) «At the some period, the Polish Theatre gains some other important' plays 'by Julius a Slowacki ( 1809-1849 ),Zygmunt Krasinski (1812- 1859) and Cyptian Kamil Norwid (1821-1883) The Polish theatre realises its greatest development after the world war 2. Un der this development lies the European Culture, Poissian The atre's tradition, Stanislaw Przybyzewski' s ideas of novelty, !3tanislaw Wyspianski' s' experimental understanding, and Oster- vja' s determination about the foundation of a national theatre. ^his development is strengthened with the avant-garde works of a very original playwright, Stanislaw Witkiewicz (1885-1939). -Lately ; a period -begins-f or the Polish Theatre that may be Called as the theatre of the directors. In this period some im portant directors who make mostljr experimental stagings, are noticed. The polish theatre takes an important place in the nodern theatre.Among these J.Sza;jna,J.Grotowski,T.]Iantor especi ally take part in theatre's gaining new dimensions. JOSEF SZAJ1TA A1TD THE STUDIO THEATRE Josef Szajna won fame together with Jerzy Grotowski after ihe world war 2. He is noticed as a vanguard.of the experimen- - 1;al theatre with a lot of works; especially ones that he realized q> t the Studio theatre, Warsaw ofte-r 1971. Szajna came to the theatre from the world of painting. Af- ier the war, he studied at the Academy of Pine Arts in Cracow, receiving diplomas from the Departments of Graphics and ofS, ı 64 Siiage Design. In 1954 lie `became a lecturer at the Academy j ax.d sinle 1972 he has been a professor at the ¥ar saw Aca demy of Pine Arts. He is at the same time a stage designer, i painter, a graphist,a playwright and a director. In order tö understand his art; it is necessary to know certain facts about his life, which took place during the war and the Hazi Occupation of Poland.He was taken! to Buehenwald and then to Auschwitz and then was condemned to death after an unsuccess ful! attempt at escaping.About those days later he Says' these:. `I have `been released from the noose and that is why I know lndrİ3~~than life.`` In his works he has studied the and of civilization, the chaos, the terror, the horror, and e-mazing effects of the war on human `beings.After designing and produing the settings of many plays Szajna directed about 20 plays.His first designs were ms.de in 0j)ole in 1953«As the chief designer of Uowa Huta People's Theatre; he designcel plays by Gozzi, Steinbeck, Camus, Shakespeare, Dtlrrenmatt and Aeschylus. Already that time he clearly inflvenced the artistic form of productions and through the deformity and surrealistic treatment of particular elements created on the stage a reality composed o:' his own logic. In 1962 he makes his most important design `Acropolis `worhing together with Gro t owski. Between 196>-66 he is the manager and the artistic director of Howa-Huta Theater: There he directs Go gol's `The Goverment Inspector` and Cervantes' `Don Quixote`.G5 foweyer Szajna's art, his understanding of theatre.Progresser id gains dimensions with his -works at Warsaw. Anymore, he is not only stage designer and a director, putting his hand on a estjhut he defenses that the theatre must gain a plastic sjoftness.So he produces a new understending and a net? language ojf drama c After the success of `Faust` that he staged in 1971 lie t al der over the management of the Studio Theatre in Warsaw. There he first stages `Witkaey` ` which is another visval production. In 1973. he writes `Gulgutiera` together with Maria Czanerle. Saajna ' s experiences in -the- -concentration J3.amp.s_ mo st_ _ impr ;es- ?__ s}ively conveyed in `Replika` which is a play (almost) without ords.In 1974 `Dante`is staged that he wrote `basing upon `The ivine Comedy`. ¥ith this play he discusses a.h out life and death. Efis play after -that is `Cervantes`.He writes `MayakoYsky` in 1978, lately he makes tov.rs with `Dante` and versions of `Replika`. T