Bryce Lease
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781784992958
- eISBN:
- 9781526115263
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992958.003.0003
- Subject:
- Literature, Criticism/Theory
Spending time over Jerzy Grzegorzewski’s grapplings with Romantic paradigms and Tadeusz Kantor’s resistance to nationalist essentialism, a subsequent generation of directors is considered such as Jan ...
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Spending time over Jerzy Grzegorzewski’s grapplings with Romantic paradigms and Tadeusz Kantor’s resistance to nationalist essentialism, a subsequent generation of directors is considered such as Jan Klata, Monika Strzepka, Paweł Demirski, Paweł Wodzinski and Michał Zadara, who have adapted Romantic texts in an effort to redraw boundaries of national consciousness and community formation that were seen as absolute and unassailable. Taking into account Anna R. Burzynska’s claim that the ‘potential of community’ might remain a vital reference point in Polish theatre today, it is contended that the crucial understanding of pluralistic democracy requires the inclusion of identities that have been traditionally excluded from the restrictive notion of the Romantic community that is built on complex lines of racial, ethnic, national and sexual division.Less
Spending time over Jerzy Grzegorzewski’s grapplings with Romantic paradigms and Tadeusz Kantor’s resistance to nationalist essentialism, a subsequent generation of directors is considered such as Jan Klata, Monika Strzepka, Paweł Demirski, Paweł Wodzinski and Michał Zadara, who have adapted Romantic texts in an effort to redraw boundaries of national consciousness and community formation that were seen as absolute and unassailable. Taking into account Anna R. Burzynska’s claim that the ‘potential of community’ might remain a vital reference point in Polish theatre today, it is contended that the crucial understanding of pluralistic democracy requires the inclusion of identities that have been traditionally excluded from the restrictive notion of the Romantic community that is built on complex lines of racial, ethnic, national and sexual division.
George G. Grabowicz
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780804793827
- eISBN:
- 9780804794961
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804793827.003.0004
- Subject:
- History, European Early Modern History
Polish, Russian and Ukrainian pre-Romanticism and Romanticism provides a comparative basis for examining the figure of Bohdan Khmelnytsky. Each of these literatures articulates its own perspective. ...
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Polish, Russian and Ukrainian pre-Romanticism and Romanticism provides a comparative basis for examining the figure of Bohdan Khmelnytsky. Each of these literatures articulates its own perspective. This is particularly true in the Ukrainian case, which witnessed a belated, rapid development of a national literature. The topos of national leader was applied to Khmelnytsky, as reflected in Polish dramas by Niemcewicz (1817) and Zaborowski (1823) as well as in Decembrist writings by Glinka, Ryleev and others. The Ukrainian Istoria Rusov (written ca. 1800-1820’s, published 1846) culminates in the Hetmanate’s “official” perspective, which apotheosizes Khmelnytsky. The historicism of the early century is supplanted by an emphasis on the folk, the national (and proto-political) cause, and the structures of mythical thought. Khmelnytsky becomes marginal or absent from depictions of the Cossack past (for example for Gogol’/Hohol’). Shevchenko in large measure rejected his legacy.Less
Polish, Russian and Ukrainian pre-Romanticism and Romanticism provides a comparative basis for examining the figure of Bohdan Khmelnytsky. Each of these literatures articulates its own perspective. This is particularly true in the Ukrainian case, which witnessed a belated, rapid development of a national literature. The topos of national leader was applied to Khmelnytsky, as reflected in Polish dramas by Niemcewicz (1817) and Zaborowski (1823) as well as in Decembrist writings by Glinka, Ryleev and others. The Ukrainian Istoria Rusov (written ca. 1800-1820’s, published 1846) culminates in the Hetmanate’s “official” perspective, which apotheosizes Khmelnytsky. The historicism of the early century is supplanted by an emphasis on the folk, the national (and proto-political) cause, and the structures of mythical thought. Khmelnytsky becomes marginal or absent from depictions of the Cossack past (for example for Gogol’/Hohol’). Shevchenko in large measure rejected his legacy.
Bryce Lease
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781784992958
- eISBN:
- 9781526115263
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784992958.001.0001
- Subject:
- Literature, Criticism/Theory
This monograph takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After ...
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This monograph takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After 1989, Lease argues, the theatre has retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily accessible to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. Lease suggests that a radical democratic pluralism is only tenable through the destabilization of attempts to essentialize Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism, and postcolonial encounters. Lease elaborates a new theory of political theatre as part of the public sphere. The main contention is that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalized identities purposefully left out of the rhetoric of freedom and independence.Less
This monograph takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After 1989, Lease argues, the theatre has retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily accessible to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. Lease suggests that a radical democratic pluralism is only tenable through the destabilization of attempts to essentialize Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism, and postcolonial encounters. Lease elaborates a new theory of political theatre as part of the public sphere. The main contention is that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalized identities purposefully left out of the rhetoric of freedom and independence.
