Title: Meaningless acts: migratory aesthetics in Krzysztof Warlikowski's and Paweł Miśkiewicz's dystopian adaptations of The Tempest
Source document: Theatralia. 2021, vol. 24, iss. Special Issue, pp. 121-138
Extent
121-138
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2021-S-8
Stable URL (handle): https://hdl.handle.net/11222.digilib/143677
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This essay discusses two post-1989 adaptations of Shakespeare's The Tempest in the Polish theatre that use text distortion, fragmentation, and intertextuality as ways of addressing the difficult heritage of World War II. Applying the notion of migratory aesthetics in a theatrical context mobilises the interpretive potential of contemporary theatre as an act of recalling a traumatic past. Generational trauma is addressed and processed through the productions of Krzysztof Warlikowski's Burza (2003) and Paweł Miśkiewicz's more recent Burza Williama Szekpira (2018). These two productions are analysed according to strategies typical of traumatic recall, i.e., dissociation and repression, to reflect on the dystopian elements in The Tempest, aspects already addressed by Jan Kott in his pre-1989 interpretations of the play.
References
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[25] KRALL, Hanna and Krzysztof WARLIKOWSKI. 2009. Rzecz, która nie lubi być zabijana. Rozmowa z Hanną Krall i Krzysztofem Warlikowskim [The Thing that Doesn't Like Being Killed. Interview with Hanna Krall and Krzysztof Warlikowski]. Interviewed by Roman Pawłowski. Gazeta Wyborcza 2009 (18.05.2009) [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/72920/rzecz-ktora-nie-lubi-byc-zabijana.
[26] KUBIKOWSKI, Tomasz. 1991. Wizyta nie w porę [An Ill-timed Visit]. Teatr 2 (1. 02. 1991). [accessed on 23.08.2020]. Available online http://encyklopediateatru.pl/artykuly/263005/wizyta-nie-w-pore.
[27] KYZIOŁ, Aneta. 2018. Taniec z duchami [Dancing with Ghosts]. Polityka 50 (12. 12. 2018): 78.
[28] LANDY, Robert and David T. MONTGOMERY. 2012. Theatre for Change: Education, Social Action and Therapy. Basingstoke: Palgrave, 2012.
[29] LANDY, Robert. 2011. Drama as a Means of Preventing Post-Traumatic Stress Following Trauma within a Community. Journal of Applied Arts & Health 1 (2010): 1: 7–18. | DOI 10.1386/jaah.1.1.7/1
[30] MIŚKIEWICZ, Paweł. 2020. Paweł Miśkiewicz: Taka 'Burza', jaki świat dokoła nas [Paweł Miśkiewicz: Such 'Tempests' As the World Around Us]. Interviewed by Lidia Raś. [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/268679/pawel-miskiewicz-taka-burza-jaki-swiat-dokola-nas.
[31] NIZIOŁEK, Grzegorz. 2013. Polski Teatr Zagłady [The Polish Theatre of the Holocaust]. Warszawa: Instytut Teatralny im. Raszewskiego i Wydawnictwo Krytyki Politycznej, 2013.
[32] NYCZEK, Tadeusz. Ocaleni z 'Burzy' [Saved from The Tempest]. Gazeta Wyborcza 16 (20. 01. 1992). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263007/ocaleni-z-burzy.
[33] PAWŁOWSKI, Roman. 2003. Szekspir Warlikowskiego [Warlikowski's Shakespeare]. Notatnik Teatralny 28–29 (2003): 180–189.
[34] POŻAR, Przemysław. 2020. The Vacant Utopia: Reflecting on the First Polish Post-war Staging of The Tempest. Theatralia 23 (2020): 1: 131–149. | DOI 10.5817/TY2020-1-10
[35] RATAJCZAKOWA, Dobrochna. 2005. In Transition: 1989–2004. Transl. by Paul Allain and Grzegorz Ziółkowski. Contemporary Theatre Review 15 (2005): 1: 17–27.
[36] ROŻEK-SIERACZYŃSKA, Jadwiga. Czego nie widać…. [What You Can't See…] Teatr 11 (28.11.2015). [accessed on 27.08.2020]. Available online at http://www.teatr-pismo.pl/ludzie/1276/czego_nie_widac%E2%80%A6/.
[37] RUDA, Małgorzata. Burza w teatrze [The Tempest in Theatre]. Gazeta Krakowska 255 (2.11.1990). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263024/burza-w-teatrze.
[38] SAKOWSKA, Aleksandra. 2011. No 'Happy Wrecks' – Pessimism and Suffering in Krzysztof Warlikowski's Adaptation of The Tempest by William Shakespeare. Shakespeare Bulletin 29 (2011): 3: 327–338. | DOI 10.1353/shb.2011.0048
[39] SHAKESPEARE, William. 2016. The Tempest. In Stephen Greenblatt et al. (eds.). The Norton Shakespeare. New York and London: WW Norton, 2016: 3205–3266.
[40] SIENKIEWICZ, Marian. Z czarów sztuką zrywam. [My Charms Are All O'erthrown]. Przekrój 2372 (9. 12. 1990). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263014/z-czarow-sztuka-zrywam.
[41] SIERADZKI, Jacek. 2019. Subiektywny spis aktorów teatralnych. Edycja dwudziesta siódma Mariusz Benoit [mistrzostwo] [Subjective List of Theatre Actors. Twenty-Seventh Edition. Mariusz Benoit, exquisite]. [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/279261/subiektywny-spis-aktorow-teatralnych 4 września 2019.
[42] SILVERSTONE, Catherine. 2012. Shakespeare, Trauma and Contemporary Performance. New York and London: Routledge, 2012.
[43] SZPAKOWSKI, Jacek. Zagadka Prospera [Prospero's Secret]. Gazeta Polska Codziennie 282 (4. 12. 2018). [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/268086/zagadka-prospera.
[44] ŚMIECHOWICZ, Olga. 2018. Polish Theatre After the Fall of Communism: Dionysus Since '89. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2018.
[45] VIEIRA, Fátima. 2013. Introduction. In Fátima Vieira (ed.). Dystopia(n) Matters: On the Page, on Screen, on Stage. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2013: 1–7.
[46] WARLIKOWSKI, Krzysztof. 2003. 'Burza we mnie.' Rozmowa z Krzysztofem Warlikowskim, twórcą głośnych inscenizacji teatralnych ['The Tempest Inside Me.' Interview with Krzysztof Warlikowski, the Maker of Famous Theatrical Productions]. Interviewed by Roman Pawłowski. Gazeta wyborcza (6. 03. 2003). [accessed on 27.08.2020]. Available online at https://wyborcza.pl/1,75410,1357475.html.
[47] WARLIKOWSKI, Krzysztof. 2012. Wykluczony, czyli każdy. Z Krzysztofem Warlikowskim rozmawia Katarzyna Fazan [Excluded: Each One of Us. Katarzyna Fazan Speaks with Krzysztof Warlikowski]. Interviewed by Katarzyna Fazan. Didaskalia 107 (2012): 8–14.
[2] BAL, Mieke. 1999. Introduction. In Mieke Bal, Jonathan Crewe and Leo Spitzer (eds.). Acts of Memory: Cultural Recall in the Present. Hanover and London: University Press of New England, 1999: vii–xvii.
[3] BAL, Mieke. 2007. Lost in Space, Lost in the Library. In Sam Durrant and Catherine M. Lord (eds.). Essays in Migratory Aesthetics: Cultural Practices Between Migration and Art-Making. Amsterdam and New York: Rodopi, 2007: 23–36.
[4] BRYŚ, Marta. 2020. Doświadczenie postpamięci w teatrze [Experience of Postmemory in Theatre]. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2020.
[5] BŽOCHOVÁ-WILD, Jana. 2003. Začarovaný ostrov? Shakespearova Búrka inak [The Enchanted Island? Shakespeare's The Tempest Otherwise]. Bratislava: Divadelný ústav, 2003.
[6] CETERA, Anna. 2012. Wstęp [Introduction]. In William Shakespeare. Burza [The Tempest]. Transl. by Piotr Kamiński. Warszawa: W.A.B., 2012: 9–51.
[7] CIEŚLAK, Jacek. 2019. Nie wciśniesz takiego do klatki [You Won't Cage One Such as Him]. [accessed on 27.08.2020]. Available online at http://www.teatr-pismo.pl/po-premierze/2247/nie_wcisniesz_takiego_do_klatki/.
[8] CZAPLIŃSKI, Lesław. 1990. 'Burza' czyli ostatnia pokusa utopii [The Tempest, Or the Last Temptation of Utopia]. Tygodnik Literacki 9 (18. 11. 1990). [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263020/burza-czyli-ostatnia-pokusa-utopii.
[9] DAGERMAN, Stig. 1991. Island of the Doomed. Transl. by Laurie Thompson. Minneapolis: University of Minnesota Press, 1991.
[10] DRÁBEK, Pavel. 2013. Shipwrecks on the Czech Sea: Tempest in Five Fits. Romanian Shakespeare Journal 1 (2013): 1: 25–36.
[11] DROBNIK-ROGERS, Justyna. 2009. Krzysztof Warlikowski: Theatre as a Collective (Auto) Therapy. Theatre Forum 35 (2009): 10–16.
[12] DUGGAN, Patrick. 2018. Trauma-Tragedy: Symptoms of Contemporary Performance. Manchester: Manchester University Press, 2018.
[13] GALLARDO, Pere. 2013. Dystopia is You. In Fátima Vieira (ed.). Dystopia(n) Matters: On the Page, on Screen, on Stage. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2013: 37–39.
[14] JETT, Renate. 2011. 'Teatr sam w sobie nie jest w stanie uzdrowić duszy narodu.' Z Renate Jett rozmawia Aneta Lukas ['Theatre Alone Cannot Heal the Soul of a Nation.' Renate Jett in Conversation with Aneta Lukas]. Interviewed by Aneta Lukas. LiteRacje (February 2011). [accessed on 27.08.2020]. Available online at http://pisane-do-szuflady.blogspot.com/2012/11/teatr-sam-w-sobie-nie-jest-w-stanie.html.
[15] FABISZAK, Jacek and Natalia BRZOZOWSKA. 2011. Magic Storms on Polish Television: The Case of The Tempest. Shakespeare Bulletin 29 (2011): 3: 359–369. | DOI 10.1353/shb.2011.0040
[16] HEARD, Emma Marie et al. 2013. Shakespeare in Prison: Affecting Health and Wellbeing. International Journal of Prisoner Health 9 (2013): 3: 111–123. | DOI 10.1108/IJPH-03-2013-0013
[17] HIRSCH, Marianne. 2012. The Generation of Postmemory: Writing and Visual Culture After the Holocaust. New York: Columbia University Press, 2012.
[18] JONES, Phil. 1996. Drama as Therapy: Theatre as Living. London and New York: Routledge, 1996.
[19] KISTNER, Natalie. 2007. The Sources and Consequences of Public Perceptions of Corruption. In Kazimierz Słomczyński and Sandra Marquart-Pyatt (eds.). Continuity and Change in Social Life: Structural and Psychological Adjustment in Poland. Warsaw: IFiS Publishers, 2007.
[20] KLAIĆ, Dragan. 1991. The Plot of the Future: Utopia and Dystopia in Modern Drama. Ann Arbor: University of Michigan Press, 1991.
[21] KONIECZNA, Elżbieta. 1990. Burza [The Tempest]. Echo Krakowa 222 (15. 11. 1990). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263026/burza.
[22] KOSIŃSKI, Dariusz. 2014. 'Idź i patrz'. Przemoc jako siła teatralna ['Go and Look.' Violence as Theatrical Force]. Ethos. Kwartalnik Instytutu Jana Pawła II KUL 27 (2014): 2: 353–364.
[23] KOTT, Jan. 1991. Burza albo powtórzenie. [The Tempest, or Repetition]. In Tadeusz Nyczek (ed.). Jan Kott. Pisma Wybrane. Tom. II. Teatr Czytany [Jan Kott. Chosen Works. Vol. II. Theatre Read]. Warszawa: Wydawnictwo Krąg, 1991: 159–199.
[24] KOTT, Jan. 1990. Szekspir współczesny [Shakespeare, Our Contemporary]. Kraków: Wydawnictwo Literackie, 1990.
[25] KRALL, Hanna and Krzysztof WARLIKOWSKI. 2009. Rzecz, która nie lubi być zabijana. Rozmowa z Hanną Krall i Krzysztofem Warlikowskim [The Thing that Doesn't Like Being Killed. Interview with Hanna Krall and Krzysztof Warlikowski]. Interviewed by Roman Pawłowski. Gazeta Wyborcza 2009 (18.05.2009) [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/72920/rzecz-ktora-nie-lubi-byc-zabijana.
[26] KUBIKOWSKI, Tomasz. 1991. Wizyta nie w porę [An Ill-timed Visit]. Teatr 2 (1. 02. 1991). [accessed on 23.08.2020]. Available online http://encyklopediateatru.pl/artykuly/263005/wizyta-nie-w-pore.
[27] KYZIOŁ, Aneta. 2018. Taniec z duchami [Dancing with Ghosts]. Polityka 50 (12. 12. 2018): 78.
[28] LANDY, Robert and David T. MONTGOMERY. 2012. Theatre for Change: Education, Social Action and Therapy. Basingstoke: Palgrave, 2012.
[29] LANDY, Robert. 2011. Drama as a Means of Preventing Post-Traumatic Stress Following Trauma within a Community. Journal of Applied Arts & Health 1 (2010): 1: 7–18. | DOI 10.1386/jaah.1.1.7/1
[30] MIŚKIEWICZ, Paweł. 2020. Paweł Miśkiewicz: Taka 'Burza', jaki świat dokoła nas [Paweł Miśkiewicz: Such 'Tempests' As the World Around Us]. Interviewed by Lidia Raś. [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/268679/pawel-miskiewicz-taka-burza-jaki-swiat-dokola-nas.
[31] NIZIOŁEK, Grzegorz. 2013. Polski Teatr Zagłady [The Polish Theatre of the Holocaust]. Warszawa: Instytut Teatralny im. Raszewskiego i Wydawnictwo Krytyki Politycznej, 2013.
[32] NYCZEK, Tadeusz. Ocaleni z 'Burzy' [Saved from The Tempest]. Gazeta Wyborcza 16 (20. 01. 1992). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263007/ocaleni-z-burzy.
[33] PAWŁOWSKI, Roman. 2003. Szekspir Warlikowskiego [Warlikowski's Shakespeare]. Notatnik Teatralny 28–29 (2003): 180–189.
[34] POŻAR, Przemysław. 2020. The Vacant Utopia: Reflecting on the First Polish Post-war Staging of The Tempest. Theatralia 23 (2020): 1: 131–149. | DOI 10.5817/TY2020-1-10
[35] RATAJCZAKOWA, Dobrochna. 2005. In Transition: 1989–2004. Transl. by Paul Allain and Grzegorz Ziółkowski. Contemporary Theatre Review 15 (2005): 1: 17–27.
[36] ROŻEK-SIERACZYŃSKA, Jadwiga. Czego nie widać…. [What You Can't See…] Teatr 11 (28.11.2015). [accessed on 27.08.2020]. Available online at http://www.teatr-pismo.pl/ludzie/1276/czego_nie_widac%E2%80%A6/.
[37] RUDA, Małgorzata. Burza w teatrze [The Tempest in Theatre]. Gazeta Krakowska 255 (2.11.1990). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263024/burza-w-teatrze.
[38] SAKOWSKA, Aleksandra. 2011. No 'Happy Wrecks' – Pessimism and Suffering in Krzysztof Warlikowski's Adaptation of The Tempest by William Shakespeare. Shakespeare Bulletin 29 (2011): 3: 327–338. | DOI 10.1353/shb.2011.0048
[39] SHAKESPEARE, William. 2016. The Tempest. In Stephen Greenblatt et al. (eds.). The Norton Shakespeare. New York and London: WW Norton, 2016: 3205–3266.
[40] SIENKIEWICZ, Marian. Z czarów sztuką zrywam. [My Charms Are All O'erthrown]. Przekrój 2372 (9. 12. 1990). [accessed on 23.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/263014/z-czarow-sztuka-zrywam.
[41] SIERADZKI, Jacek. 2019. Subiektywny spis aktorów teatralnych. Edycja dwudziesta siódma Mariusz Benoit [mistrzostwo] [Subjective List of Theatre Actors. Twenty-Seventh Edition. Mariusz Benoit, exquisite]. [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/279261/subiektywny-spis-aktorow-teatralnych 4 września 2019.
[42] SILVERSTONE, Catherine. 2012. Shakespeare, Trauma and Contemporary Performance. New York and London: Routledge, 2012.
[43] SZPAKOWSKI, Jacek. Zagadka Prospera [Prospero's Secret]. Gazeta Polska Codziennie 282 (4. 12. 2018). [accessed on 27.08.2020]. Available online at http://encyklopediateatru.pl/artykuly/268086/zagadka-prospera.
[44] ŚMIECHOWICZ, Olga. 2018. Polish Theatre After the Fall of Communism: Dionysus Since '89. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2018.
[45] VIEIRA, Fátima. 2013. Introduction. In Fátima Vieira (ed.). Dystopia(n) Matters: On the Page, on Screen, on Stage. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2013: 1–7.
[46] WARLIKOWSKI, Krzysztof. 2003. 'Burza we mnie.' Rozmowa z Krzysztofem Warlikowskim, twórcą głośnych inscenizacji teatralnych ['The Tempest Inside Me.' Interview with Krzysztof Warlikowski, the Maker of Famous Theatrical Productions]. Interviewed by Roman Pawłowski. Gazeta wyborcza (6. 03. 2003). [accessed on 27.08.2020]. Available online at https://wyborcza.pl/1,75410,1357475.html.
[47] WARLIKOWSKI, Krzysztof. 2012. Wykluczony, czyli każdy. Z Krzysztofem Warlikowskim rozmawia Katarzyna Fazan [Excluded: Each One of Us. Katarzyna Fazan Speaks with Krzysztof Warlikowski]. Interviewed by Katarzyna Fazan. Didaskalia 107 (2012): 8–14.