Genologiczne eksperymenty w Miłosierdziu i Strasznych dzieciach Karola Huberta Rostworowskiego
Streszczenie
The author analyses Karol Hubert Rostworowski’s Miłosierdzie and Straszne Dzieci
through the prism of genre studies and distinguishes several formal solutions connected with
genres such as mystery play, commedia dell'arte, morality play, nativity scene, circus or tableau vivant. The analysis demonstrates that not only had Rostworowski used the mentioned
genres, but also transformed them to determine the very perception of events taking place
on the scene. This technique of manoeuvring separate genres in Miłosierdzie is based on both
combining and contrasting them, which enabled the playwright to create a tragicomic character of the play. However, in Straszne Dzieci he hyperbolized genres in order to construct an
on-scene grotesque. Turns out, Rostworowski’s creative output is centred around the sublime
and the tragic just as much as the comic and the ironic. Besides, metatheatrical techniques,
which encouraged the audience to think of Rostworowski’s works in an analytical manner,
are yet another important aspect of the two plays associated with the listed genres. Therefore,
the great genre experiment executed by Rostworowski in the 1920s cannot be simplified into
ordinary games with conventions. The playwright has endeavoured to break the usual schemes
of perception among his audience, redefining their judgements on mankind, history, and religion. The author argues that the analysis of the two plays is crucial in Rostworowski’s studies
as well as in the discussion on the development of the entirety of dramatic works during the
interwar period. The technique of combining and transforming conventional genres could be
seen in the outputs of many playwrights throughout the 20s and 30s, nevertheless, it was Rostworowski who became one of the first precursors of said technique in the Polish dramatic field.
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