Abstrakt: | The subject of analysis is the construction of space in Lato w Nohant [The summer in
Nohant], a play by Iwaszkiewicz, and several selected scenic realizations of this work by
such directors as Edmund Wierciński (Warszawa 1936), Roman Zawistowski (Kraków1955), Roman Kordziński (Poznań 1969) and Józef Słotwiński and Ignacy Gogolewski
(Warszawa 1989). The work by Iwaszkiewicz, which belongs to biographic dramas, points
to the landscape in its title, which constitutes a spectacular background for its protagonists,
coexists with a "hidden" course of action centred on Chopin's work on sonata, is incredibly
expressive in its dramatic function. A concrete landscape space of Nohant is enriched
with an extra mental landscape grounded on incessant Chopin's music which shaped the
author's poetic and dramatic imagination, as sensitive to music as Iwaszkiewicz. He plays
with spaces designed in a different way, reveals the real face of the creator fascinated with
art in its various forms modified by an every-day life. In view of an eclectic aesthetics used,
combining the conventions from aesthetism to naturalism, impressionism and symbolism,
the work by Iwaszkiewicz can be read as a tribute to an artist by another artist.
A strong connection with aesthetism is revealed by a tendency to combine several different
fields of art in dramas (both in the plan of contents and plan of expression), cumulate
(in the theatre) the musical, verbal, picturesque and actor means presenting and manifesting
the mood. One of many interpretative determinants suggested in the article allows
for deciphering this drama as an "alive" and continuously released in spectacles, though
designed in a peculiar sphere of drama, monument of Chopin. |