Gra przestrzenią w sztuce Jarosława Iwaszkiewicza "Lato w Nohant" i w jej scenicznych realizacjach

Abstract

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.