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Part of Noty o autorac, contens / Polska Sztuka Ludowa - Konteksty 2007 t.61 z.2
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Noty o autorach
Michaelis Adamis (ur. 1929) - znany grecki kompo
zytor awangardowy o swoistym idiomie opartym na es
tetyce muzyki bizantyjskiej. Autor ponad 200 dzieł
wokalnych, instrumentalnych i elektronicznych. Stu
diował również bizantyjską paleografię muzyczną
i działał aktywnie na tym polu. Do najważniejszych je
go osiągnięć należy odkrycie najstarszego znanego we
Wschodnim Kościele przykładu muzyki polifonicznej,
pochodzącego z okresu późnośredniowiecznego. Do
konał również transkrypcji i rekonstrukcji Oficjum
Trzech Młodzianków. Prezes Greckiego Towarzystwa
Muzyki Współczesnej.
Krzysztof Maria Byrski (ur. 1937) - ukończył wyższe
studia indologiczne na Uniwersytecie Warszawskim
w 1960 roku. W 1961 r. wyjechał do Indii. Po powrocie
do kraju podjął pracę w Uniwersytecie Warszawskim,
gdzie prowadził i nadal prowadzi badania i dydaktykę
w dziedzinie kultury indyjskiej oraz języka i literatury
sanskryckiej oraz języka hindi. Po odzyskaniu suweren
ności przez Polskę, wyjechał w 1990 roku do Indii jako
radca Ambasady Polskiej w tym kraju. W 1993 roku zo
stał powołany na stanowisko ambasadora. W 1996 zo
stał dyrektorem Instytutu Orientalistycznego. Obecnie
jest profesorem w Zakładzie Azji Południowej Instytutu
Orientalistycznego na Uniwersytecie Warszawskim. Jest
członkiem Towarzystwa Naukowego Warszawskiego,
Towarzystwa Krzewienia i Popierania Nauk, Polskiego
Towarzystwa Orientalistycznego, International Asso
ciation of Sanskrit Studies, Société Asiatique oraz Par
liament of Cultures z siedzibą w Ankarze. Jest także
członkiem Komitetu Etyki PAN oraz Komitetu Nauk
0 Kulturze PAN i członkiem zarządu Fundacji Artes Li
berales oraz współpracuje z Collegium Civitas. Jest au
torem ponad stu różnych publikacji (w tym trzech ksią
żek) w języku polskim, angielskim i hindi. Specjalizuje
się w dziedzinie kulturoznawstwa indyjskiego ze specjal
nym uwzględnieniem klasycznego teatru, estetyki oraz
etyki.
Svetlana Butskaya - doktor muzykologii, absolwent
ka konserwatorium moskiewskiego. Obecnie mieszka
w Mińsku (Białoruś). W kręgu jej naukowo-praktycz
nych zainteresowań znajdują się szukanie i odtwarza
nie materiałów z muzycznych manuskryptów XVII
wieku, szczególnie z okresu przełomu w rosyjskiej tra
dycji cerkiewnej i polskiej XVII wieku. Materiały z od
nalezionych rękopisów w archiwach Moskwy i Peters
burga otrzymują nowe życie w koncertowych
programach w wykonaniu takich zespołów jak „Drewnierusskij raspiew” Anatolija Grindenko, „Sirin” Andreja Kotowa czy Schola Teatru Węgajty.
Współpracuje z Teatrem i Scholą Teatru Węgajty od
lat już prawie 20, bierze udział w pracy artystycznej
1 warsztatowej, współtworząc nowe programy i odkry
wając nowe światy.
Toni Casalonga - malarz, rzeźbiarz, scenograf
i działacz kultury. Urodzony w 1938 roku w Ajaccio
na Korsyce, obecnie mieszka i pracuje w Pigna. Stu
diował sztuki piękne w Paryżu i Rzymie. Brał udział
w wielu wystawach na całym świecie. Jako scenograf
pierwsze prace realizował w 1980 roku dla opery P.
A. Zianiego L Assalone Punito prowadzonej przez
Rene Clemencicia, współpracował z Fondation Gulbenkian w Lizbonie, Teatro de la Zarzuela w Madry
cie, Brucknerhauss w Linzu, Alte Oper we Frankfur
cie, Théâtre des Champs Elysées w Paryżu i innymi
teatrami realizując projekty scenograficzne. Od
1987 pracuje nad scenografiami do barokowych ora
toriów, m.in. dla weneckiego teatru la Fenice, Festi
val de Musiques Sacrées de Lourdes, Oude Musiek
Festival d’Utrecht, Festival de la Chaise Dieu. Od
1990 współpracuje z Marcelem Peresem i Ensemble
Organum, opracowując scenografię, kostiumy
i światło do średniowiecznych dramatów liturgicz
nych Jeu des Pèlerins d’Emmaus i Laudario di Corto
na . Jako scenograf współpracuje również z Ensemble
Gilles Binchois (Jeu d’Hérode, Jeu des Trois Maries)
i Discantus (Quem Quaeritis). Prowadzi działalność
pedagogiczną. Wykłada m.in. scenografię na Uni
versité di Corsica i jest dyrektorem artystycznym
Auditorium di Pigna.
Katarzyna Jackowska - studiowała w Toruniu histo
rię sztuki (wybiórczo) oraz w Krakowie w Katedrze Et
nologii i Antropologii Kultury UJ, gdzie obroniła pra
cę magisterską w 2004 roku. Od 2000 roku
współpracuje ze Scholą Teatru Węgajty jako śpie
waczka, aktorka, pracownik biura organizacyjnego
etc. Nie publikuje, nie wykłada; bywa, że prowadzi
warsztaty.
Maciej Kaziński - muzyk. Od momentu powstania
(1994) bierze udział artystyczny i organizacyjny w pra
cach Scholi Teatru Węgajty, pracując nad rekon
strukcją średniowiecznych łacińskich dramatów litur
gicznych. Odbył szereg podróży kulturoznawczych
i muzykologicznych w Europie, Azji, Afryce Pn.
189
NOTY O AUTORACH
i Ameryce Pd. Tłumacz książek o tematyce muzyczno-historycznej (ostatnio opublikował Historię Muzyki
i Hymnografii Bizantyjskiej E. Wellesza, wyd. Homini).
Dyrektor artystyczny festiwalu „Pieśń Naszych Korze
ni” w Jarosławiu.
Błażej Matusiak OP - dominikanin, duszpasterz aka
demicki, filolog klasyczny. Autor książki pt. Hildegarda
z Bingen. Teologia muzyki, redaktor działu średniowiecz
nego pisma „Canor”, poświęconego muzyce dawnej.
Magdalena Mijalska (1975-2002) - absolwentka te
Rafał Lewandowski - historyk sztuki A T K w War
szawie. Studiował aspekty duchowości i sztuki Kościo
ła Prawosławnego w Szkole Teologicznej Uniwersyte
tu im. Arystotelesa w Salonikach. Od wielu lat
zajmuje się badaniami nad kulturą Bizancjum. Dokto
rant w Instytucie Sztuki PAN. Autor licznych prze
kładów z języka greckiego. Uczestnik spotkań i sesji
IMoDaL Scholi Teatru Węgajty.
Julian Lewański (1915-2003) - profesor, historyk li
teratury i teatru. Najwybitniejszy badacz dramatu i te
atru staropolskiego. Był autorem fundamentalnych
prac z zakresu teatru religijnego średniowiecza, rene
sansu i baroku, wydawcą Antologii dramatu staropol
skiego, badaczem związków kulturalnych polsko-wło
skich i polsko-francuskich. Był inicjatorem i głównym
redaktorem monumentalnego wydania Polskiego dra
matu religijnego. Z 16 zaplanowanych tomów Towarzy
stwo Naukowe Katolickiego Uniwersytetu Lubelskie
go wydało trzy.
Wraz z Kazimierzem Dejmkiem był inicjatorem zna
komitych inscenizacji tekstów staropolskich w pol
skim teatrze m. in. Historyja o chwalebnym Zmartwych
wstaniu Pańskim. W zakresie prac dokumentacyjnych
szczególną zasługą prof. Lewańskiego było przeprowa
dzenie inwentaryzacji, a następnie zapisanie na mikro
filmach, rękopiśmiennych zabytków dawnego drama
tu i teatru, ocalałych ze zniszczeń wojennych.
Anna Łopatowska - absolwentka Liceum muzyczne
go im. H. Wieniawskiego w Łodzi i PW ST im. Zelwe
rowicza w Warszawie. Od 1973 do 1993 r. pracowała
jako aktorka w teatrach w Warszawie. Była stypen
dystką ICCR w Indiach, studiując najstarszą teatral
ną tradycję na świecie - kudijattam - w Keralakalamandalam Academy of Arts w Stanie Kerala na
Południu Indii. Jest pierwszą cudzoziemką dopuszczo
ną do nauki tej sztuki. Była uczennicą Mani Madhawy Ćakjara, Siwena Nambudiri i Giridźi Devi. Ponad
to uczyła się klasycznego tańca świątynnego
bharatanatjam prywatnie u Gitadźiaji Kolanad. Od
1996 r. prowadzi zespól tańca bharatanatjam „Nataraja”. Jako aktorka grywa w serialach telewizyjnych i fil
mach. Współpracuje ze Scholą Teatru Wiejskiego
Węgajty od 1998 r.
Publikacje na temat sztuki kudijattam: „Dialog” nr 10,
11, 12 1985 r. - Kudijattam, albo inspiracje jungowskie,
nr 2 1993 r. Tradycyjny teatr indyjski, kwartalnik „Prze
gląd Orientalistyczny” 2001, nr 3-4 (198 - 199) Moje
spotkanie ze sztuką kudijattam.
atrologii UJ. (Swoją pracę magisterską poświęciła dzia
łalności Scholi Teatru Węgajty). Publikowała w „Di
daskaliach”, tłumaczyła literaturę teologiczną. Zginęła
tragicznie w wypadku samochodowym w roku 2002.
Johann Wolfgang Niklaus - wiceprezes Stowarzysze
nia Teatr Węgajty, dyrektor artystyczny Scholi Teatru
Węgajty (od 1994), autor projektu IMoDaL - Mię
dzynarodowe Spotkania Dramat i Liturgia.
Studiował teatrologię, etnologię i romanistykę na
Uniwersytecie Wiedeńskim (1978-83). Ukończył cykl
kursów aktorskich w Dramatisches Zentrum w Wied
niu (1978-81). Staże w Teatrze Laboratorium Jerzego
Grotowskiego (1979-80). Prowadził studencką grupę
teatralną w Dramatisches Zentrum w Wiedniu (1980
82). Asystent reżysera w Centrum Poszukiwań T e
atralnych w Pontederze (1980). Aktor i muzyk w te
atrze Gardzienice (1981-85). Jeden z założycieli
Teatru Wiejskiego Węgajty w 1986 i Stowarzyszenia
Teatr Wiejski Węgajty w 1990, aktor i muzyk w spek
taklach Teatru Węgajty: Historie Vincenza, Gospoda
ku wiecznemu pokojowi, Opowieści kanterberyjskie; reży
ser i solista dramatów liturgicznych Scholi Teatru
Węgajty: Ordo Stellae, Ludus Passionis, Planctus M a
riae, Ludus Paschalis, Ordo Annuntiatione, Ludus Danielis i Miracula Sancti Nicolai.
Monika Paśnik-Petryczenko - absolwentka teatrolo
gii na Uniwersytecie Jagiellońskim. 1992-93 staż
w Teatrze Gardzienice. Od 1993 r. w Teatrze Węgaj
ty, w Scholi - od jej powstania w 1994 r. W latach
1996 -2003 prowadziła dziecięcy zespół Mała Schola.
Jacek Jan Pawlik, SVD - doktor etnologii, afrykanista, adiunkt na Wydziale Teologii UWM w Olsztynie.
Ostatnio opublikował książkę Zaradzić nieszczęściu.
Rytuały kryzysowe ludu Basari z Togo, Studio SQL,
Olsztyn 2006. Zainteresowania badawcze: studia nad
rytuałem, sztuka afrykańska, hybrydyzacja kulturowa.
Marcel Pérès - śpiewak, muzykolog, organista, kom
pozytor, pedagog. Jeden z pierwszych specjalistów
w dziedzinie muzyki średniowiecznej, którzy przepro
wadzili historyczną refleksję nad formą, kontekstem li
turgicznym i zagadnieniami wykonawczymi łacińskie
go chorału liturgicznego. W roku 1982 założył i do
dziś prowadzi zespół „Organum”, z którym dokonał
szeregu odkrywczych nagrań. Projekty badawcze i na
graniowe obejmują m.in. chorał starorzymski, mozarabski, benewentyński, akwitański, tradycje zgroma
190
SUMMARIES
dzeń zakonnych (cystersów i dominikanów), wczesną
polifonię, działalność szkoły Notre Dame, aż po muzy
kę kościelną XVII w. i repertuar korsykańskich kon
fraterni. W swojej pracy artystycznej wykorzystuje na
rzędzia etnomuzykologiczne, czerpiąc z doświadczeń
kultur tradycyjnych, jak grecka czy arabska. W latach
1984-2000 Marcel Pérès był dyrektorem Studia Badań
nad Interpretacją Muzyki Średniowiecza, przekształ
conego w 1994 roku w Europejskie Centrum Badań
nad Muzyką Średniowieczną z siedzibą w Royaumont,
zaś od roku 2001 jest szefem CIRMA (Centre Itinérant
de Recherche sur les Musiques Anciennes) w Moissac.
Renata Rogozińska - etnolog, historyk sztuki, profe
sor Akademii Sztuk Pięknych w Poznaniu. Autorka
wielu tekstów poświęconych problematyce współcze
snej sztuki religijnej i sakralnej oraz książki W stronę
Golgoty. Inspiracje pasyjne w sztuce polskiej w latach
1970-1999 [2002]. Mieszka w Poznaniu.
Michał Siciarek - doktorant muzykologii na Uniwer
sytecie Kardynała Stefana Wyszyńskiego w Warsza
wie, zajmuje się tradycjami liturgiczno-muzycznymi
późnego średniowiecza w Polsce, prowadzi w Warsza
wie zespół Schola Sanctae Crucis wykonujący chorał
gregoriański i monodię liturgiczną.
Robert Skunca OFM - ur. 1937 w Chorwacji, fran
ciszkanin, studiował w Paryżu i Zagrzebiu, doktor teo
logii (specjalizuje się w liturgii pastoralnej); autor licz
nych artykułów i książek (Osobitost stovanja Isusove
muke na otoku Hvaru, Sakralni prostor tijekom povijesti
i danas (u suradnji), Bogosluzni prostor —crkva, u svjetlu
teologije, arhitekture i umjetnosti, Za Kristovim stolom,
Bogosluzje u zupnoj zajednici, Duh i obred). Profesor
teologii i sztuki sakralnej na Wydziale Teologii Uni
wersytetu w Splicie, wykładał także na katolickich
uczelniach w Zagrzebiu i Zadarze. Piastował różne
ważne funkcje formacyjne i urzędnicze w chorwackim
Kościele Rzymskokatolickim. Członek stowarzyszenia
„Bracia chorwackiego smoka“. Obecnie mieszka
w klasztorze na wyspie Krk.
Aleksis Solomos - reżyser i teoretyk teatru. Opraco
wał własną, zasadniczo modernistyczną, entuzjastycz
nie przyjętą przez widownię, lecz mocno atakowaną
przez krytyków wersję ecclessiazousai. Jest autorem na
stępujących książek o teatrze: Święty Bachus (1964),
Wiek teatru (1973), Teatr kreteński (1980), czy poświę
conej teatrowi greckiemu pozycji The living Aristopha
nes (1961). Wykorzystuje elementy różnych widowisk:
publicznych festynów i świąt religijnych, karnawału,
cyrku, rewii, teatru cieni, kina etc.
Zbigniew Władysław Solski - adiunkt w Katedrze
Teatru, Filmu i Nowych Mediów Instytutu Filologii
Polskiej Uniwersytetu Opolskiego. Zainteresowania:
współczesny dramat, performatyka, pogranicza teatru
i liturgii. Autor Ikon krawędzi w dramatach Samuela
Becketta, Karola Wojtyły i Martina Bubera (Opole
2002). Redaktor Twórczości Karola Wojtyły (Wrocław
1998) i współredaktor (z M. bisem) Ikon Niewidzialne
go (Opole 2003) oraz (z H. Sobeczką) Liturgii w świecie
widowisk (Opole 2005). Reżyser i scenograf - zrealizo
wał m. in. Historyję o chwalebnym Zmartwychwstaniu
Pańskim w Teatrze balek w Wałbrzychu (1984) i Pro
mieniowanie ojcostwa Karola Wojtyły w Teatrze Współ
czesnym we Wrocławiu (1997). Założył we Wrocławiu
Teatr Chleba, który służył integracji osób niepełno
sprawnych (1984-1990). Dramaturg - autor m. in.
sztuk: współczesnej Kolejka trwa (1979) i o powstaniu
warszawskim - Kuferek (1981). Wyróżnienie za sztukę
Site gradum w konkursie Episkopatu Polski (1984)
i druga nagroda za sztukę dla dzieci Krajobraz z Tobia
szem w konkursie na sztukę religijną (1988); stypen
dium Ministra Kultury i Sztuki na napisanie współcze
snej sztuki Blok (1988).
Iosif Vivilakis - profesor na wydziale studiów o te
atrze na Uniwersytecie Ateńskim. Wykłada historię
średniowiecznego teatru europejskiego oraz teatru bi
zantyjskiego. Ukończył teologię (1984) i studia te
atralne (1994) na Uniwersytecie Ateńskim. Doktorat
(pod tytułem Theatrical terminology among the church
fathers. A contribution to the study of the connection be
tween the church and the theatre) obronił pod kierun
kiem profesora Waltera Puchnera. Autor wielu arty
kułów nt. teatru bizantyjskiego (m. in. Theatrical
representation in Byzantium and the West, Ateny 2003)
i współczesnego teatru greckiego.
191
SUMMARIES
Błażej Matusiak OP A Commentary to The Testimo
Summaries
Johann Wolfgang Niklaus The Anthropology of the
Theatre and the Reconstruction of Mediaeval Liturgical
Drama
The author describes the manner in which the activi
ty of the Schola of the Wggajty Theatre, focused on
the reconstruction and presentation of mediaeval li
turgical drama, refers to the anthropology of the the
atre.
The text is an introduction to a series of studies publi
shed in this issue, dealing with the quest conducted by
the artists of the Schola in cooperation with humani
sts, as well as the purely artistic, historical-scientific,
theological, anthropological and cultural-studies rese
arch carried out for the more than the past ten years.
Upon the basis of the example of an expedition to
Castelsardo in Sardinia, a description of Holy Week
processions, the so-called sacre rappresentazioni - de
pictions of the saints, and a meeting with the Frater
nity of the Holy Cross, the author demonstrated the
essential rank of the anthropological approach, aga
inst the backdrop of historical studies, together with
the creative tasks of the company, i. e. a reconstruc
tion of Ludus Passionis, the oldest Passion play in La
tin Europe. This monumental liturgical drama is con
tained within a thirteenth-century manuscript
known as Carmina Burana , from the Benedictine mo
nastery in Kaufbeuern and kept in the National Li
brary in Munich.
What could be the outcome of the described expe
riences, apart from the purely cognitive results, obvio
us for the activity of the company? Meetings with
such persons as members of the fraternity from Castelsardo and other representatives of then world of li
ving tradition open up a door to the world of the Ho
ly Game (Sacer Ludus) envisaged by Gerardus van der
Leeuw, which in its pure and earnest form is what our
contemporary life lacks.
It is the author’s sincere hope that the proposed selec
tion of texts and material will describe the fashion in
which a theatrical company may build, enhance and
realise its tasks by basing itself on instruments moul
ded by the anthropology of the theatre.
ny of Egeria
A brief theological reflection serves as an introduc
tion to an ancient description of Paschal liturgy in Je
rusalem.
There are two extant traces of the Jerusalem Holy
Week liturgy: the catechesis of Bishop Cyril and the
testimony of Egeria who went on a pilgrimage from
Gaul to the Holy Land. The Holy Week in Jerusalem
was devoted to tracing the sites of the Passion. ’’The
road” is a key concept in Christianity. The earthly li
fe of Christ is composed of His exodus and a return
from this world to His father. The life of Christians is
an emulation of Christ and a path leading to the Ho
me of the Father, while a pilgrimage and a procession
are copies of that road, The very essence of Easter is
such a recollection of the path traversed by Jesus,
which offers participation in all that which is remem
bered, The Passover of Christ is not a part of the past
but an eternal event, and the role of liturgy, including
liturgical drama, is to guide towards eternity. This is
probably the reason why the Egeria text continuously
mentions infinite matters: luminescence, the glimmer
of candles, and the voices of singers. If according to
Nikolaus Harnoncourt it is worth performing only
that sort of music, which proves alive today, then a re
turn to the liturgical drama of yore even more so can
not denote a departure into the past.
Liturgical Drama Today. Doubts, Hopes, Visions.
A Register of a Discussion Held in a Catholic In
telligentsia Club
The titular discussion was attended by theatre experts,
theologians, clergymen, musicologists and anthropolo
gists. Theoreticians and practicians. The friends and
lovers of Schola of the Węgajty Theatre. The multi
-motif debate concerned assorted aspects of the Schola’s activity. Much was said about the importance of
the quest conducted by the Schola, aimed at a reani
mation of liturgical drama in Poland and its introduc
tion into a living theatrical-religious circuit. The parti
cipants of the discussion showed the distinctness of
the undertakings pursued by Wolfgang Niklaus and
his company against the backdrop of the theatrical
avant-garde associated with Kantor and Grotowski.
The topic of the debates included the difficult and hi
ghly ambivalent revalorisation of tradition, indicating
the accompanying threats (a tendency towards tur
ning the theatre into a museum), but also the positive
side of such ventures (a living, currently created and
constructed tradition). The speakers demonstrated
the obstacles which hamper the staging of liturgical
drama, connected with an incessant balancing betwe
en the sacral and the secular. The great merit of the
discussion was its extremely personal nature. It must
be stressed that in many cases erudite theoretical-hi
storical statements or those concerning musical per
192
SUMMARIES
formances, were accompanied by totally private con
fessions made by musicians collaborating with the
Schola or the participants of the dramas presented by
this theatrical company. Their views not only stimula
ted the discussion, but also proved irrefutably that de
spite certain differences in the assessment of the Wggajty Theatre, its members perceive the encounter
with liturgical drama as an essential experience.
Julian Lewanski The Artistic Aspects of Dramatised Li
turgy
The lecture considers the poetic of the mediaeval li
turgical drama. By resorting to the liturgical recom
mendations contained in Polish Church texts from
the fifteenth and sixteenth century, the author recon
structed in detail the course of the dramatised rituals
of the Holy Week (Palm Sunday, Elevatio Crucis, Descensio ad infernos, Visitatio Sepulchri), and analysed
the measures of theatrical expression applied therein
(i. a. a concentration of contents, simultaneity, the ef
fect of strong contrasts and vivid oppositions, the
"blurred” personality of some of the dramatis perso
nae). The rituals in question were an act of piety and,
at the same time, a spectacular drama featured on
a stage without footlights since the whole town could
become a theatre. The author claims that if we wish
to understand properly the artistic merits of liturgical
drama, we must become familiar with entirely new
aesthetic rules.
Magdalena Mijalska An Introduction to Ludus Danielis. A Guide to Several Ranges of the Liturgical Theatre
The author began her presentation of the structure of
the liturgical drama entitled Ludus Danielis - a sui ge
neris "spectator’s guide” - by examining the text of
the manuscript from Beauvais. She went on to consi
der the dynamic of the reality created in the church
interior by the theatrical word and gesture. In doing
so, she indicated such features as the vanishing con
trast between the actors and the spectators, the redu
ced significance of the plot and the characters, the in
creased rank of the structure as well as the
deceleration of the rate of events. In this sort of the
atre, the centre of gravity is transferred from the plot
to ”contemplative activity”, the celebration of the
"happening”, and the dynamic of relations between
man and God. The author also studied from a meta
-theatrical vantage point the question of the part and
the actor, taking this opportunity to cite the theatri
cal reflections of Juliusz Osterwa (his plans of trans
forming the Reduta Theatre into a Brotherhood of St.
Genesius).
Marcel Pérès From Moravia to Toledo
Marcel Pérès, one of the greatest singers, musicologi
sts and researcher on the field of traditions of sacred
chant presents the tradition of mozarabic chant of the
brotherhood Andavias in Spain. To show the comple
xity of this topic, he draws the wide context of his me
eting with Andavias tradition: the way that led him
and his friend of Festival in Jarosław, during over ten
years of tracing and studying different kinds of chant
traditions. He shows links between the practical use
and contemporary existence of the treatise of Hiero
nymus de Moravia, Greek Byzantynian chant, Corsi
can tradition of polyphony and the history of appe
arance and development of the mozarabic chant in
Spain. He is pointing differences and similarities be
tween the living tradition and showing their actual
condition, meaning and importance for the revival of
the West Christian sacred chant.
The article is based on Mercel Pérès’ speech from the
International Festival of Early Music “The Song of
Our Roots” in Jarosław in 2006.
Michał Siciarek On the Performance of Bernardine
Pious Songs at the Turn of the Fifteenth Century
Introductory data are to recollect the history of the
appearance of the Bernardines in Polish lands - the
foundations of the particular monasteries, and the ori
gin of the Bernardine tertiary nuns and secular frater
nities. The author went on to examine briefly the
Franciscan or Bonaventuran model of Passion devo
tion, especially the forms, motifs and prayer schemes
particularly popular during the Late Middle Ages
among the Franciscans. General comments on piety
are followed by a Polish-language Franciscan reperto
ire: catechism songs, chaplets, the hours and para
-theatrical forms - Nativity and Easter Passion plays.
This repertoire possessed its own performance milieu
- the subsequent fragment outlines views concerning
the performance of songs by the Bernardine monks
and nuns or secular brotherhoods. Next the author
discussed four monuments preserved in Bernardine
sources - two songs by Władysław of Gielniów: Jezusa
Judasz przedał and the chaplet Kto chce Pannie Maryi
służyć, followed by examples preserved in a manu
script of Psalterium Beatissimae ac Gloriosissimae Virginis Mariae from Lwów and, finally, Coronula sive Ko
ronka, written by Brother Seweryn from Goblin. The
text ends by briefly mentioning the impact exerted by
the Council of Trent and the post-Council Catholic
reform upon the development of Franciscan folk pie
ty, achieved by, i. e. regulating the contents of prayer
books and the status of the tertiary nuns and piety fra
ternities.
Iosif Vivilakis An Introduction to Byzantine Drama
This lecture starts with a reference to the Byzantine
dramatic tradition. The Byzantium, and in particular
the church, did not encourage the growth of religious
theatre and this is mainly due to theological reasons.
193
SUMMARIES
During the 15th century, a few years before the end of
the Byzantine Empire, the religious theatre of the ca
tholics was characterized as “sect” and “innovation”.
They are terms which ostensibly show a theatrophobia, but which are comprehended in the context of
the liturgical art of the church and by the study of
another view of the world where the catalytic presen
ce of the holy dominates. It is distinctive that only
one Byzantine manuscript that emanates from Cyprus
gives elements for a theatrical performance of the Pas
sion of the Christ. Nevertheless, some of the resear
chers tried to apply the conclusions for the religious
theatre of the catholic west in the Byzantine culture,
attributing to phenomena irrelevant to the stage, the
terms “theatre” and “drama”. This study examines the
role of theatre in the Byzantium (through the compa
rison of theatrical experience between west and east)
and it negotiates texts and practices that can be con
sidered as belonging to the religious drama, with the
literal importance of term: a text with instructions,
which is intended to be presented on a stage in front
of a crowd.
Svetlana Butskaya The Tradition of the Old Believers
An account of the most important aspects of on-the
-spot work conducted in the village of Kunicha. The
objective of the research was a complex study of the
traditional culture of the Old Rite community living
in Moldova. The seventeenth-century schism in the
Russian Orthodox Church, which was the outcome of
the reforms introduced by Tsar Alexey I and Patriarch
Nikon remains one of the most dramatic pages in
Russian history. The raskoniki (raskol- schism), perse
cuted by the state and the official Church, tried to
preserve not only their faith but also their very lives.
Entire settlements, villages and families took Church
books, manuscripts and icons along with them while
seeking refuge in dense forests along the borders of
Russia and even abroad. Many found safety in the
lands of pre-partition Commonwealth. Today, Old
Believer settlements may be encountered all over the
world - in Baltic countries, Romania, Moldova, Tur
key, the U SA and Canada.
The earliest Old Believer settlements in Moldavia
(today: Moldova) were founded in the first half of the
eighteenth century. Up to this day, Old Believer Rus
sian villages coexist with those of an entirely different
cultural tradition and tongue. Assimilation, however,
never took place: the Old Believers vigilantly protect
the spiritual message of their ancestors. The Molda
vian environment treats the Russians with respect,
and accepts the complexity of their nature - enclosu
re within their tradition and an unwillingness to esta
blish closer contacts; both attitudes are associated
with a specific historical plight. During the early
1970s the prosperous and large village of Kunicha was
inhabited by more than 4 000 Old Believers. Altho
ugh the young people tend to leave for the cities, ge
nerally speaking the bond with the land of the fathers
remains undisturbed, as evidenced by the gatherings
of whole families for assorted important holidays,
especially Christmas and Easter. The necessity to
adapt to a constantly changing social situation is one
of the many aspects of the daily life of the village.
Openness to transformations is a feature only of eco
nomic activity. A t the same time, the life of the villa
gers is still marked by Church festivities and rituals,
and the community functions predominantly in a sa
cral time, closely subjected to the daily and yearly li
turgical cycle of Church services.
Throughout the whole liturgical year Kunicha reso
unds with a one-voice znamienniy chant, recorded in
a special neumatic notation, similar to the medieval
tradition of Western Europe. The Old Believers did
not accept the record introduced by Patriarch Nikon with square notes and polyphony - and continue sin
ging according to the old books. Today, the inhabi
tants of Kunicha are not forced to flee their foes. The
Eastern rite, Ukrainian part of the village respects ne
ighbours who cultivate different customs. Young pe
ople from the two parts of the village attend the same
school, and from early childhood are taught deference
and good will towards both creeds. Peaceful Kunicha
carefully distinguishes between the two worlds - it do
es not impose its lifestyle upon the outsiders but it al
so does not allow itself to succumb to external impact.
Rafał Lewandowski The Epiphanies of Bacchus
Bacchus-Dionysus, seen by A. Solomos in the mosaic
of the church in Dafni, is depicted as an allegorical
guide to the “hidden theatre”. The essay by R. Lewan
dowski presents the scientific and poetic work by the
author of Saint Bacchus on unknown epochs in the
Greek theatre from 300 BC to 1600 AD. In contrast
to the West, which separates antiquity from the mo
dern era, the East cultivates the continuum and deve
lopment of the theatre. The Greek-Christian drama
acts as a bridge linking the two epochs.
Alexis Solomos This Scene Takes Place in Heaven
A summary of a chapter from A. Solomos’ book Saint
Bacchus, outlining the origin and history of Christian
drama as the outcome of the psalm-the Christian di
thyramb. Next we have the Song of Songs conceived as
the prototype of the opera and psalms intended for
choral performance; the introduction of songs into
the liturgy by the heretics and the adaptation of Chri
stian psalms to the principles of ancient Greek music;
the protest expressed by Christians against psalms,
perceived as earthly pleasure as well as their ultimate
acceptance by the orthodox Christians and the esta
blishment of the custom of singing poetic songs at the
194
SUMMARIES
time of the Fathers of the Church. From the fifth cen
tury on, Syrian communities witnessed the flourishing
of the art of the hymnographers, the most distingu
ished being Roman Melodos. Hymns and kontakions
assumed a dramatic character although not openly
(since the theatre was much criticised). Such drama
tic features as the absence of the narration and "the
atrical” dialogue, a person in place of an animal cha
racter (the serpent with Adam and Eve), and scenes
described by the hymnographers reflect Church cu
stoms; in the introduction of the forces of darkness
(the Devil, Hades, Thanatos) words do not possess
the merits of salvation. The hymns display a formal si
milarity to the secular theatre. The author proposed
a hypothesis about the theatrical staging of hymns; in
his opinion, The Descent to Hell, enacted up to this
day in Greece, is a relic of this practice.
Michaelis Adamis The Officium of the Three Godly
Youths in a Fiery Furnace
M. Adamis portrayed the Officium of the Furnace, i. e.
a liturgical depiction of the story of the Three Youths
in a Fiery Furnace, once staged in the main churches
of Constantinople and Thessaloniki as well as other
metropolitan churches in Byzantium. The author cha
racterised the context of the performance, namely, the
sung version of the Divine Service. He also cited infor
mation contained in manuscripts and described the ar
rangement of parts of the officium and its dramatic co
urse. M. Adamis then wrote about the place held by
the officium in question in the liturgical calendar, the
means of its execution, the type of songs (alternate)
and motion (dance) and probable props (furnace,
icon). The article mentions the doubts harboured by
members of the Church hierarchy about this particu
lar form of the cult as well as the justifications of its de
fence. Finally, the author outlined the course of his
own work on the reconstruction of this form, which
had not survived in live tradition. The reader is offe
red additional information about the tradition of per
forming the Officium of the Furnace in Rus’.
ted by Prof. Wiesław Juszczak, as well as an account
about similar objects in antiquity, The Apocryphal N a
ture of the Painting is an attempt at a new look at the
icon, with the ultimate analysis avoiding solutions ba
sed on the heretic character of the likeness.
Gerardus van der Leeuw The Holy in Art . Remini
scences
The presented fragments come from the second chapter
of Sacred and Profane Beauty. The Holy in Art, a book by
the acclaimed Dutch phenomenologist. The whole text
has been already published in "Konteksty” more than
ten years ago but owing to the importance of van der
Leuuw’s reflections for the activity of the Schola of the
Węgajty Theatre we have decided to reprint it again,
this time in an abbreviated version. In the cited frag
ments the author followed closely the differences, simi
larities, and tension between art and religion. In doing
so, he portrayed the sacral hinterland of drama and the
European theatre. His highly erudite remarks indicate
a number of essential religious and symbolic contexts for
understanding the role and function of liturgical drama.
Marcel Pérès Anthropological Meanings of the Space of
Liturgy. A Conversation Held by Rev. Claude Barthe
with Marcel Pérès
The topics of this conversation encompass liturgical
music, both present-day and past, whose recreation
and performance are the domain of Marcel Pérès;
other motifs include the musical culture ”amnesia” of
the contemporary Catholic Church, failed attempts at
reform (the reforms proposed by Pius X and the Solesmes movement, Vaticanum II), the quest for tradi
tional sacral space and the liturgical revival.
Jacek Pawlik Quests
The search conducted by the Schola of the Węgajty
Theatre has two objectives; it involves, on the one
hand, the reconstruction of mediaeval manuscripts
and, on the other hand, the staging of religious dra
mas. The author drew parallels between the research
carried out by the Schola and the work performed by
P. Nawrot, relating to the reconstruction of Baroque
manuscripts from Bolivia; subsequently, he went on
to compare African ritual drama and the Indian ramlila with the spectacles featured by the Schola.
Rafał Lewandowski The Apocryphal Nature of the Pa
inting: Icons of St. Constantine and St. Helen in Anastenaria
Greek refugees from Bulgaria, who during the 1920s
settled down in Greek Macedonia, brought over the
ancient cult of the Anastenaria, a pagan ritual which
merged the Christian holiday of St. Constantine and
his mother, Helen.
The presented text contains a description of the basic
elements of the holiday in question, with special atten
tion paid to the icon of the Anastenarides, traditional
ly described as the superior component of the cult.
In this case, the iconic aspect was discussed in refe
rence to studies dealing with the apocrypha, conduc
Bernardin Skunca, OFM Traditional Folk Holy Week
Passion Processions on the Island of Hvar
The extraordinary Passion heritage on the island of
Hvar is regarded as one of the phenomena of Christia
nity. The author focused on three Passion processions
held in the course of the Holy Week, which have su
rvived uninterruptedly from the Middle Ages and re
main part of live tradition. Having described the con
texts and course of the Theophoric Evening
195
SUMMARIES
Procession on Good Friday, the "Following the Cross”
procession and the procession to the “Lord’s Sepul
chre”, he outlined the historical background, empha
sising the significance of the local brotherhoods and
confraternities in the transmission of folk religious
tradition. The article then considers the concurrence
of the contents and form of this tradition with Church
liturgy, and concludes about the unquestionable me
rits of this spiritual and cultural legacy not as a mere
historical fact but as a manner of cultivating spiritual
life by the congregation itself.
Katarzyna Jackowska In Search for the „Total Harmony”
In northern-west coast of Sardegna, in a small town
called Castelsardo, there exist a religious brotherhood
of medieval origins - Confraternita Oratorio di Santa
Croce di Castelsardo. Among many similar groups of
profane people dedicating their activity to religious
purpose, this one is quite special - because of their
tradition of chant and rituals. The culmination of the
ir activity is a Holy Week, fulfilled with chant and
processions, with a great procession of Lunissanti.
This procession, absolutely unique among other Euro
pean rituals, takes place on Monday, after the Palm
Sunday, and lasts from early morning till late night.
The article focuses on few features of brotherho
od’s activity and their rituals: dramatic dimension and
social context of feasts, and necessarity and possibili
ties created by real - both physical and spiritual parti
cipation - that can help one to find something called
by members of the brotherhood “the total harmony”.
Krzysztof Maria Byrski Indian Temple Theatre and Li
turgical Drama
The invocation, which preceded my presentation in
its last line, calls theatre a sacrifice. W hat does that
mean? Hindus basically have a monistic vision of re
ality. The entire universe emerged from the One that
was at the beginning of time. The most important and
characteristic feature of our universe is perception.
This is why it is termed - perceptive reality. In order
to create such reality the One had to become a perce
iving subject and at the same time a perceivable ob
ject. It just had to die as the One and had to become
many, just for the sake of joy of uniting again. This
union can be a joyful experience because the one di
vides itself also into one who desires and into another
one who is desired. While watching this loveable sa
crifice for the eyes that theatrical performance is, we
emotionally identify ourselves with the process of
such unification, follow it and experience the joy of
merger into One. The question now has to be answe
red why can it happen in theatre and why it is so dif
ficult to experience in our daily life? The answer is an
emotional distance, which we do not have in our nor
mal life, in which we shun unpleasant experiences
and seek only pleasant ones. In theatre we enjoy both
of them equally. Why? Because the stage reality is not
the proper reality of a hero of a play. It is also not the
proper reality of an actor or a spectator. Therefore it
is a non-particular reality, which evokes non-particu
lar emotional responses. The Kudiyattam theatre of
Kerala by its highly conventionalised form makes it
even more striking and by associating it with temple
ritual turns theatre into ritual as well.
Anna Łopatowska The Search for Gesture. My Enco
unters with the Schola of the Węgajty Theatre Company
My encounter with the Węgajty Schola. The first pre
sentation of the kudijattam theatre in Gdańsk, initial
conversations about eventual cooperation with Wol
fgang Niklaus and his company. Some basic informa
tion about the kudijattam temple theatre from Kera
la. Several remarks about the possible application of
original gestures in liturgical drama upon the basis of
my acting and theatrical experiences as well as those
connected with studies on kudijattam. Select informa
tion about the manner in which my imagination cre
ated gestures for the needs of the performers from the
Schola of the Węgajty Theatre.
Monika Paśnik-Petryczenko The Schola of the Węgajty Theatre
The Schola of the Węgajty Theatre, an international
company of artists active since 1994, deals with the
reconstruction of medieval liturgical drama, research
into the tradition of sacral songs and tracing the tra
ditional cultures of assorted regions of Poland and Eu
rope. The author discusses the prime programme pre
mises, repertoire, history, work and composition of
the company.
Renata Rogozińska Nothing Stands in the Mandorla
Jan Berdyszak referred to the icon in Reserved Places and
Facies, two series from the 1970s. The first was based on
the motif of a flaming rhomb, characteristic especially
for the Saviour in Majesty icon, while the second recalls
the imprint of the face of Christ on fabric, produced, ac
cording to tradition, in a mysterious, divine manner. In
both series Berdyszak resigned from a presentation of fi
gures for the sake of a shape indicating the (non) pre
sence of Christ or, to put it differently, an evocation of
the places from which God has vanished - an oval of
a head without a face, and a rhomb, frequently combi
ned with a circle (mandorla) and a square.
The empty space delineated by Berdyszak by means of
gaps, fissures and openings becomes “space proper”,
a place for contemplating the invisible, an epiphanic
space. The material elements of the composition are re
duced to a "casing”, concealing that which remains in
visible to the eyes or, to use the name of another series
by the same artist, they produce a passe-partout of sorts
196
SUMMARIES
and, simultaneously, a transition to an entity (passe
-par-tout). This approach contradicts the profound hu
manism of Eastern-rite painting, based on the dogma of
the incarnation. The veraicon in particular depicts hu
manity in a highly expressive and poignant manner wi
thin the perspective of suffering and death. This is also
the reason why the fact that Jan Berdyszak applied ’’the
true icon of Christ”, or actually its damaged form, to
demonstrate the experiencing of God in a void and no
thingness, so close to mysticism, could be interpreted as
a symptom of radical (provocative?) iconoclasm. The
character and message of both series is excellently ren
dered in Paul Celan’s well-known Mandorla:
In der Mandel —was steht in der Mandel?/ Das Nichts./
Es steht das Nichts in der Mandel./ Da steht es und steht1
twork, produced on the basis of avant-garde individu
alism. Artists inspired by the icon include representa
tives of the most varied currents and conventions.
From Klimt and Moreau, the Russian avant-garde,
Matisse, Kandinsky, Modigliani, Andrzej Pronaszko,
Chwistek, and Hiller, to Mondrian, Berdyszak, Bed
narczyk, Damasiewicz, Sadley, Rothko, Tapies, Klein,
Wiktor or Warhol, they executed works of astoni
shing formal variety, frequently at first glance totally
unlike the original.
Przypis/Note
1
Paul Celan, Utwory wybrane (Selected Works), prep. by
R. Krynicki, Wydawnictwo Literackie, Kraków 2003.
Renata Rogozińska Towards the Icon
The icon has become a permanent fixture of Western
culture and occupies a prominent place within the
“museum of the imagination” of the average viewer.
Encountered in churches, both Catholic and Prote
stant, featured in museums and innumerable art gal
leries, smuggled across borders, purchased at presti
gious art auctions and in street flea markets, created
with the preservation of ancient rules and models as
well as counterfeit, paraphrased and reproduced, it
has gained an army of art lovers across the world.
The popularity of Russian Orthodox Church painting
has its repercussions also in contemporary art. The
spectrum of artistic attitudes and manners of depic
tion derived from the icon is extensive and situated
between two extremities: imitation and purely mental
inspiration, illegible in the formal shape of the ar
Zbigniew Władysław Solski An Unknown Staging of
The Story of Glorious Resurrection of the Lord
The director proposed comments on his own staging
of the play by Mikołaj of Wilkowieck, shown at Easter
1983 by the State Puppet Theatre in Wałbrzych.
A recollection of the socio-political context of the
spectacle, and a presentation of the sources for the
conceptions and inspiration of this stage vision. Z. W.
Solski also indicated the supplements of the basic text
and the reasons for such an operation, and went on to
describe in detail one of the open-air performances.
The text is followed by three appendices: Message,
Staging notes and A description of the spectacle, making
it possible to bring the reader close to the impact of
this production in the historical conditions prevailing
in the People’s Republic of Poland.
197
Polska Sztuka Ludowa
KONTEKSTY
f CULTURAL ANTHROPOLOGY f ETHNOGRAPHY f ART
2007 rok LXI nr 2 (277). Indeks 369403. ISSN 1230-6142. Cena 15 zł
INSTITUTE OF ART POLISH ACADEMY OF SCIENCES, SOCIETY LIBER PRO ARTE
C o n t e n t s 2 2 00 7
Johann Wolfgang NIKLAUS The Anthropology of the Theatre and the Reconstruction of
Mediaeval Liturgical Drama
Peregrinatio Aetherii
Błażej Matusiak OP Commentary to The Testimony of Egeria
J. Borkowicz, R. Huzarski, M. Klinger, Liturgical D ram a Today. Doubts, Hopes, Visions
A. Kuligowska-Korzeniewska, R. Lewandowski, A Register of a Discussion Held in a Catholic
A. Lewańska, B. Matusiak, W. Michera, J. Palikot, Intelligentsia Club
M. Siciarek
Julian LEWAŃSKI The Artistic Aspects of Dramatised Liturgy
Magdalena MIJALSKA A n Introduction to Ludus Danielis. A Guide to Several Ranges
of the Liturgical Theatre
Marcel PERES From Moravia to Toledo
Michał SICIAREK On the Performance of Bernardine Pious Songs at the Turn of the
Fifteenth Century
Iosif VIVILAKIS A n Introduction to Byzantine Drama
Svetlana BUTSKAYA The Tradition of the Old Believers
Rafał LEWANDOWSKI The Epiphanies of Bacchus
Aleksis SOLOMOS This Scene Takes Place in Heaven
The Officium of the Three Godly Youths in a Fiery Furnace
Michaelis ADAMIS The Officium of the Three Godly Youths in a Fiery Furnace
Rafał LEWANDOWSKI The Apocryphal Nature of the Painting: Icons of St. Constantine
and St. Helen in Anastenaria
Gerardus Van der LEEUW The Holy Game. Reminiscences
Jacek Jan PAWLIK
Toni CASALONGA
Bernardin SKUNCA, OFM
Katarzyna JACKOWSKA
Krzysztof Maria BYRSKI
Anna ŁOPATOWSKA
Maciej KAZIŃSKI
Monika PAŚNIK-PETRYCZENKO
Renata ROGOZIŃSKA
Renata ROGOZIŃSKA
Zbigniew Władysław SOLSKI
Anthropological Meanings of the Space of Liturgy.
A Conversation Held by Rev. Claude Barthe with Marcel Pérès
Quests
A Granitula
Traditional Folk Holy Week Passion Processions on the Island of
Hvar
In Search for the „Total Harmony”
Indian Temple Theatre and Liturgical Drama
The Search for Gesture. My Encounters with the Schola of the
Wçgajty Theatre Company
Ludus Passionis —notes
Ludus Passionis
The Schola of the Wçgajty Theatre
Nothing Stands in the Mandorla
Towards the Icon
A n Unknown Staging of The Story of Glorious Resurrection of
the Lord
198