Development history of Polish drama

Polish secular drama developed in16th century. Most plays are based on ancient Greek and Roman myths. At that time, Jagron University in Krakow was the center of secular drama. Driven by it, secular drama activities spread all over the country, and many writers also absorbed humor and gag from folk jugglers to create comedies, burlesque and satire.

During this period, some poets also wrote plays, such as The Life of Joseph by M Rey (1505 ~ 1569). Among them, J. Kochanovzky (1530 ~1584) has the greatest influence. When the play was first performed, it imitated the Italian stage scenery and was luxurious and gorgeous.

/kloc-in the 0 th and 7 th centuries, Polish drama activities can be divided into court drama, civilian drama, school drama and church drama. Palace dramas are mainly performed by foreign troupes. It was originally Italian opera and English drama. Later, the French troupe occupied the palace stage. Plays written by Polish writers are sometimes performed in court, such as Barrica's King of Peasants. S.H. Rupert mirsky's plays (1642 ~ 1702) were well received in court. /kloc-At the beginning of the 8th century, the Polish court stage was occupied by Italian, French and German troupes. /kloc-In the mid-8th century, Chinese opera began to get rid of foreign influences and embarked on the road of independent creation. The tragedies Rukaifsky (1706 ~1779) and Wadyslaw at the gate of Valmin (1760) are based on Polish history, praising the greatness, bravery and good fighting of Polish kings and ministers. F bohomolez (1720 ~1784) wrote more than 20 plays in his life, which played a pioneering role in Polish enlightenment drama.

1765 is an epoch-making year in the history of Polish drama. Warsaw established the first public theater, the National Theatre, which freed the drama from the control of the church and powerful people. Comedy achieved its greatest success in the second half of the18th century. F.M. Zablocki (1754 ~1821)' s proposed children (178 1), nobles (1785) and super sites. The Return of Parliamentarians by J.U. Njemcevic (1757 ~ 184 1) is the earliest Polish political comedy. The famous dramatist is W. Boguslawski, who served as the president of the National Theatre for 20 years and established the first drama school in Poland, making great contributions to the development of Polish drama.

1772, after Poland was divided up by Russia, Poland and Austria for three times, the development of literature and art was blocked. /kloc-At the beginning of the 9th century, with the development of the national liberation movement, Polish literature and art entered The Romantic Period. The poet A. Mitzkiewicz's poetic drama "Sacrifice to the Ancestor" is famous for its full patriotic passion and unique structure. J Slova's plays, such as Codian, Maria Stuart, Dina Baglar and Fatach, reveal the greed and cruelty of feudal rulers and express the poet's love for the motherland. The Immortal Melody and Illidan by Z Krasinski (18 12 ~ 1859) are also quite famous in the history of Polish literature. The former reflects the desperate struggle between the working people and the aristocratic class, while the latter takes the history of ancient Rome as the background. Both plays reveal the author's sympathy for the aristocratic class and dissatisfaction with the revolution. Writer A. fredro found another way to push realistic comedy creation to the peak, and wrote such famous works as Husband and Wife, Maiden's Vow and Revenge. 1833 The establishment of Warsaw Grand Theatre further promoted the prosperity of Polish opera. The famous musician moniuszko's operas Halka and Haunted House are still deeply loved by the audience. Although the drama activities in this period were restricted by the rulers of Russia, Germany and Austria, they were still active in the occupied areas of Austria. Lvov established the "Grand Theatre" and Krakow expanded the original "Old Theatre". Most of the works of Polish writers were first staged in the occupied areas. In the Russian-occupied area, the theater activities in Warsaw were strictly controlled by the Russian ruling authorities. Russians are managers of the Grand Theatre, and it is forbidden to perform works by Polish patriotic poets such as Mikevich and Slova. Since the 1950s of 19, ethnic oppression has intensified, and the drama activities in the occupied areas have been greatly curbed. All the professional theatres and troupes in Puzhan District were banned, the Polish troupes in Aozhan District were replaced by German troupes, and the theaters in Warsaw were also closed. Alexander fredro is a Polish playwright. Born in big noble. From 1809 to 18 15, he joined the Polish army and was exposed to French comedies during his stay in Paris. 18 15 has been living in Lviv since returning to China. Fredro mainly wrote poems in his early years, and later turned to comedy creation. 18 18 ~ 1835 is the peak of his plays. Later, he was sharply criticized by the Democrats and wrote for a long time. In the 1950s, he wrote many comedies, but they were not published before his death. They are not as good as their previous works in content and form. 1876 died in Lviv. Fredero inherited the tradition of the Polish Enlightenment and pushed realistic comedy to its peak. During the period of 18 18 ~ 1835, five volumes of comedies were published, including 12 full plays and 8 one-act plays. Among them are Mr. Goldhaber (18 18), Husband and Wife (1822), Alienation (1824), Vows for Girls (1832), and.

Mr. Goldhaber laughed at the selfishness and snobbery of landlords and bourgeoisie. Husband and wife reveals the depravity and hypocrisy of noble class morality. Alienation describes a noble who is superstitious about foreign countries and acts in a foreign way, resulting in many jokes. The right to use for life depicts the image of a greedy usurer.

The Maiden's Vow and Revenge are two of fredro's best comedies. The former describes a pair of cousins who hate men and swear never to get married. Later, the young people who fell in love with them cleverly made them give up their vows and finally entered into an engagement. The latter describes the story of the royal banquet caterer and the clerk fighting for the manor, and finally putting aside their differences and forming their children's in-laws The author is good at combining the portrayal of characters with the development of contradictions and conflicts, thus producing a strong dramatic effect. Since their publication, these two comedies have often been staged in theaters all over Poland and translated into 10 languages. A. Adam Mickiewicz (1798 ~ 1855) is a Polish poet, playwright and activist of national liberation movement. Born into a small aristocratic family. He took an active part in student activities during his college years. He was arrested and imprisoned for participating in the 1823 Polish patriotic student movement, and was exiled to the Russian mainland the following year. Exiled in western Europe from 65438 to 0829. 1855 During the Russian-Turkish War, Mickiewicz was unfortunately infected with the plague and died in Constantinople in order to organize Polish volunteers to go to Turkey. 1822 The publication of Mitzi Kevic's early poem Poems and Songs opened a new era of Polish romantic literature. The second collection of poems published the following year included the second and fourth poetic dramas "Sacrificing Ancestors". 1832 wrote the third part of ancestor worship.

Mitzi Kevic wrote the plays Bal League and yakubu Yasinsky in French. The former only leaves the first two scenes, while the latter only has fragments of the manuscript. Barr Union describes the struggle of Polish aristocrats against Russian aggression at the end of18th century. It was staged in Krakow Theatre on 1873 and was well received.

Sacrifice to the Ancestor consists of the second, fourth and third parts of the poetic drama. The second and fourth parts are generally called "Worship to the Ancestor by Villeno". The third part only leaves fragments, that is, ancestor sacrifice in Dresden. The second part reveals the cruel oppression of the landlord to the peasants through the sacrificial ceremony, and the fourth part describes the pain of young Gustav after his lovelorn love, which is of anti-feudal significance. The theme of the third part is completely different. It is a political poetic drama that reflects 1823 Russia's interrogation and persecution of Polish patriotic youth and enthusiastically praises Polish youth's unity, friendship and fear of sacrifice. In this work, fantasy and realistic scenes appear alternately, showing the characteristics of romantic drama. Poetic drama language is full of folk song style and passion, which is appreciated by French woman writer george sand. Ancestor worship was banned by the Russian ruling authorities and has not been staged for a long time. 190 1 year, Krakow Theatre staged "Sacrifice to the Ancestor" adapted by playwright Vispi Jansky, which received rave reviews. A new performance book appeared in the 1930s. After the Second World War, various theatres in Poland staged "Sacrifice to the Ancestor" one after another. 1955 "Polish Theatre" performed in Warsaw to commemorate the poet's death 100 anniversary and 1973, director Vinarschi's performance in Cracow Theatre had a great influence. Julius Sawaki (1809 ~ 1849) is a Polish poet and playwright. 1809 was born in a teacher's family in Gemenez on September 4th. Studying at the Law Department of Yuviler Nuo University. /kloc-participated in the Warsaw Uprising in 0/830 and published poems such as Ode to Freedom and Elegy. He lived abroad after the failure of the uprising. 1849 died in Paris on April 3rd. Slova Ji wrote a large number of long poems and poetic dramas in his life. There are two poetic dramas, Ming Vito based on Lithuanian history and Maria Stuart based on English history. His masterpiece, Cordia (1834), describes that Cordia developed from a sentimental youth to a revolutionary who organized the assassination of the tsar, and finally failed. Dina Barra (1839) and Lila Venedet (1840) are based on ancient Polish legends and have anti-feudal significance. Mazepa (1840) exposes the despotism of the powerful, while Fataz praises the friendship between Polish and Russian revolutionaries. From 65438 to the early 1940s, Slova's drama The Silver Dream of Salome and Father Malik reflected his tendency to be influenced by mysticism.

Although the origin is the same, Jerzy Grotowski made a completely different attempt in drama reform. He carried out the second great reform of actor art after constance Stanislaw, and his book Basic Training for Actors is one of the most important teaching materials in drama schools all over the world. The performances of the Grotowski Experimental Theatre, such as The Acropolis (Vespi Ansky's plays are performed on the set of the concentration camp), The Immortal Prince (Calderon-Slova) or Revelation in disguise, belong to the most important drama works in the 20th century. Like peter brooke, Eugene Barba, Richard Cheickna or Andre Gray Goethe, they were all inspired by Grotowski's works. In the last ten years of his life, Grotowski has been devoted to exploring the possibility of creating a dramatic structure similar to religious ceremonies. After his death (1999), his students Thomas Richards and Mario Biaggini inherited his career and led the work center in Tedra, Italy, which was founded by Grotowski. His works have influenced many Polish drama artists. After years of close cooperation with Grotowski, Vvokimesh Stanevsky left the master and set up a drama practice center named Gardzienice in a small village near lublin in 1997. Today, 25 years after its establishment, the center has gained a worldwide reputation, and the actor's performance method called "drama ecology" created by him has become one of the most important methods in the 20th century. The most typical feature of "Gardzienice" is that drama is regarded as one of many diverse cultural activities, including collecting folk songs in areas where ethnic traditions are still preserved (for example, eastern Poland,? Emko rural area, Huculszczyzna, Ukraine), drama also reflects the direct and close relationship between art and its birth environment. Those powerful performances full of music, action and dramatic vocals are inspired by the most basic myths in the East and the West. In recent years, Stanevsky has developed a special interest in Greek culture, which is the source of European culture and spirit. After putting Aprius's Metamorphosis on the stage (performed in Germany, the United States, Britain and Spain), he cooperated with Gardzinis and staged Electra adapted from euripides, which added a new stroke to his drama exploration. Vvokimesh Stanevsky's team also has some very active and interesting founders, who are not only related to drama. On the Seine River in Poland, there is an active foundation called Frontier. Its founder is Krzysztof Cherevsky, who once cooperated with Gardzienice. One of the tasks of "The Border" is a theatrical performance (Simon Ansky's "The Evil Spirit" has been put on the stage), and its purpose is to make the residents in these border areas realize their unique wealth, which is a tradition formed by the rich influence of Poles, Jews, Belarusians, Lithuanians, Ukrainians and even Tatars for centuries.

Similar to Che levski, Jan Bernard, the founder of "Oriental Territory Music" Foundation, has been devoted to collecting and sorting out the rich folk music in the Eastern Territory (keresey) for many years.

In 1960s and 1970s, while Grotowski was writing, a socialized and politicized drama movement appeared in Poland. It started as a student protest drama. Later, during the war, some professionals joined in and organized performances in the underground "home theater". One form of political protest through drama is Wroclaw's "orange substitution" activity-an informal group organized a large-scale performance to laugh at official symbols and ceremonies. 1989 gained independence, but this movement has been weakened, but it has recently revived. Now it is characterized by opposing capitalism and war. The most important center of this movement is Poznan. In addition to the famous "Eight-Day Theater" (anti-globalism performance "Peak") in the 1970s and 1980s, there is also the "Travel Agency Theater". One of the most important achievements of this theater is Carmen Fo Knaebel, an outdoor performance rehearsed under the influence of the events in the former Yugoslavia, which has been touring all over the world in recent years.