The Dramatic Theatre has been one of Poland's most interesting theatres of the post-World War II era and has invariably had a reputation for excellent acting and for tackling important, contemporary issues. Its history reflects not only what has occurred in stage art during the last fifty years, but also the fate of the Polish population during the last several decades.
This Warsaw stage was created in 1949 as the Teatr Domu Wojska Polskiego (Theatre of the Home of the Polish Armed Forces) and was located at first on Krolewska Street. It has been at its current venue in the Palace of Culture and Science since 1955, and has been operating as the Teatr Dramatyczny (Dramatic Theatre) since 1957. Marian Meller was the Dramatic Theatre's first director (1955-1962), having previously held this position at the Theatre of the Home of the Polish Armed Forces. Jan Swiderski was the artistic director at this time, while such notable individuals as Konstanty Puzyna and Stanislaw Marczak-Oborski handled literary matters.
Konstanty Puzyna defined the profile of the theatre during its first seasons as "anti-veristic, spectacular, intellectual and political" ("Pamietnik Teatralny" / "Theatre Journal," 1965, vols. 3-4).
The Dramatic truly found a place for itself during the 'thaw' of October 1956, its creators shaping its repertoire out of ambitious, European titles and new dramas by Polish writers. At the turn of the 1950s and 1960s, the theatre became one of the country's leading theatrical centers. The repertoire included productions directed by Ludwik René, including Eugene Ionesco's THE CHAIRS (1957) and Friedrich Dürrenmatt's THE VISIT (1958). Dürrenmatt gained favor and the Dramatic began to stage his works with growing frequency. Between 1957 and 1967, the theatre mounted another eight productions of this Swiss playwright's works. The Dramatic Theatre's world premiere productions of Polish dramas also proved to be important events. Witold Gombrowicz's IWONA, KSIEZNICZKA BURGUNDA / YVONNE, PRINCESS OF BURGUNDY was directed by Halina Mikolajska (1957) and featured Barbara Krafftowna in the title role. "(...) She was wonderful: lymphatic, perfidious and so annoying that I wanted to kill her myself," wrote Jan Kott ("Przeglad Kulturalny" / "Cultural Review," 1958, no. 2).
Jan Swiderski directed Slawomir Mrozek's POLICJA / THE POLICE (1958), while Wanda Laskowska staged a drama titled KARTOTEKA / THE CARD INDEX (1960), the first of many plays by Tadeusz Rozewicz. The Dramatic Theatre was called the most contemporary theatre in Warsaw. Even when it staged the classics, an attempt was made to impart a contemporary sensibility to the productions. This was clearly the case with Sophocles' OEDIPUS REX as directed by Ludwik René (1961). Based on a new prose translation by Stanislaw Dygat, in the title role the production featured Gustaw Holoubek - "the most modern of today's actors" (Maria Czanerle, "Teatr" / "Theatre" monthly, 1961, no. 14).
A number of exceptional individualities called the Dramatic Theatre their workplace. The ensemble included such directors as Jan Kosinski, Wanda Laskowska, Ludwik René and Jan Swiderski, while in the years 1959-1963 Konard Swinarski directed four productions, the most significant among them being Dürrenmatt's FRANK V (1962). During this period scenery was designed by Wladyslaw Daszewski, Jan Kosinski, Andrzej Sadowski, Ewa Starowieyska and Jozef Szajna. The acting troupe included Aleksander Dzwonkowski, Ignacy Gogolewski, Wieslaw Golas, Ryszarda Hanin, Gustaw Holoubek, Barbara Krafftowna, Halina Mikolajska, Jozef Para, Zofia Rysiowna and Witold Skaruch.
The theatre was managed in turn by Jan Swiderski (1963-1966), Andrzej Szczepkowski (1966-1968) and Jan Bratkowski (1968-1972).
"The repertoire seemingly rested on the same foundations, emphasizing contemporary works. There was the same set of authors, already familiar, supplemented by a handful of new writers (Ghelderode, Arrabal, Frisch and selected Latin American playwrights). There were classics as well, likewise expanded to include Spanish language plays (Cervantes). However, it was difficult to notice, in the selection of plays and their stagings, any single thematic line apart from the inherently valuable fascination for novelties," wrote August Grodzicki. The writer added, "The Dramatic Theatre seemed to be working to eradicate its own artistic identity and was certainly losing its ability to 'engage' " ("Teatr Dramatyczny M.St. Warszawy 1957-1987" / "The Dramatic Theatre of the Capital City of Warsaw 1957-1987," Warsaw 1987).
The theatre nevertheless mounted a number of interesting productions during this period. Adam Hanuszkiewicz staged Juliusz Slowacki's KSIADZ MAREK / FATHER MARK in a manner stripped of mysticism (1963), Ludwik René directed Dürrenmatt's THE PHYSICISTS (1963) and Stanislaw Wyspianski's KRONIKI KROLEWSKIE / ROYAL CHRONICLES (1968), and Jerzy Jarocki took on Tadeusz Rozewicz's NA CZWORAKACH / ON ALL FOURS (1972).
Gustaw Holoubek served as director of the Dramatic Theatre from 1972 to 1983. His ambition was to create a theatre that would be viewed as the national stage, though be it unofficially. As a result, many classical works from throughout the world and Poland were produced, though this included the work of 20th century Polish classics by authors like Witold Gombrowicz, Slawomir Mrozek and Jerzy Zawieyski. The theatre's distinguishing feature was its invariably strong acting ensemble. Apart from the outstanding stage artists who possessed long-time relationships with the Dramatic Theatre and those who came to the theatre in the second half of the 1960s, the troupe expanded to welcome Ryszard Pietruski, Danuta Szaflarska, Mieczyslaw Voit, Zbigniew Zapasiewicz and Magdalena Zawadzka. Also, younger actors made their presence known. This group included Piotr Fronczewski, Jadwiga Jankowska-Cieslak, Marek Kondrat and Karol Strasburger. The important productions of the this time were WARIACJE / VARIATIONS, directed by Jerzy Grzegorzewski based on the writings of Anton Chekhov (1977), and Maciej Prus's stagings of Wyspianski's NOC LISTOPADOWA / A NOVEMBER NIGHT (1978) and Gombrowicz's OPERETKA / OPERETTA (1980). This Warsaw stage recorded a vast success with Denis Diderot's KUBUS FATALISTA I JEGO PAN / JACQUES THE FATALIST AND HIS MASTER (1976) as directed by Witold Zatorski. The production proved to be a grand theatrical game that attracted capacity audiences for many months.
During the 1970s Jerzy Jarocki was among the theatre's regular collaborators. After NA CZWORAKACH / ON ALL FOURS, he staged the professional world premiere of Gombrowicz's SLUB / THE MARRIAGE in 1974.
"A clear, pure and consistent production," wrote Zofia Jasinska of this staging ("Tygodnik Powszechny" / "Popular Weekly," 1974, no. 20).
Piotr Fronczewski played Henryk.
"(...) We should admire not only the actor's skills, but above all his intelligence. [Fronczewski] proves capable of rendering visible that process of incessant re-creation of oneself and others that is so essential with Gombrowicz, that process of creating situations that subsequently deform the person" (Andrzej Wladyslaw Kral, "Teatr" / "Theatre" monthly, 1974, no. 11).
Jarocki then directed Mrozek's RZEZNIA / THE SLAUGHTERHOUSE (1975) and Shakespeare's KING LEAR (1977) with Gustaw Holoubek in the title role:
"(...) King Lear as played by Holoubek will surely receive a place in the history of Shakespeare productions on Polish stages," noted Jan Klossowicz ("Literatura" / "Literature" monthly, 1977, no. 21).
Jarocki soon chose another Mrozek play, PIESZO / ON FOOT (1981), and directed Thomas Stearns Eliot's MURDER IN THE CATHEDRAL (1983). Both productions echoed strongly among audiences, their message very much in tune with the times when the "Solidarity" Trade Union was on the rise and Martial Law was imminent.
The theatre community boycotted state television after Martial Law was declared on December 13, 1981. As retribution for this, authorities stripped Holoubek of his position as director of the Dramatic and, in a show of solidarity, a majority of the theatre's acting ensemble left with him. Mieczyslaw Marszycki briefly became the theatre's director (1983), and was shortly by Jan Pawel Gawlik (1983-1985) and subsequently by Marek Okopinski (1985-1987). The Dramatic Theatre entered a period of serious artistic decline, which was only exacerbated by its placement under a shared administration with the Teatr Rzeczpospolitej (Theatre of the Republic). Founded in 1982 by the authorities, the latter institution was responsible for arranging performances of visiting Polish and foreign theatre troupes in Warsaw and for organizing the appearances of Warsaw theatres in other cities throughout Poland. Zbigniew Zapasiewicz, a former member of the Dramatic's once legendary ensemble, became the theatre's director in 1987. He intended to restore the stage to its former status, to draw outstanding individual performers and artists back to this Warsaw theatre, to employ only exceptional theatre artists and recruit the most talented graduates of Poland's State Higher Schools of Theatre. One of the truly special occurrences during his tenure was Tadeusz Lomnicki's performance in Tankred Dorst's JA, FEUERBACH / I, FEUERBACH as directed by Andrzej Lapicki (1988), yet the world premiere production of Tadeusz Slobodzianek's CAR MIKOLAJ / TSAR NICHOLAS, directed by Maciej Prus (1988), proved a challenge beyond the theatre's means. After three years of persistent efforts, Zapasiewicz parted with the Dramatic.
In 1990 Maciej Prus took his place. Calm, consistent work was rendered impossible by the theatre's conflict with the Batax company, producer of the hit musical METRO by Janusz Jozefowicz and Janusz Stoklosa. METRO was performed on the stage of the Dramatic. During this period Prus directed a coolly received production of Zygmunt Krasinki's NIE-BOSKA KOMEDIA / UN-DIVINE COMEDY (1991) and a relatively interesting version of Witkacy's SZEWCY / THE SHOEMAKERS (1991). He followed these with productions of Stanislaw Wyspianski's WYZWOLENIE / LIBERATION (1992) and Slowacki's KORDIAN (1993). Andrzej Domalik additionally directed Anton Chekhov's THE SEAGULL (1991) and Shakespeare's HAMLET (1992). Though all of these productions were planned as great events, none actually proved exceptionally successful.
The conflict with Batax was ultimately resolved and Piotr Cieslak was appointed artistic director (1993), and with these changes the Dramatic seemed to be back on a path of development and excellence. Tradition combined with certain contemporary currents to determine the theatre's profile, and collaboration with Antoni Libera resulted in a series of lauded productions of the plays of Samuel Beckett, including HAPPY DAYS (1995), featuring Maja Komorowska, WAITING FOR GODOT (1996) and END GAME (1997). The theatre began mounting productions staged by some of the most interesting younger generation directors. Piotr Cieplak offered audiences a sampling of his "auteur" theatre with Mikolaj of Wilkowiecko's HISTORYJA O CHWALEBNYM ZMARTWYCHWSTANIU PANSKIM / THE STORY {C} OF THE GLORIOUS RESURRECTION (1994), WYPRAWY KRZYZOWE / THE CRUSADES based on the writings of Miron Bialoszewski (1995) and Carlo Gozzi's PTASZEK ZIELONOPIORY / THE GREEN BIRD (1997). Krzysztof Warlikowski directed Shakespeare's THE TAMING OF THE SHREW (1997), and Grzegorz Jarzyna offered a scandalizing production of Brad Fraser's NIEZIDENTYFIKOWANE SZCZATKI LUDZKIE I PRAWDZIWA NATURA MILOSCI / UNIDENTIFIED HUMAN REMAINS AND THE TRUE NATURE OF LOVE (1998). Another of the theatre's collaborators was Krystian Lupa, who directed Wyspianski's POWROT ODYSA / THE RETURN OF ODYSSEUS (1999) and AUSLÖSCHUNG / WYMAZYWANIE / ERADICATION after the writings of Thomas Bernhard (2001). In the 1990s, the theatre's ensemble was composed of a very interesting group of actors: Mariusz Bonaszewski, Piotr Bajor, Marcin Dorocinski, Adam Ferency, Jolanta Fraszynska, Agata Kulesza, Malgorzata Kozuchowska, Slawomir Orzechowski, Piotr Sikba, Grazyna Wolszczak and Wojciech Wysocki.
From 1965 to 1981 the Dramatic Theatre hosted the annual WARSZAWSKIE SPOTKANIA TEATRALNE / WARSAW THEATRE MEETINGS. This event was later revived in 1987, at which time the Theatre of the Republic became its organizer. Since 2002 the Dramatic has been the organizer of the international FESTIWAL FESTIWALI TEATRALNYCH "SPOTKANIA" / "MEETINGS" FESTIVAL OF THEATRE FESTIVALS, and additionally hosts meetings in the Evviva'arte series and runs its own lecture/workshop series titled "Lekcje Teatralne" / "Theatre Lessons."
| Monika Mokrzycka-Pokora
July 2003 | |
Teatr Dramatyczny m.st. Warszawy im. Gustawa Holoubka
pl. Defilad 1 (Pałac Kultury i Nauki)
00-901 Warszawa
Phone: (+48 22) 826 21 54
Phone/Fax: (+48 22) 826 21 54
WWW: www.teatrdramatyczny.pl
