“Teatr telewizji” Ksiaze niezlomny (TV Episode ) Magdalena Cielecka as Feniksana. “Teatr telewizji” Ksiaze niezlomny (TV Episode ) on IMDb: Movies, TV, Celebs, and more. The article presents the history of the reception of El príncipe constante by Pedro Calderón de la Barca as translated by Juliusz Słowacki in Poland in connection.

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As a result, he died of exhaustion, considering it a voluntary niezzlomny which sanctified his sacrifice. Written inthe Polish version of the drama is faithful to the original, yet ,siaze the same time it went deeper and was supplemented by elements exploring spiritual transformation linked to the readiness for the complete sacrifice of anything sensual and corporeal for supernatural values.

This process meant his text appeared less as a translation and more as a script depicting the transcription of a dramatic experience.

Work on the performance had already begun in spring in Opole. Work took a two-track approach: As a result, there emerges a confrontation of two equally real and niezlomy worlds which are though ruled by completely opposing values. The costumes also served to underscore this difference: The simple colour contrasts emphasised starkly the opposition of dark and light, darkness and brightness.

Książę Niezłomny |

While recalling the long creative process accompanying the creation of nieslomny Prince character, we should be careful not to overlook the level of attention dedicated to the composition of the actions of the Court, which were most clearly inspired by the image of a flock of birds.


At the same time, the flock-like circling of the Court around the centrally-positioned and light Prince strongly accented the singularity of his presence and attitude.

The strangeness was also underlined by the process by which the first two parts of the performance were constructed on the basis of analogy and repetition. The court then repeated the ksiazf sequence of actions lsiaze always to the same point — the castration ceremony. This time, however, the series is broken and the unfulfilled sacrifice Don Fernando embraces Fenixana Rena Mireckafor whom and under whose leadership the ritual is carried out, and tenderly strokes her face.

In this way, Ksiae Fernando refuses to become a member of the Court and thus offers himself for Sacrifice. This first sacrificial act is performed by the Prince as he issues his first great monologue stating his refusal to cede Ceuta.

This initiates a series of scenes which make clear references to the iconography of the Passion: It would be quite reasonable to find oneself under the impression that Don Fernando consciously took the sins of the Court onto himself, while the court joyously liberated itself from their significance.

The second monologue, which ended with an attack of deathbed palpitations, is followed by a scene identical to the culminating scene of Catholic Mass — Communion.

Nizelomny Court drank the blood and consumed the body of the Prince, employing gestures which drew unequivocal comparisons with the act of taking Holy Communion. He issues his monologue standing on a centrally-positioned wooden chest, creating an image of a human being, resplendent with his inner brilliance, speaking of death while living. If we consider the scenes surrounding kdiaze second monologue, as well as the monologue itself, as expressions of Passion and Crucifixion, then the third monologue appears as the equivalent of Resurrection and Ascension.


The Constant Prince (Książę Niezłomny) | encyklopedia |

The production also gained fame thanks to kaiaze photographs and descriptions included in the book Towards a Poor Theatre. As a result, The Constant Prince acquired legendary status, becoming an icon of the revolution in theatre and acting brought about by the group led by Grotowski.

Over the years it was performed, there were changes in the cast, leading to the development of different versions.

It was this version that was filmed in Spoleto in using a hidden camera, while nifzlomny soundtrack was added from an Oslo performance in March This recording, together with the multi-language subtitles created by a team led by Ferrucio Marotti at Sapienza University of Rome, provides a source of knowledge about the performance for future generations. Jerzego Grotowskiego, Instytut Teatralny im.

Magdalena Cielecka: Feniksana

Polski teatr przemianyInstytut im. Ku szczytowi[w: PrzewodnikInstytut im. The Constant Prince,

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