Stanisław Wyspiański - obraz bohatera : wokół inscenizacji Akropolis i Chryj z Polską

Taking the position of the manager of Teatr Śląski in Katowice in 1992 I was aware of the fact that it was the only theatre in Poland named after Stanisław Wyspiański. The patron himself and his thinking about art, especially an interdisciplinary nature characterizing him, imposed the project of an artistic programme on this stage for 11 years. Wyspiański’s connections with Silesia cover both an artist’s interest in an Old‑Piast district, including fascination with Henryk Pobożny, and his contribution to the shape of the intellectual formation of Poles who, after 1918 dictated a socio‑political nature to Katowice. Michał Grażyński, a voivodship and Marian Sobański, a long‑standing manager, saw Stanisław Wyspiański as both the theatre patron, and a starting point for an artistic level they dictated to the very institution. Giving the name to the theatre in 1936 was connected with Józef Piłsudski’s death. For many Poles the marshal was the embodiment of Konrad from Wyzwolenie, and his death determined many spectacular events. The theatre in Katowice offered Stanisław Wyspiański’s biggest masterpieces in the 1930s. They only lacked Akropolis. The adaptation of this play, considered by many the most difficult one written by an author of Wesele became a great challenge for the Silesian stage at the end of the first century of its existence. The decision was reinforced by the fact of Poland’s entry to the European Union and intensification of talks on civilization roots of our country. A biblical area and the world of Greek and Roman mythology, very much present as the two main constituents of Akropolis, allowed the theatre to enter into an important social dialogue. The task to by performed by producers and, mainly a director, was how to stage the play. The basic conception was solved by means of building the person of the Poet, mainly from the stage directions inspired by the author himself when writing Akropolis, his struggles with disease and fascination with Polishness. Next, the person of the Poet became the source of inspiration for Whiting a play on Wyspiański. Chryje z Polską by Maciej Wojtyszko was based on a little known fact from our history, namely one meeting between Wyspiański and Piłsudski on 1 March 1905. Its leading theme was support for an idea of treasure in favour of the Polish army to be. Stefan Żeromski was engaged in getting into touch. Wyspiański considered the possibility of taking the position of the manager in Teatr Miejski. Piłsudski wanted to use a February resolution in Russia to start yet another uprising in Poland. The work by Maciej Wojtyszko, presenting a confrontation of both characters, shows possibilities of a dialogue of art and politics, reveals painful wounds in the history of mentality of Poles. The image of a character Stanisław Wyspiański becomes in both positions is a food for thought