Manama, Sept. 10 (BNA): Translator Ghareeb Awadh autographed his second book to be unveiled during the 12th version of AlSawari International Youth Festival (To See – Polish theatrical director), prepared by August Grodzicki.
The book sheds light on the works of ten Polish theatrical directors. These directors were chosen as the leading actors in the Polish theatre today, who gave the Polish theatre its present form. Among these ten, the late Konrad Svinarsky, who died in a plane crash, but his personality has been tightly stamped in contemporary theatre.
"Each one of these directors speaks in his own theatrical style. Each one of them is presented in different colours and forms of contemporary Polish theatre. Most of them have headed different theatre groups, all of whom are well-known in the world, because they produced works in foreign countries or their shows have been delivered out of Poland.
The 10 directors include:
- Erwin Axer: He is a theatrical director who is a phenomenon in the history of the post-war Polish theatre. He has the skill to transform classical dramas into contemporary works that discuss current realities. Psychic realism or solid originality flourished in the first ten years of his work.
- Kazimirerz Dejmek: If we want to take the idea of Director Dejmek about the theatre in a few words, we will call it politics and poeticism, and it seems to reflect Polish realism very clearly during the first 30 years after the war.
-Grotowski: He is a theatrical director and trainer, the founder of the theory of the "poor theatre" and the founder of the "Theatre Laboratory" with his friend Ludwik Flazen, and it was later called "Theatre 13 Safa". It has become a research centre in the art of acting.
- Grzegorzewski: He destroyed the dramatic structure, modified some of its scenes, and shattered the reality of the platform when he invented the inherent situation from the beginning of the theatrical work. His works have been a resounding success in Poland as well as in many European capitals.
- Hanuszkiewicz: His creative qualities as a director grew fully through television. This, in turn, is accompanied by cinematic aspects of television work, which has influenced the form of his theatrical work, and is therefore a prominent example of the interplay and fusion of these two arts in each other.
- Jarocki: It's easy to say that there is something called the “Jarocki Theatre," but it’s difficult to identify those characteristics that distinguish his works from other directors. The main features of his work as a director are the mixing of realities and transforming them into a dream and focusing his attention on the actor.
- Kantor: A comprehensive artist who worked as a painter, writer and theatre producer. He is one of the Polish artists of revolutionary voices and one of the leading directors of the new avant-garde movement in Poland. In the mid-seventies, Kantor began his final stage in the theatre with the theatre of death, which is based on a pessimistic philosophy and a metaphysical vision that transcends the reality of his experiences, presented in the trilogy of death (Death Row, I Will Never Return, and Today is My Birthday).
All of them carry the same idea and are expressed through the human heritage of war and its consequences in the human soul.
- Swinarski: He began his theatrical work with the design of cinematography, and he is one of the most prominent representatives of modern art in Poland. His study of plastic arts left a great impact on his vision of the world and the theatre, where his vision of the theatre stemmed in some way from his analyses of Cubism.
Szajna: He has entered the theatre from the world of painting, but in his memory what helped him to establish his theatrical approach. He was arrested in the Nazi camps and was on the edge of the gallows before he miraculously survived.
Thus, he is the ambassador of the vision of civilization, fear, confusion, where he sought through faith in humanity.
- Wajda: he is known as a theatre director more than his fame as a film director. His work is one of the most important works in the history of the Polish theatre.
“I will not be able to direct any theatre work because I did not know the background of this work. First I have to see the scene in front of my eyes first before I begin my work,” he said.