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Dramaty
Unknown Binding
Published January 1, 1986
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About the author
Maria Pawlikowska-Jasnorzewska
70 books34 followersMaria Pawlikowska-Jasnorzewska, née Kossak was a Polish poet known as the Polish Sappho and "queen of lyrical poetry" of Poland's interwar period. Fluent in French, English, and German, she married three times and lived the life of a world traveller.
Born in Kraków to a family of artists, Maria Kossak grew up around painters, writers, and intellectuals. Her grandfather, Juliusz Kossak, and father, Wojciech Kossak, were both professional painters famous for their historical paintings. Her younger sister, Magdalena Samozwaniec, was also a popular writer. As well as her cousin Zofia Kossak-Szczucka.
In her youth, Kossak painted as often as she wrote poetry. It was only during her marriage to Jan Pawlikowski — after the invalidated first marriage to Władysław Bzowski — that her literary interests prevailed, inspired by the couple's discussions about her poetic output and the world of literature in general. Their passionate relationship based on shared interests and mutual love was the endless source of her poetic inspiration. However, the second marriage didn't last either.
Following her divorce, Maria Pawlikowska became active in the community of poets from the Warsaw-based Skamander group: Julian Tuwim, Jan Lechoń, Kazimierz Wierzyński, and renowned writers such as Jarosław Iwaszkiewicz, Irena Krzywicka, Kazimiera Iłłakowiczówna and Tadeusz Boy-Żeleński. During the inter-war period Pawlikowska-Jasnorzewska published twelve volumes of poetry and established herself as one of the most innovative poets of the era.
She began her career as a playwright in 1924, with her first farce, Archibald the Chauffeur, produced in Warsaw. By 1939 she had written fifteen plays whose treatment of taboo topics such as abortion, extramarital affairs, and incest provoked scandals. She was compared by critics to Molière, Marivaux, Oscar Wilde, George Bernard Shaw, and Witkacy. Her plays depicted her unconventional approach to motherhood, which she understood as a painful obligation that ends mutual passion. She spoke in support of a woman's right to choose according to her needs and feelings.
In 1939, at the onset of World War II, she followed her third husband, Stefan Jasnorzewski, to England. She was diagnosed with cancer in 1944, became semi-paralyzed, and on 9 July 1945 died in Manchester, cared for by her husband.
Source: wikipedia.com
Born in Kraków to a family of artists, Maria Kossak grew up around painters, writers, and intellectuals. Her grandfather, Juliusz Kossak, and father, Wojciech Kossak, were both professional painters famous for their historical paintings. Her younger sister, Magdalena Samozwaniec, was also a popular writer. As well as her cousin Zofia Kossak-Szczucka.
In her youth, Kossak painted as often as she wrote poetry. It was only during her marriage to Jan Pawlikowski — after the invalidated first marriage to Władysław Bzowski — that her literary interests prevailed, inspired by the couple's discussions about her poetic output and the world of literature in general. Their passionate relationship based on shared interests and mutual love was the endless source of her poetic inspiration. However, the second marriage didn't last either.
Following her divorce, Maria Pawlikowska became active in the community of poets from the Warsaw-based Skamander group: Julian Tuwim, Jan Lechoń, Kazimierz Wierzyński, and renowned writers such as Jarosław Iwaszkiewicz, Irena Krzywicka, Kazimiera Iłłakowiczówna and Tadeusz Boy-Żeleński. During the inter-war period Pawlikowska-Jasnorzewska published twelve volumes of poetry and established herself as one of the most innovative poets of the era.
She began her career as a playwright in 1924, with her first farce, Archibald the Chauffeur, produced in Warsaw. By 1939 she had written fifteen plays whose treatment of taboo topics such as abortion, extramarital affairs, and incest provoked scandals. She was compared by critics to Molière, Marivaux, Oscar Wilde, George Bernard Shaw, and Witkacy. Her plays depicted her unconventional approach to motherhood, which she understood as a painful obligation that ends mutual passion. She spoke in support of a woman's right to choose according to her needs and feelings.
In 1939, at the onset of World War II, she followed her third husband, Stefan Jasnorzewski, to England. She was diagnosed with cancer in 1944, became semi-paralyzed, and on 9 July 1945 died in Manchester, cared for by her husband.
Source: wikipedia.com
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Displaying 1 of 1 review
February 19, 2025
1) Schematyczne (wszystkie są o tych samych ludziach robiących to samo.)
2) Drobnomieszczańskie
3) Wszyscy strasznie pierdolą (A, co najśmieszniejsze, M.P.J. w wywiadach była przekonana że pisze wartkie, snappy dialogi)
4) Kobiety zakochujące się w najgorszych ludziach na świecie (dlaczego?). Opresyjny heteroseksualizm schodzi z niebios na bohaterki i odbiera im rozum.
Z drugiej strony - duży plus za optymizm (gatunek wymarły w twórczości).
I ta infantylność, świadoma i twórcza. Jest to jakaś antycypacja estetyki świadomego krindżu.
Mogłoby to być campowe, gdyby nie było takie drobnomieszczańsko komediowe w stylu
"Oho ho waćpan jest niedykteryjny jak konica w pastwisku au farce con passant!"
"Mrówki" i "Baba-dziwo" mają chyba najwięcej jakiegoś potencjału, ale też podcinają je pierdolo-dialogi i tandetna romcomowość (przy całym szacunku dla romcomów). Straszna szkoda że zgubiły się teksty napisane z Witkacym, ale no, nie możemy mieć ładnych rzeczy.
Camp to jedyne co może uratować te teksty. Ale potrzeba jakiegoś dużego ładunku intencji czytelniczej żeby tak to odebrać.
Inny pomysł interpretacyjny:
1) Kokaina
2) Jazz
Ale czy to jest coś co może utrzymać cały tekst?
2) Drobnomieszczańskie
3) Wszyscy strasznie pierdolą (A, co najśmieszniejsze, M.P.J. w wywiadach była przekonana że pisze wartkie, snappy dialogi)
4) Kobiety zakochujące się w najgorszych ludziach na świecie (dlaczego?). Opresyjny heteroseksualizm schodzi z niebios na bohaterki i odbiera im rozum.
Z drugiej strony - duży plus za optymizm (gatunek wymarły w twórczości).
I ta infantylność, świadoma i twórcza. Jest to jakaś antycypacja estetyki świadomego krindżu.
Mogłoby to być campowe, gdyby nie było takie drobnomieszczańsko komediowe w stylu
"Oho ho waćpan jest niedykteryjny jak konica w pastwisku au farce con passant!"
"Mrówki" i "Baba-dziwo" mają chyba najwięcej jakiegoś potencjału, ale też podcinają je pierdolo-dialogi i tandetna romcomowość (przy całym szacunku dla romcomów). Straszna szkoda że zgubiły się teksty napisane z Witkacym, ale no, nie możemy mieć ładnych rzeczy.
Camp to jedyne co może uratować te teksty. Ale potrzeba jakiegoś dużego ładunku intencji czytelniczej żeby tak to odebrać.
Inny pomysł interpretacyjny:
1) Kokaina
2) Jazz
Ale czy to jest coś co może utrzymać cały tekst?
Displaying 1 of 1 review