Book contents
- A History of Polish Theatre
- A History of Polish Theatre
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Acknowledgements
- A Note on Terminology
- Introduction
- Chapter 1 Where Is Poland? What Is Poland?
- Chapter 2 Staropolski (Old Polish) Theatre
- Chapter 3 The Public Stage and the Enlightenment
- Chapter 4 Romanticism
- Chapter 5 Mapping Theatre (I)
- Chapter 6 Mapping Theatre (II)
- Chapter 7 Modernist Theatre
- Chapter 8 Avant-Gardes
- Chapter 9 Theatre during the Second World War
- Chapter 10 Political Theatres
- Chapter 11 Ritual Theatre
- Chapter 12 Actors and Animants
- Chapter 13 Writing and Dramaturgy
- Chapter 14 Theatre Ontologies
- Index
Chapter 1 - Where Is Poland? What Is Poland?
Published online by Cambridge University Press: 09 December 2021
- A History of Polish Theatre
- A History of Polish Theatre
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Acknowledgements
- A Note on Terminology
- Introduction
- Chapter 1 Where Is Poland? What Is Poland?
- Chapter 2 Staropolski (Old Polish) Theatre
- Chapter 3 The Public Stage and the Enlightenment
- Chapter 4 Romanticism
- Chapter 5 Mapping Theatre (I)
- Chapter 6 Mapping Theatre (II)
- Chapter 7 Modernist Theatre
- Chapter 8 Avant-Gardes
- Chapter 9 Theatre during the Second World War
- Chapter 10 Political Theatres
- Chapter 11 Ritual Theatre
- Chapter 12 Actors and Animants
- Chapter 13 Writing and Dramaturgy
- Chapter 14 Theatre Ontologies
- Index
Summary
This constellation brings together two essays that address the questions ‘Where is Poland?’ and ‘What is Poland?’ Krzysztof Zajas argues that there is no such thing as one Polish culture, while showing how constructions of the ‘centre’, be it in the form of ‘Polishness’ or ‘cultural achievements’, not only homogenize but mask the work of Polonization and colonization in its attempts to subordinate Lithuanian, Ukrainian and Belarusian lands. Dorota Sajewska shows how after 1989 two narratives re-emerge simultaneously, the harmed Slavic subaltern and an interest in multicultural heritage paired with colonial influence in the borderlands. While she uses Stanislaw Wyspianski to constellate the local and transnational in order to position Poland within a global cultural archive, Sajewska’s primary focus is on racialized forms of violence and the sideways or peripheral glance at European history that allows new understandings of epistemological traditions in historiography and the decolonisation of knowledge production.
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- A History of Polish Theatre , pp. 16 - 43Publisher: Cambridge University PressPrint publication year: 2022