These 3 words come first to the news of Mary Boyarska's death. Her book “King Lear is dead” comes to her head – a poignant and exquisitely written communicative about matrimony to Tadeusz Lomnicki. But besides the character of her sister, the fatally forgotten, 1 of the most outstanding Polish writers in fresh decades – Anna Boyarski. specified a combination, I hope, would besides be justified in the eyes of the deceased, due to the fact that as she wrote, they were a kind of inseparable triumvirate, likewise looking at the planet and fighting with it. Maria Bojarska was the last surviving associate of this triumvirate.
All 3 of them lived in the large planet – Warsaw, the environment of actors and directors, although Maria liked loneliness most, it is the domain of Mary and Tadeusz. While politics, the planet of left-wing radicals, and even Baader-Meinhof terrorists, are the fascinations of Anna, but besides the PRL practice of Tadeusz Lomnicki.
All 3 of them rebelled against these worlds, or better yet, they defended themselves against them. They wanted to get to know them, and besides, they wanted to live and create, and the environment, the world, the politics, they caught them by the neck and painfully reminded them that, as in Shakespeare, our landslide not only is full of woman Macbeth, Jagons, Calibans, Goneryl and Edmunds, and Cordelia and Counts of Kent happen, but rarely.
Tadeusz Łomnicki, possibly the most prominent Polish actor after planet War II, in the last period of his career, erstwhile he achieved depth and mastery in art, as he and his wife joked, cosmic, was in a sense unemployed. I mean, not only was he not like most acclaimed actors and directors of his age manager of the theatre, but he could not even get a permanent occupation in any of them. What is characteristic, his chances of uncovering unchangeable employment dramatically diminished after all phase success and ovation of the audience (when he acted hospitablely with his colleagues). Just surviving in the theater. But there was a theatre, specifically King Lear in life.
Lomnicki was before martial law for many years not only organization but sat in KC itself as his full member. He enrolled in the organization inactive in the Stalinist era in 1948 or 1951 as a twenty-one-year-old or twenty-four-year-old boy, though he had previously been a soldier of the Grey ranks and the AK. As he claimed, socialist ideas were close to him. KC became a associate during the reign of E. Gierek. He did not quit organization affiliation during Solidarity, but gave up his legitimacy after martial law. He had previously resigned from being the rector of the PWST, as well as the directorship of the celebrated Theatre in Wola, founded by him. Unlike his surviving as well with the authority of his colleagues, frequently organization and then passionate solidarity neophytes, he consistently denied any political commitment from that moment, chose silence and work.
And as with King Lear, it proved to be a political mistake and a life mistake. On the 1 hand, he was not spared his “comuching”, calling, for example, for boycotting his performances during the tour of Australia. On the another hand, the deficiency of a strong professional position not only exposed to humiliation, but made artistic implementation difficult. It is very possible that it affected wellness and premature death on phase – during the rehearsal in Lear's dream role. Not in Warsaw or Krakow, but in Poznań.
He was a large artist, but a good man emerges from Maria Bojarska's book, always trying to do as much good as possible in this world. This is how he treated his rectoring (in the Warsaw State Higher Theatre School – ed.), which he started with a tedious reading of laws and regulations. He treated their cognition as a essential training of a soldier fighting for his cause.
This integrity in everything, striving for perfection, being a man of good work in the best sense of the word, meant that in the planet of Polish mediocrity, where more crucial than quality is his ownness, he was disliked, though the outbursts of unbridled anger besides did their own. Anna Bojarska wrote in a posthumous essay about her large brother - in - law: “When it was essential to choose between perfection and success, he always chose perfection. erstwhile it was essential to choose between the chance of his own fame and loyalty to others, he chose loyalty.
This Polish Lear did not think only of himself, he may not even have thought first of himself" (quote for “King Lear is dead”, p. 299). He was friends with the greats of this world. During his illness Roman Polanski helped him (he financed heart surgery and recovery in Paris). He was wanted to cooperate with prominent Western creators, yet he was lonely and surely there was no shortage of bitterness in his heart. Busy with their affairs, younger wives and their careers, fellow artists, even friendly, did not always have time and mindfulness to see it. He saved him and Maria a large distance to himself, an autoiron, a cognition of Shakespeare, whom they constantly quoted and whose wise quotes are full of Maria Boyarska's book.Anna Boyarska is simply a different temperament. Maria calmly walked a centimeter into the corners of the human interior, exposing with a scalpel further tricks, masked filth and malice like Witkaci in "Unwashed Souls". She mysteriously blended countless anecdotes, tastes of life and behaviours of well-known stars of Polish cinema and theatre into her story. Anna and her writing are as profound as Witkacy is, but in a very different style.
Maria was, as she liked to repeat the opinion of the company about herself, very “sophisticated”. Anna as a author was more energetic, bravado even in ideas as well as in the cuts of human souls and recesses of subconscious. And that's how it was read, till morning, until the end. In addition to Józef Mackiewicz's prose and publicist, “Agitka” Anna Bojarska was the top literary hit of the 1980s underground publishing houses, although she had already had difficulty publishing (from writing until the 1987 edition it must have been 5 years) as “controversial” due to the fact that she showed in a disunited light the heroes of the solidarity underground.
However, a real breakthrough in writing about politics, and as a consequence in her life was her book “What Augustus taught me”, in which she showed the figures of the idols of the solidarity camp, Kuronia and Michnik. She showed them as people possessed of the desire to gain power and skillful political shrewd men willing to fulfill their goals to sacrifice everything: friendships, love, and above all ideals.
August – Kuroń is for Gucia – Michnik a mentor who introduces him into the arkana of politics already in school, where 1 is compplexed and oppressed by fellow students, and the another comes on behalf of the territory Committee to conduct political talks. This survey begins with the hunt by a group of students commanded by August on alleged bikiniists in Stalinist times, ending with an interrogation in which August plays a good policeman, which, however, will not prevent a girl dressed besides boldly from being disfigured and humiliated by a violent interlocutor who forces the victim to eat cut besides long, and above all dissolved hair. August, and this is an excuse for him to be shocked by this scene of Gucia.
Then comes the time for successive stages of introduction and, we would say today, the messages of the day, adapted to subsequent discoveries of scholars of the past course. In time it turns out that the revolution is not the most important, but it is to lead it. Augustus retains a certain degree of delusions that are only gradually shrinking under political disasters. What is different is Gucio, who “knows languages” and has had respective conversations with the powerful of this world. This 1 knows that power is sitting in the rear row and having the means to form existence and consciousness. And we don't know what's first.
This revelation could not be forgiven, and as 1 of the journalists of the NAK monthly magazine wrote: “Anna Bojarska – or even more of her work – overshadowed the evil fame of the scandalist who became a hostage (romanse with leading opposition representatives, political “fail” and conflict with the owner of the influential press company were to conviction her to silence)”. In practice, this meant the silence of the name, including the refusal to print in Gazeta Wyborcza an obituary of the deceased mother, who wanted to place a friend, difficulties in publishing, distributing and popularizing books, and for the author herself the failure of the ability to compose columnaries and articles to the press, even in women's writings.
Anna Bojarska, photograph by Klaus Dąbrowski / CC-BY-SA-0.0 via WikimediaThis silence of Anna Bojarski was even more effective than the relegation of Tadeusz Łomnicki, whose creations of well-known public, specified as the monumental function of Mr. Volodyjowski in 2 parts of the trilogy inactive from the times of the Polish People's Republic, could not be simply erased from the memory of viewers. Besides, he died early adequate to be necessary. Bojarska disappeared almost completely and left for Paris. What this may have meant to her is best demonstrated by Vladimir Volkoff's words: “»The actual calling of a author is to become a public person. Writing is only a means of achieving this goal.” That's right. Or possibly it is something little same - centered, to bring others into their world. Make them see what we see, feel what we feel. Yeah, selfish again. But it's stronger than anything. This cannot be fought... In fact, specified a desire is unfortunate. This cannot be fulfilled” (p. 87).
It is hard to give a better description of the artist's vocation, but... but besides the ideologied politician, hence the shadow of his sympathy for Augustus and the perplexing description of the household of Gucia – old Stalinists with a brewing reminiscent of cleaning times, subsequent breakthroughs like adventures on the front told by those fortunate ones who came out of them safe and sound, and in old age though in the second line, they inactive enjoy the estim of old and fresh companions, in comfortable but to keep proletarian appearances after partying neglected housing, drinking vodka and smoking inexpensive cigarettes.
