Osterwa – An Actor in the Theatre of Life
Marzena Kuraś
mkuras@ispan.plInstitute of Art of the Polish Academy of Sciences (Poland)
https://orcid.org/0000-0003-4899-5695
Abstract
The article discusses Juliusz Osterwa’s functioning in the socio-political space. The focus is shifted from the Reduta founder’s theatre activity to his methods of operating within the sphere of public life and to his relations with decision-makers who could determine whether particular artistic undertakings would be carried out or not. Attention is paid to the network of his connections with Freemasonry, which in the interwar period had a significant impact not only on the social or political reality, but also on artistic life. Interested in esotericism, anthroposophy and romantic spiritualism, Osterwa was a member of the first Masonic lodge established in independent Poland; he had extensive contacts in the Freemasonry circles, and he used them to pursue his theatre plans. The article also offers a reflection on Osterwa’s activity as an artist-cum-social activist and a citizen artist, often connected with the ideals of Freemasonry. By linking selected episodes from Osterwa’s biography with their historical and institutional contexts and religious-esoteric inspirations, the article demonstrates various aspects of the artist’s personality and his complicated relations with the authorities in the interwar period and in the first years after the war. (Transl. Z. Ziemann)
Keywords:
Juliusz Osterwa, Reduta, Mieczysław Limanowski, Freemasonry, Polish theatre 1918-1939, cultural politicsReferences
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Authors
Marzena Kuraśmkuras@ispan.pl
Institute of Art of the Polish Academy of Sciences Poland
https://orcid.org/0000-0003-4899-5695
Historyk teatru XX wieku, zajmuje się teatrem dwudziestolecia międzywojennego i PRL-u, edytorka, m.in. korespondencji Romana Brandstaettera, Wilama Horzycy, Witolda Gombrowicza, Tymona Terleckiego. Drukuje w "Pamiętniku Teatralnym", „Twórczości”. Ostatnia książka to Dawny afisz teatralny w zbiorach Instytutu Sztuki PAN (2017). Od 1980 pracuje w Instytucie Sztuki Polskiej Akademii Nauk, kierownik Zbiorów Specjalnych.
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