By Theatre Institute in Warsaw
Theatre Institute in Warsaw
What was Reduta?
Reduta is the first Polish theatre laboratory. Active between 1919 and 1939 in Warsaw (1919–1924 and 1931–1939), and Vilnius and Grodno (1925–1929). The group inaugurated their activities on 29 November 1919 in the Reduta Rooms at Teatr Wielki in Warsaw, at the disposal of Jan Lorentowicz. The founders of Reduta, Mieczysław Limanowski and Juliusz Osterwa, created a modern chamber theatre, a disciplined theatrical group and a school comprehensively educating stage artists (the Reduta Institute, active from 1921 alongside the theatre). From the beginning, Reduta combined pioneering laboratory explorations with pedagogical activity and repertory theatre work. Over time, Reduta shifted towards touring activities (the Vilnius period, 1925–1929), as well as studio and pedagogical work (the Warsaw period, 1931–1939).
Reduta – banner by UnknownOriginal Source: The Zbigniew Raszewski Theatre Institute
Over its twenty-year activity, Reduta was the space for some extremely bold experiments, a breeding ground of acting talent and a school, a home for theatre crafts, as well as a community of people characterized by their complete devotion to the art of theatre, good work ethics, and social engagement. In the post-war years, they helped shape Polish theatre and educate subsequent generations of artists.
Audience in Reduta Rooms by Saryusz-WolskiOriginal Source: "Tygodnik Ilustrowany" 1919, no. 47-49
The name "Reduta" literally refers to the theatre’s headquarters in the Reduta Rooms (i.e. ball rooms). Metaphorically, “Reduta” refers to a military base, a defensive fortification, and brings to mind the memory of the heroic "Reduta Ordona" [Ordon’s Citadel] from Adam Mickiewicz’s poem. A white room with thirteen rows of white seats in the stalls and one row in the dress circle could seat an audience of 292.
Reduta’s Founders. Juliusz Osterwa
Born Julian Andrzej Maluszek in Podgórze in Kraków on 23 June 1885. He came from a poor family – his mother was a midwife, his father a janitor in the municipality. He was orphaned early and by middle school was forced to become completely independent. Deprived of familial and financial support, he would either live with distant relatives, frequently moving homes, or would be taken in by strangers (including the Schillers). This however allowed him a great degree freedom and the opportunity to freely choose his path in life. At the age of eighteen, he decided to drop out of school before taking his final exams [matriculation] and to join a theatre company. He went to Lviv and applied for a job at the theatre run by Tadeusz Pawlikowski. When the latter turned him away, he returned to Kraków and tried his luck there. Eventually Kazimierz Gabryjelski, the managing director of the popular Ludowy Theatre [People’s Theatre], hired him. Not only did Osterwa learn the basics of the acting profession there, but he also made the acquaintance of actors who went on to become his lifelong friends and co-workers: Stefan Jaracz and Maria Dulębianka. During this period, his school friend Leon Schiller came up with his artistic pseudonym: Osterwa, as in the name of a peak in the Slovak Tatra Mountains. The budding actor performed with the Zielony Balonik [Green Balloon] cabaret at Jama Michalika, parodying his contemporaries, other dramatic artists, which didn’t win him the favour of his colleagues from the theatre. In 1905, Osterwa was employed by Teatr Miejski [Municipal Thatre] in Kraków, where he played supporting roles. He faced the animosity of the more established stars, and the style and the working style of the theatre annoyed him. Disenchanted, Osterwa left Kraków and performed in theatres in Poznań and Vilnius, where he was cast his first leading roles that ensured he was finally noticed and brought on his first successes. Thanks to his boyish charm, lightness of acting, subtlety of expression, and subtle looks he also gained public recognition.
Juliusz Osterwa (1885 – 1947) (1913) by UnknownTheatre Institute in Warsaw
Perfect for the parts of suitors and lovers, in 1910 Osterwa was employed in Warsaw by a farce company. However, two years later he moved to the Rozmaitości Theatre. There, he achieved recognition playing royal characters, such as Sigismund II Augustus in "Królewski Jedynak" [The Royal Only Child] and "Złote Więzy" [Golden Ties] by Lucjan Rydel, and as the Prince of Reichstadt in "L'Aiglon" [Eaglet] by Edmond Rostand. His fast moving career was interrupted by the outbreak of the First World War. In 1915, as a citizen of the Austrian empire, Osterwa was interned and transferred to central Russia. With his wife Wanda (née Malinowska), whom he had married in 1912, and their one-year-old daughter, Elżunia, Osterwa settled in Samara. Then in 1916, he went to Moscow where Arnold Szyfman has organised a Polish theatre company. There, he had an opportunity to meet Konstantin Stanislavski and see the work of the First Studio. Finally, he spent two years in Kiev (from August 1916 to August 1918). This "Eastern period" was an extremely significant time in Osterwa’s artistic life.
Juliusz Osterwa by UnknownOriginal Source: Theatre Museum, Materials from Szczublewski’s archive
Osterwa did not terminate his theatrical activity, organizing shows for Polish audiences in Samara – together with Wincenty Drabik, he staged "Betlejem Polskie" [Polish Bethlehem] based on the motifs from the drama by Lucjan Rydel, with excerpts from "Pan Tadeusz" [Master Thaddeus] and "Wyzwolenie" [Liberation]. In Moscow, he directed a number of plays: |Wesele" [The Wedding], "Fantazy", "Bolesław Śmiały" [Bolesław II the Generous], "Lekkomyślna siostra" [The Reckless Sister], and played parts in the great romantic and post-romantic repertoire – Fantazy and Father Piotr in "Wieczór Poezji" Mickiewicza [Evening with Mickiewicz's Poetry], Ślaz in "Lilla Weneda", the Groom in "Wesele" [The Wedding]. In 1918 in Kiev, he established an independent company in the “Ogniwo” Club, which can be regarded as the prototype of Reduta – actors shared both box office takings and duties, including administrative, economic and technical tasks; they did not respond to applause, decisions were taken collectively by the majority of votes. Common ideas and a desire to reform Polish theatre brought Osterwa closer to Mieczysław Limanowski, who was in Moscow at the time. After returning to Poland, together they founded Reduta in 1919.
Juliusz Osterwa with his wife, Matylda neé Sapieha (1940/1941) by UnknownTheatre Institute in Warsaw
In 1937, Osterwa married Matylda neé Sapieha, whom he involved in the theatre’s work: she took part in tours and supported her husband with organisational issues. During the war, which they spent mainly in Kraków and the nearby Sciborzyce, their daughter Maria was born. Under the Nazi occupation, Osterwa did not perform in official theatres. Instead he devoted himself to writing. In his notebooks, he drew up a new system of theatre terminology, replacing words of foreign origin with Polish equivalents. However, he failed to implement any of these projects.After the war, Osterwa briefly became the managing director of Kraków theatres – the combined Słowacki Theatre and Stary Theatre – and the headmaster of the National Drama School in Kraków. He also directed stage productions in Łódź, Warsaw and Kraków. Juliusz Osterwa died in Warsaw on 10 May 1947 and was buried in the Salwator Cemetery in Kraków.
Maria Niedzielska, Juliusz Osterwa, Stefan Żeromski (1925) by UnknownTheatre Institute in Warsaw
Osterwa headed Reduta until the outbreak of the Second World War, directing, playing the main parts, educating future artists at the Reduta Institute, leading tours, and often contributing to the maintenance of the troupe from his own income. He was simultaneously the director of the National Theatre in Warsaw (1924/1925), the director of the Juliusz Słowacki Theatre in Kraków (1932–1935), and took part in touring productions throughout Poland. The death of Wanda Osterwina in 1929 coincided with the closing of Vilnius Reduta, financial collapse, and return to Warsaw.
"Trifler" by Jerzy Szaniawski (1923-01-12) by Jan BułhakOriginal Source: Theatre Museum
As Józef Szczublewski declared, Osterwa was “an all-round theatre man”: an actor, director, teacher, the creator of the idea of school theatres and theatre pedagogy, as well as a social activist, a “prophet” and visionary of the newly reformed theatre in Poland: theatre that should not pander to the tastes of audiences, the theatre of the live word (“Słowopełnia”, “Żywosłownia”), in which the actor is not a instrument, but a creator with high morale, work ethic and a level of craftsmanship allowing him to embody the words of great bards. Such theatre would not provide entertainment, but rather lead to the transformation of both the viewer and the actor.
Juliusz Osterwa (1926)Theatre Institute in Warsaw
Reduta’s Founders. Mieczysław Limanowski
Born in Lviv on 6 January 1876, the son of Bolesław Limanowski, a socialist activist, and a teacher, Wincentyna (née Szarska). After graduating, he studied engineering at the Lviv Polytechnic. In 1899, he moved to Zakopane for health reasons. He conducted geological research there, published his first scientific articles, and worked for the Tatra Museum. He also became a private teacher of Stanisław Ignacy Witkiewicz. In 1903, met a Swiss geologist, Maurice Lugeon, and soon left for Lausanne where he completed a doctor’s degree. At the same time he developed an interest in the theatre: he published reviews and drew up projects of productions (e.g. Norwid’s "Krakus" to be staged in a circus arena). In 1915, along with Aleksander Zelwerowicz, he became the managing director of the Powszechny Theatre in Warsaw and staged Le Cide to little critical acclaim. Following the outbreak of the First World War, he was forced to leave for Russia. In Moscow, Limanowski became closely acquainted with Konstantin Stanislavski and worked with the First Studio. At that time he also got to know Osterwa better. After his return to Warsaw, Limanowski established the Adam Mickiewicz Polish Studio of Theatre Arts, where, along with other artists, including Józef Poremba and Halina Kacicka, he worked on "Dziady" [The Forefathers’ Eve]. Osterwa, who was interested in the activity of the group, suggested that they collaborate and, in 1919, they set up the Reduta together.
Mieczysław Limanowski (1876-1948) by UnknownTheatre Institute in Warsaw
Limanowski became the group’s manager. From then on, he mainly conducted analytical rehearsals of the dramas that were to be staged, directed performances, managed the internal affairs of Institute, where he also held theoretical classes, and participated in Reduta’ tours. He was also the co-creator of Reduta’s programme and ideology; he prepared the talks delivered before performances, as well as promoted Reduta’s activity in polemics and features in the press. From 1921 to 1923, Limanowski was also a member of the board of the Association of Polish Stage Artists (ZASP). He did not neglect his academic work, holding lectures at the Faculty of Humanities at Free Polish University (Wolna Wszechnica Polska), and worked at the National Geological Institute in Warsaw. After Reduta’s move to Vilnius, Limanowski became professor of geography at the Stefan Batory University in Vilnius, temporarily suspending his collaboration with the group. When the company returned to Warsaw, he carried on living in Vilnius, but still took part in the work of the Institute, working on subsequent stage productions, including: "Intryga i miłość" [Intrigue and Love] 1932, "L'homme que j'ai tué" [The Man I Killed] 1932, "Betlejem Polskie" [The Polish Betlehem], 1934 and "Pierścień wielkiej damy" [The Grand Dame’s Ring], 1936.
Mieczysław Limanowski by UnknownOriginal Source: Theatre Museum, Materials from Szczublewski’s archive
In the 1930s he was a regular contributor to the Vilnius daily newspaper “Słowo”, writing reviews and the mentor of the Dramatic Society at Stefan Batory University with whom he staged several performances, including "Dziady" and a miracle play about St. George. In his work, Limanowski skilfully combined his two passions: during analytical rehearsals he used terms and examples derived from geology, whereas in his scientific work he often referred to literary works. In spite of having a ridiculous streak (his critics pointed out a certain negligence in the way he dressed, absent-mindedness and a tendency to grandiloquent speeches), he was a highly respected scholar and the author of original interpretations derived from esotericism (e.g. of "Wesele" or "Balladyna"). Osterwa held Limanowski in high esteem, always took his opinion into account and valued him as a partner in discussion, which is best evidenced by their correspondence (collated and published in 1987 by Zbigniew Osiński).
Mieczysław Limanowski with students from the Vilnius University (1936-09) by UnknownOriginal Source: The National Digital Archives
In Osterwa’s view, Limanowski was the epitome of Reduta’s spirit. Limanowski spent the Nazi occupation in Vilnius. After the Second World War, he was repatriated to Toruń along with other Vilnius professors, where he became a professor of geography at Mikołaj Kopernik University. He continued working with young people in the field of education, although he no longer dealt with theatre. Mieczysław Limanowski died in Toruń on 25 January 1948. He was buried in St. George Cemetery in Toruń.
Reduta on tour, Kobryń (1924) (1924) by UnknownOriginal Source: The Institute of Art of the Polish Academy of Sciences, The Wierciński collection
Limanowski’s contributions to creating Reduta’s working methods, text analysis and conducting analytical rehearsals are invaluable. He created an original, holistic and ecological vision of culture in which theatre was an element of a ceremonial cycle and played an important role as the centre of spiritual and social life. In the early 1990s Zbigniew Osiński edited and published two volumes of Limanowski’s writings: “Duchowość i maestria”. “Recenzje teatralne” 1901-1940 [Spirituality and Mastery. Theatre Reviews 1901–1940) (Warsaw 1992) and “Był kiedyś teatr Dionizosa” [Once upon a Time: the Theatre of Dionysus] (Warszawa 1994).
Reduta's ideology
The ideological postulations of the company were set out by Eugeniusz Świerczewski in a feature entitled "Reduta", published in the third issue of the magazine “Scena Polska” in 1922. “The bases of the artistic ideology of the Reduta should not be derived from the influences of Stanislavski and his system of “experiencing”, which for Reduta is only one of the means to achieve its artistic goals. In fact, the bases of this ideology should be sought in Wyspiański’s concept of theatre. The dream of Reduta’s leaders is to bring to life his enormous artistic legacy. The way to achieve this is to implement the truths revealed in his book on Hamlet. As a matter of fact, what we find in Wyspiański’s works is the highest revelation of the Theatre of Truth that Polish artistic thought has ever achieved. Wyspiański’s ideal is “theatre preaching the truth, protected by the laws and judgements led by God’s hand.” The theatre is to become a space for “spiritual miracles”. Fort his to be possible, actors must undergo a transition and make an offering before the eyes of the viewer. For this, they must be adequately prepared – trained in the craft and spitituality.
National and Cultural Mission of Reduta by UnknownOriginal Source: "Światowid" 1926 No. 46
Following Norwid, Osterwa defined art “as the highest of the apostles' crafts and the angel’s most humble prayer.” The actor's work is to be not only a means, but also an end, “is to fit in with his own truth, struggle with his own issues” (Świerczewski 1922: 3). The actor must be aware of the responsibility that lies with him, the responsibility for the word, for the character, for its stage rebirth – “the truth of created things must become a matter of the actor's own soul” (ibid). This was to be achieved through practical exercises: working with the text (great emphasis was placed in Reduta on read rehearsals and analytical rehearsals often conducted in the presence of the authors and with their participation), the idea of teamwork, eliminating the cult of "celebrity", ensuring close contact with the actor, purging the sins of the theatre of old: the prompts box and intermissions, and breaking with coquettish behaviour towards the audience, which led to the actors not responding to applause.
Scenography for Mazepa (1926) by UnknownOriginal Source: The Institute of Art of the Polish Academy of Sciences
Osterwa wanted to simplify the set design and simultaneously give it a special meaning – for example, the actors themselves decided on the choice of props, giving them a personal touch. For this artistic commune, the process of creating the production was important – often, rehearsals that did not result in a show were conducted (e.g. Norwid’s "Krakus"), rehearsals were conducted in the open air, and field trips were conducted (the group's trip to Zakopane before working on Orkan’s "Pomsta").
From the work of the "Reduta" Theatre by UnknownOriginal Source: "Świat" 1925, No. 27
The spirit of collectivity was reached through common work, complete and selfless devotion to the idea, as well as the family atmosphere achieved by having meals and spending free time together, addressing others by their first name, coining and using new theatre vocabulary, mutual help and self-reliance.
Classes at the Reduta Institute by Stanisław BrzozowskiOriginal Source: Michał Orlicz “Polish contemporary theatre”, Warsaw 1935
The discipline imposed on Reduta’s members resembled that kept in religious orders (a ban on alcohol, respecting hours of silence before performances, wearing work uniforms- garments similar to monastic habits). The actors adapted to multitasking in the theatre (work in administration, help with props and sharing the tasks of the stage manager). All in all, the members of Reduta subordinated their private life to the theatre and its mission has become their common cause. As Zbigniew Raszewski put it, “Presumably Reduta’s most lasting achievement was its ethos” (Raszewski 1977: 207). The first Reduta laid the foundations of intimate acting style and created the model of modern theatre direction and modern organisation of a theatre company.
Reduta's members
The impressive list of THE MEMBERS AND COLLABOTATORS OF REDUTA (1919–1939, 1946–1947) AND DAL (1946), published by Zbigniew Osiński in "Pamięci Reduty" [Memory of Reduta] includes hundreds of names of actors, set designers, musicians, fine artists, directors, writers, scientists, students of the Institute, administrative and technical staff – "since they were all Reduta members" (ibidem, 580). They didn’t all belong to one generation. The oldest Reduta members were born in the mid-19th century (actress Teofila Szymanowska in 1847, actors Józef Mikulski and Mikołaj Turczyński in 1849 and 1855 respectively), and the youngest – students from the Okop and the members of last Reduta Institute were born in independent Poland.
Leon Schiller, Juliusz Osterwa, Stefan Jaracz, Mieczysław Limanowski, Modlin (1923) by UnknownOriginal Source: The Theatre Museum
The age difference between the youngest and the oldest amounted was over seventy years. The youngest generation was decimated during the Nazi occupation – they were killed during the Warsaw Uprising, in concentration camps, or in guerrilla warfare. After the war, Reduta members gathered every year on 29 November in order to celebrate the anniversary of the Reduta, as well as to pay respects to the memory of late members of the company.