Z badań nad działalnością teatru obozowego w Arswalde 1940-1941 i Woldenbergu 1941—1945
Abstract
This article describes a fragment of studies on activités of camp theatres at
Arswald and Woldenberg between 1940— 1945. It starts with a short characteristic
of the repertoire, founders of the theatres, actors, and audience. The camp theatre
was established and run exclusively by prisoners of war, and it had a definite
soldier-audience. This exerted an influence on its repertoire and determined its
function among the camp community. The analysis encompasises the texts of Stefan
Flukowski (1902— 1972) written at Arswald and Woldenberg in the years 1940—1945
for the local theatrical stage. In these works of special interest is application of the
symbol by the author. The symbol was holding a specific place in the creative
work of camp theatres. There were introduced these symbols on the sta g e the
materialization of which included the contents being most valid for the camp
community. These were national symbols: Wawel Castle, King Sisigmund's Bell,
knights' ensigns so valuable for a soldier-prisoner as well as symbols linked with
the camp life and the personal situation of prisoners. The problems of captivity
and confinement on a relatively small area of several thousand men were of the
utmost significance here. This fact caused that some subjects became an obsession
with prisoners e.g. problem of love, woman, longing, need of fulfilment as a man
or of finding confirmation for oneself. The theatre moving all the se problems on
the stage was performing a cathartic function in relation to spectators. It was the
only place where a spectator was getting involved in these emotions and this
experience, which he could not express or respond to otherwise because of the
censorship and specifics of the camp community. It was purifying the psyche of
spectators, raising their spirits, and giving a hope for survival.
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