Literackość jako pułapka. Wokół wybranych inscenizacji "Białego małżeństwa"

Tadeusz Różewicz made it clear on numerous occasions that "The White Marriage" is a drama for reading, to a large extent independent from theatre. It is dominated by the mighty figure of the author who controls the meanings of the workand the impressions of its readers. At the same time, however, these meanings are programmatically disturbed and diffused by inconclusive clashes of various dialects and conventions. Różewicz’s text, which deftly oscillates between open and closed form, derives its power precisely from this paradox. Its peculiar literariness poses a challenge for theatre artists. This article compares production strategies of four directors who took up the challenge: Tadeusz Minc and Kazimierz Braun in 1975, and Krystyna Meissner and Weronika Szczawińska in 2010. The thirty five years that passed between the productions saw some shifts in the approach to authority of the text and the author as well as some changes in how the relation between a drama and its theatre production was conceived. Yet "The White Marriage" still puts up much resistance against theatre as if it preferred to remain the theatre in a book.