FORGOTTEN NINETEENTH-CENTURY DRAMAS AS A SOURCE OF INFORMATION ON THEATRE (Zapomniane XIX-wieczne dramaty jako zródlo informacji o teatrze)

Numerous theatrical plays feature autothematic motifs. Motifs of this kind can serve as an indirect source of knowledge on theatre life, actors, theatre entrepreneurs, audience behaviour and even repertories of a given epoch. The article analyses several examples of this sort, organised into three sets. The first group consists of dramas in which at least one character is a theatre man: an actor, an entrepreneur, a dancer, or even a playwright (for example: two plays by Ludwik Adam Dmuszewski, Aktorowie z Elizejskich Pól, 1801, and Slomiany czlowiek, czyli Teatr w Sochaczewie, 1821; Serdeczna przyjaciólka, 1852, by Stanislaw Boguslawski; Natura wilka wyciaga z lasu by Wladyslaw Syrokomla, 1860). The second group is made up of the dramas whose action takes place at a theatre (for example, Zareczyny aktorki by Józef Korzenowski, 1845). Finally, the third group comprises dramas in which there are specific references to theatre life, audience behaviour, repertories, or even particular performances (for example: Figlacki udany ojciec by Ludwik Adam Dmuszewski, 1819; Panna mezatka by Józef Korzeniowski, 1844; Stara romantyczka, 1837, and Stoliki magnetyczne, 1853, by Stanislaw Boguslawski).