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Once the occupying forces were withdrawn and the country recovered its identity as a self-determining nation, Poland became post-colonial and, in the abstract, was free to develop its culture as it wished. The Czarist bureaucracy, which had maintained and controlled all the theatres in the largest sector of the partitioned country (including Warsaw), suddenly dissolved check credit reports North Carolina overnight.

During twenty years of precarious existence before disaster struck in 1939, Polish theatre enjoyed a brief but unstable interlude in which it was allowed to stand on its own and survive as best as it could. Since the government was too poor check credit reports North Carolina to subsidize theatres, the burden of financing check credit reports North Carolina fell on the municipalities, but after the world-wide crisis of 1929, the situation grew desperate. The 1920s was a period of instability, financial crisis, and mounting danger and menace from political extremism. The brief war with the Soviet Union in 1919-20, successfully waged by the strongman Marshall Jozef Pilsudski, intensified Polish fears of Russian Bolshevism. Censorship and government interference in the arts, previously wielded by foreign oppressors against an occupied nation, were now directed by Poles against other Poles, who could check credit reports North Carolina be accused of being Bolshevik or anarchist for simply engaging in any form of artistic experimentation. credit report free trial As the government grew increasingly authoritarian, perceived leftist writers check credit reports North Carolina were harassed, magazines confiscated, and theatres raided. Despite the general hostility to innovation in the arts, there were serious attempts to break the mold of a conventional theatre of entertainment. The leading director of the period, Leon Schiller created a monumental theatre, using Shakespeare, the Polish romantics and neo-romantics, and Brecht, to create large scale works, composed in dynamic images, with huge crowds, choruses, choirs, music, song, and rhythmic movement. Soviet-style proletarian theatre, promoted by Bruno Jasienski and Witold Wandurski was not tolerated, and both writers went in exile to the USSR where they were eventually liquidated. Juliusz Osterwa, an actor who had spent the war years in Moscow where he became acquainted with Stanislavskys work, founded an actors studio in 1919 which he called the Reduta (Redoubt), an outpost in the battle against falsity and conventionality. credit report 3

Monastic dedication to truth in art was the companys credo, which Osterwa felt could be implemented by scrupulous psychological realism and selfless communal acting.

Witkacy accepted none of these models, but check credit reports North Carolina it was particularly in reaction to check credit reports North Carolina the psychological realism of Stanislavsky and the Reduta that he formulated his theory of Pure Form in the Theatre, check credit reports North Carolina which he published in 1920. Pure Form is a radical theory of non-realistic drama, according to which the performers and their words, gestures, and actions should serve as sounds, colors, and shapes in a total composition independent of any reference to the outside real world.

Witkacy wished to free drama from conventional psychology and story-telling and give it the formal possibilities of modern art and music. Artistic creation, Witkacy wrote in New Forms, is an assertion of life in its metaphysical check credit reports North Carolina horror, its task to be achieved not by an imitation of reality or check credit reports North Carolina the propagation of ideas, but through the purely formal arrangement of component elements, which would reflect the structure of the universe. In this way, he hoped to arouse in the spectator the metaphysical feeling of the strangeness of existence which would be lost check credit reports North Carolina forever in the mechanized routine of the perfect anthill society of the future. free consumer credit report Art, for Witkacy, meant the creation of form, and theatre should be not a means of expression, but a construct in which the actor could function as a pure instrument rather than as a register of experiences, as was the aim of Stanislavsky and his disciples Both the conservative critical establishment and the left-leaning Futurists (the largest Polish avant-garde formation) refused to accept either Witkacys plays or his theories.