Cette étude est consacrée au parcours créatif du Théâtre d'Art Polonais. Il m'a paru utile de faire des recherches sur l'origine de ce théâtre, sur les sources de son inspiration et son activité. J'appuierai mes constatations sur des citations de théoriciens, ainsi que sur des écrits des créateurs et autres interprètes de Reduta. J'aimerai présenter les créateurs du Théâtre d'Art en Pologne, leur parcours créatif dans le contexte socioculturel de l'époque, leurs réalisations en collaboration avec les auteurs des pièces présentées et leurs relations avec tous les participants à la création scénique. Un point important de mon travail consiste à retrouver et à classifier les éléments caractéristiques des représentations scéniques. On peut constater que les conditions et les circonstances assez spécifiques du travail créatif de Reduta ont donné une existence autonome et unique aux oeuvres présentées. Un examen approfondi de documents et d'articles, conjointement à l'étude de l'iconographie permettra de dégager les caractéristiques principales des ouvrages analysés et présentés et de définir leur structure. Mon objectif est d‟arriver à faire une synthèse permettant de définir l'esthétique et la spécificité des créations théâtrales du Théâtre d'Art Polonais. Je ferai donc la description des quatre périodes caractéristiques de l'activité de Reduta : la Première Reduta Varsovienne (1919-1925), Reduta à Vilnius (1925-1930) et la Deuxième Reduta Varsovienne (1930-1939), la Quatrième Reduta (1939-1946). Enfin, je situerai ce théâtre dans un courant européen de renouveau artistique en précisant les voies de son évolution à travers une multitude d'évènements artistiques, en montrant ses aspects innovateurs et ses transformations au cours de la longue période de son existence. / I devote my studies to the creative activities of the Polish Art Theatre, called Reduta, against the background of general European culture. I would like to focus on searching for the sources of this theatre, on all aspects which provided its inspiration and paved the way for creative action. I will base many of my reflections on the theories and quotations of the theorists of this theatre, as well as on the thoughts of its creators expressed in many works, as for example in memoirs or letters addressed to their closest associates. I would like to present the creators of the Polish Art Theatre such as Juliusz Osterwa and Mieczysław Limanowski, in order to indicate certain aspects of their private lives, their artistic ambitions, their memoirs, their theoretical work, their road and their aspirations for excellence in the theatrical domain, most fully expressed in the innovative directing and acting aspects of the artistic creations presented, based on naturalness and direct contact with the spectator. Therefore, one very important element of my study will be to determine the character of the work for this theatre and the participation of the entire theatrical team, both acting and technical, in the creation of a given show. The methodology of acting work introduced by Mieczysław Limanowski and Juliusz Osterwa was very significant in the artistic development of an actor, his means of presentation, the shaping of his creative personality. I would like to analyze and indicate three major periods in the existence of the Polish Art Theatre.

This thesis explores the use of eucharistic language in the theatre theories of three different mid-20th-century Polish theatre companies--the Reduta Theatre, the Rhapsodic Theatre, and the Laboratory Theatre--especially as expressed in the writings of their respective primary founders: Juliusz Osterwa, Mieczysław Kotlarczyk, and Jerzy Grotowski. The thesis also describes how the Rhapsodic and Laboratory Theatres inherited different elements of the Reduta tradition, and how those two diverging branches of the Reduta's legacy have affected contemporary theatre. In addition, the thesis examines how different 20th-century theatre theorists have related the eucharist to theatre, and evaluates the legitimacy of the claim that religious rituals such as the eucharist can and ought to be replaced by secular theatrical rituals. Special attention is paid to Carl Lavery's three views of the sacred: secular, theological, and a/theological. Alexander Schmemann's conception of the eucharist is used to correct Lavery's presentation of the theological sacred and to argue for the possibility of a Christian sacred theatre, or a "eucharistic theatre." The thesis defines the concept of a eucharistic theatre; demonstrates the extent to which the Reduta, Rhapsodic, and Laboratory Theatres meet this definition; and suggests some ways in which a eucharistic theatre may be created today.

1 ABSTRACT This thesis describes the theatre reform at the turn of 19th and 20th century in its wider sociocultural concept. It focuses on the reaction of theatre to the modernistic crisis of European culture and society. Modernism is understood here according to its wider thematic and chronological definition. Modernism is based on the conception of machine civilization as it was defined by a Polish sociologist Jerzy Jedlicki. Jedlicki places the rise of modernistic cultural formation into the second half of 18th century which is when a steam engine was invented and it was a time of social turbulence and changes in human spirituality. Another theoretical frame of the thesis is created by utopia phenomenon as it was defined by Jerzy Szacki. Second half of 20th century is considered to be the end of modernism, inasmuch the utopic visions which had been placed on theatre faded away. The main topic of the thesis is Juliusz Osterwa's and Mieczyslaw Limanowski's theatre studio Reduta. It was founded in Warsaw in 1919 and it was to a great extend inspired by Moscow theatre studios of Stanislavsky and by Polish theatre sources (Stanislaw Wyspianski). By studying selected examples, the thesis studies Reduta as a realisation of modernistic utopia when theatre was supposed to carry a special mission in renaissance of...