Felix Płażek’s Reception of Antiquity

“Napięty łuk” (The Tense Bow)

Abstract

Feliks Płażek is not one of the famous creators of Young Poland. He was mainly associated with the artistic communities of Vienna, Lviv, and Krakow. His person and work were quickly forgotten. He left behind several dramas with ancient and Slavic themes. His dramatic works fit well into the history of theater at the turn of the 19th and 20th centuries, the times of the Great Theater Reform. They testify to the growing interest in antiquity, including ancient tragedy, transformed in a special way by European and Polish artists. Napięty łuk (The Tense Bow, 1931) is not Płażek’s first drama with an ancient theme. It was preceded by such plays as Elektra (1904), Eirene (1907), Legenda o królowej Alkestis (The Legend of Queen Alkestis, 1911), Ardea (1925). Only two plays, Eirene and Elektra, were performed on stage. Płażek’s ancient dramas did not have good reviews. However, the playwright developed his own way of reading antiquity. Napięty łuk is inspired by Euripides’ Phoenician Women. Płażek borrowed the motif of two brothers fighting and sacrificing their own lives. By transforming the content of the tragedy, he gave the threads a different meaning and created his own myth. He was interested in matters of human existence, suffering, rivalry, hatred and passion. His drama is not an imitation of Greek tragedy, but comes close to symbolic and poetic drama. The Płażek’s theater is a variant of the theater of death.