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Throughout the nineteenth-century Polish theatre had flourished as an art of the performer, but shackled by censorship and the constraints of partition and occupation, drama for the most part stagnated. The great poet-playwrights of the romantic era had written in exile or for the drawer, and their works extolling freedom were forbidden in consequence of the uprisings and bloody reprisals. In the 1890s the situation gradually began to change as the old imperial structures showed signs of approaching decline and disintegration.Because in the relatively tolerant Austrian sector government control of the arts was less stringent, writers and artists inspired by the new modernist trends from Western Europenaturalism and symbolismmade Cracow their headquarters.A new municipal theatre, built in 1893, introduced the modern repertory of Ibsen, Hauptmann, Strindberg, and Wedekind. The old city itself was a kind of stage upon which a small band of writers, artists, and bourgeois bohemians lived theatricalized lives.

Back from art studies and theatre-going in Paris, the painter-playwright Stanislaw Wyspianski developed a uniquely Polish form of poetic drama, based on a synthesis of the arts. Using a powerful theatrical credit check free Michigan language of metaphors and images capable of credit check free Michigan embodying complex social and political issues.Polish modernist theatre was in Wyspianskis hands nationalist and liberationist in ideology. get your credit report

Zakopane was quick to adopt the new currents with which Cracow was astir.The Witkiewicz household, although modest in means, became a major center for Polish intellectual life; the talk that young Stas heard as a child was of Nietzsche, Maeterlinck, Wilde, and the latest premieres in Cracow.

Taught entirely at home by tutors (prestigious friends of the family from the world of the arts and sciences), according to his fathers radically nonconformist educational principles, Stas was encouraged to develop his talents freely in many directions. The aim was to transform the boy into an independent spirit capable of credit check free Michigan standing above the herd, but dedicated to public service and the national cause.By the age of five Stas was painting and playing the piano, at seven he wrote his first play, Cockroaches, which credit check free Michigan he printed himself on his own press.

In his Comedies of Family Life, the child playwright is the self-reflexive hero around whom the action revolves; when a character in the playan admiring lady visitor reading one of Stass comediesexclaims, Its exactly credit check free Michigan like Maeterlinck! identity security the young authors creativity becomes the subject of his own drama. Actual visitors to the Witkiewicz household included his godmother, the Polish-American actress Helena Modjeska, and credit check free Michigan the young Yiddish writer, Sholem Asch.Due credit check free Michigan to his fathers position of eminence, the boy associated with the most famous and talented people of the time.The painter-mathematician Leon Chwistek, the composer, Karol Szymanowski, the anthropologist, Bronislaw Malinowski, and a little later the pianist Artur Rubinstein were among Witkacy close friends in these formative years. Defying his fathers opposition to all formal schooling, he enrolled off and on again for three years (from 1906 to 1909) at the Cracow Academy of Fine Arts, where he studied drawing and painting with the celebrated Polish modernist Jozef Mehoffer. There he developed a facility at the modes and mannerisms of Young Poland.Modernism had found a congenial setting in fin-de-siecle Zakopane, where a penchant for histrionic role-playing, artistic poses, and perverse eroticism fostered the performance aspects of life and the wearing of masks.As a precocious child and then as a psychologically riven young man, Witkacy absorbed the modernist ethos of his elders and played its abstruse games without truly being able to believe credit check free Michigan in them or in himself.The young would-be artist exhibited his paintings at local museums and galleries, had a torrid love affair with a celebrated modernist actress, Irena Solska, eight-years his elder, and wrote an autobiographical roman a clef about the affair, The 622 Downfalls of Bungo, or The Demonic Woman, which remained unpublished until 1972 because of its too gamy sexuality (which included a homoerotic episode with Malinowski, credit check free Michigan alias Duke of Nevermore).With his pen, credit check free Michigan his brush and crayons, and his camera, Witkacy parodied the Zakopane sensibility and life-style in a manner that both celebrated and mocked modernism and himself as its exponent. credit report and free