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Zofia and Władysław Jarema – the founders of the Groteska Theatre – from the beginning of their artitistic work in Krakow distanced themselves from perceiving the theatre of dolls as exclusively children-oriented. By gathering around themselves a group of distinguished artists, they consistently and reasonably built up the repertoire and Groteska stage for the adult audience. In their search, they included Konstanty Ildefons Gałczyński, Sławomir Mrożek, and Tadeusz Różewicz. This paper is an attempt at analysing and reconstructing the performance of Kartoteka (a drama by Różewicz), which was staged in Groteska Theatre (interpretation by Zofia Jarema, stage design by Kazimierz Mikulski) a few months after its Warsaw preview in the Drama Theatre. The author of the paper also discusses the type of influence which this performance and the Jaremas’ activity in general had on the contemporary theatre of dolls.

Tadeusz Różewicz celowo unikał w swojej twórczości motywów muzycznych, jednak liczni polscy kompozytorzy z różnych pokoleń umuzyczniają jego lirykę. W 1969 roku Kazimierz Serocki napisał cykl pieśni (na sopran i zespół kameralny) zatytułowany Poezje (prawykonanie – w jęz. niemieckim – Dorothy Dorow na festiwalu Warszawska Jesień, 1969). Serocki wybrał cztery wiersze z tomu Twarz (wyd. II uzupełnione, 1966) i ułożył z nich sugestywną opowieść o samotności, pustce, bólu doznawania świata. W artykule zanalizowano muzyczne narzędzia narracji, ekspresji i kolorystyki dźwiękowej zastosowane przez kompozytora.

Mickiewicz, poetry and anecdote. Questions about the identity of the creator in poem Ten to też by Tadeusz Różewicz The paper addresses narrative strategies applied by Tadeusz Różewicz in his poem Ten to też (This is also) from the volume Szara strefa (Grey zone), an imagined episode in Adam Mickiewicz’s life. The analysis of the ironic intertextual play with the genre of epistolary reminiscences shows the contemporary writer’s struggle with the Romantic myth of the outstanding, pioneering poet. In the light of parallel experiences of living and writing, Różewicz’s dilemmas of an artist and a human being can be shown by means of an apparently amusing story of a social insult. The biographical anecdote turns out to be a latent attempt at an autobiographical utterance.