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Forgotten during the Stalin years, Stanislaw Witkiewicz (1885-1939) was rediscovered in his native Poland only after the liberalization of 1956, when his works came to play a major role in freeing the arts from socialist realism. This collection, the first anthology in English, presents Witkiewicz in the full range of his creative and intellectual activities. The Witkiewicz Reader includes excerpts from three novels; four complete plays; letters to Malinowski; and selections from aesthetic, social, and philosophical essays detailing Witkiewicz's theory of Pure Form, his metaphysical system, and his apocalyptic view of the fate of civilization.

Forgotten during the Stalin years, Stanislaw Witkiewicz (1885-1939) was rediscovered in his native Poland only after the liberalization of 1956, when his works came to play a major role in freeing the arts from socialist realism. This collection, the first anthology in English, presents Witkiewicz in the full range of his creative and intellectual activities. The Witkiewicz Reader includes excerpts from three novels; four complete plays; letters to Malinowski; and selections from aesthetic, social, and philosophical essays detailing Witkiewicz's theory of Pure Form, his metaphysical system, and his apocalyptic view of the fate of civilization.

151 (1) Seiten, zahlreiche Abbildungen Mit Texten von Urszula Czartoryska und Stefan Okolowicz. -- "Stanislaw Ignacy Witkiewicz gehört als zentrale Figur der polnischen Avantgarde zu den vielseitigsten und schöpferischsten europäischen Künstlern des 20. Jahrhunderts . In Malerei und Photographie (betritt er) eigene Wege und stand den vorherrschenden Strömungen seiner Zeit ironisch distanziert und reserviert gegenüber. Besondere Bedeutung innerhalb seines photographischen Werkes . kommt den Portraitserien von Freunden und Verwandten zu. Diese `Seelenportraits` halten auf sehr eindrucksvolle und manchmal auch unheimliche Weise den `inneren` Menschen im Photo fest. Die zum Teil ungewöhnlich nahsichtigen Aufnahmen können durchaus als erste ihrer Art in der Geschichte der Photographie gelten. Das photographische Werk von Witkiewicz wurde im Zweiten Weltkrieg fast völlig vernichtet; erhalten geblieben sind nur wenige Einzelbilder" (Text Galerie Berinson, 2003) -- Gut erhaltenes Exemplar // Mint copy. Sprache: Deutsch Gewicht in Gramm: 2550 30,5 x 24,5 cm. Graues Original-Leinen mit fotoillustriertem Schutzumschlag.

“Witkiewicz takes up and continues the vein of dream and grotesque fantasy exemplified by the late Strindberg or by Wedekind; his ideas are closely paralleled by those of the surrealists and Antonin Artaud which culminated in the masterpieces of the dramatists of the absurd—Beckett, Ionesco, Genet, Arrabal—of the late nineteen forties and the nineteen fifties.” -Martin Esslin Stanisław Ignacy Witkiewicz (pen name: Witkacy) was desperate to get out of revolutionary St. Petersburg after the Bolsheviks seized power. Back in Poland, eager to make money and a name for himself, Witkacy began to write plays in a style that he called “Pure Form,” which foreshadowed the Theatre of the Absurd. By the time that he wrote VAHAZAR (1921), Witkacy had achieved a dreamlike dramaturgy: centered on the paranoid and crazed despot, Vahazar, and spiraling outwards through an anthill society of automatons, religious cults, and quack scientific and social theories, this play is about being trapped in nothingness. This translation of the play by Celina Wieniewska was commissioned by Stefan Themerson in 1967, and later announced as a forthcoming title by the legendary Gaberbocchus Press. Somehow the project was sidetracked and has never appeared until this Black Scat Books publication. Paul Rosheim, publisher of Obscure Publications and scholar of Themersonia, provides an introduction with biographical information about Witkacy and the story of this translation. The book also includes an appendix featuring Franciszka Themerson’s “Vahazar: A Few Suggestions for Design.”