Polish Musicals identity, cultural memory, performance, practices
Musicals occupy a unique and important position in the world of Polish musical theatre, standing out also from Broadway and West End productions. Their style reflects performance traditions rooted in Polish cultural practices. Since the mid-20th century, composers of musicals have reached for motifs and harmonies that express the complexity of the country’s socio-political landscape. The fall of communism in 1989 was a turning point in the history of Polish musicals, as it enabled cooperation between Polish creators and Western musicians. At that time, large, original musical works were created, such as Janusz Józefowicz’s “Metro” and Wojciech Kępczyński’s “Pilots”. While large productions take place in the main theatres of the capital, Warsaw, small regional theatres cultivate intimate and experimental productions. This duality reflects a general tendency in Polish performing arts – striving for a balance between recognizing the rights of tradition (cultural practices) to and the need to introduce contemporary innovations. This presentation aims to analyze musical practices in selected musicals, used to capture Polish cultural memory, pay attention to performance practice, and engage audiences. It will show how Polish musicals interpret key historical moments in Poland’s contemporary history in the context of increasing globalization and technological advances in art.
Keywords: composition, practices, performance, reception
Olga Rduch holds a Master’s in Music Education from the Academy of Music in Katowice, where she specialises in conducting vocal-instrumental ensembles and general music pedagogy. She is currently pursuing Media Culture studies at the University of Silesia. Her professional work centres on choral conducting and music education, strongly focusing on building intergenerational vocal communities. She leads the children’s choir and the parents’ choir (“Elementy”) at the Non-public Primary Music School “Elementarz” in Katowice, as well as the vocal ensemble affiliated with the Bieruń Cultural Center. Her artistic interests extend to interdisciplinary performance, and she is an active member of the theatre collectives “Teatr Zły” and “Lufcik na korbkę.” Her earlier involvement with the Regional Vocal and Dance Ensemble “Bestwina” reflects her interest in traditional and folk music, which continues to inform her artistic practice. She combines classical training, community engagement, and creative expression in her work as a conductor and educator.
University of Silesia, Poland – rduch.olga@gmail.com