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Gdynia: The Early Years Gdynia: The Early Years
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Danuta Baduszkowa, First Lady of Polish Musical Theatre Danuta Baduszkowa, First Lady of Polish Musical Theatre
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Andrzej Cybulski and His Theatre of Social Resonance Andrzej Cybulski and His Theatre of Social Resonance
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‘Polish Broadway on the Baltic Sea’ ‘Polish Broadway on the Baltic Sea’
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The Recent History of Gdynia’s Theatre The Recent History of Gdynia’s Theatre
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Notes Notes
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Bibliography Bibliography
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29 Polish Musical Theatre since the 1960s
Get accessAleksandra Zając-Kiedysz is a graduate of the University of Gdansk and has a doctorate in literature studies. Her main research interests include Polish and worldwide musical theatre. In 2014 she won the Ministry of Culture and National Heritage of the Republic of Poland Scholarship (part of the Young Poland programme designed for artists under the age of thirty-five) for her research project on musical theater in Poland from 1989 to 2013. Three years later she received the Marshal of the Pomeranian Voivodship Scholarship for Creators of Culture. She publishes regularly in various periodicals, and her first book, 50 I pięć lat Teatru Muzycznego w Gdyni 1958–2013, was published by in 2015 by University of Gdansk Press. She has presented at both Polish and international academic conferences, such as Popular Music Theatre under Socialism (University of Freiburg, 2017) and Song Stage and Screen XII (University of Surrey, 2017). She is also a lecturer at the Academy of Music in Gdansk and at the Vocal Training and Acting Studio in Gdynia, where she teaches courses on the history of the theatre and the history of musical theatre and also leads the graduate seminar. Currently she is working on a book on Polish musical theatre after 1989.
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Published:23 October 2023
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Abstract
This chapter discusses Polish musical theatre after World War II. In the six years following 1952 nine musical theatres were founded. The Gdynia Musical Theatre became the most remarkable native institution of its type, and its achievements are the focus of this chapter. From the start its directors tried to create a more varied and ambitious repertoire than had been known in Poland. Danuta Baduszkowa, the Theatre’s founder and executive director, had a vision of a popular musical theatre that used contemporary scores and opened the first Polish school for performers of musicals. Eastern bloc countries didn’t have access to Western musicals, so she decided to open a theatre for native composers. Her successors in Gdynia also had daring conceptions of musical theatre, and their work contributed to the great popularity musical theatre enjoys in Poland today. The country’s many excellent theatre companies and premières of new shows constitute what might be called a ‘musical epidemic’.
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