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René Kalisky (French: [ʁəne kaliski]; born Kaliski, Polish: [kaˈliskʲi]; 20 July 1936 – 6 May 1981) was a Belgian writer of Polish-Jewish descent who is best known for the plays he wrote in the last 12 years of his life. Kalisky, whose father, Abraham Kaliski was killed at Auschwitz, was himself hidden from harm during World War II.

René Kalisky
Kalisky in 1965
Born
René Kaliski

(1936-07-20)20 July 1936
Etterbeek, Belgium
Died6 May 1981(1981-05-06) (aged 44)
Paris, France
Resting placeParis, France
Occupation
  • Playwright
  • novelist
  • essayist
  • journalist
  • historian
Known forSurtexte/[1] supertext[2]
Notable workFalsch
Spouse
Mechthild Esther Kaliski
(m. 1941)
Parents
  • Abraham Kaliski (father)
  • Fradla Wach (mother)
Signature

Career, Themes and Innovations


Kalisky was an innovator in dramatic form, largely writing plays around big social and political themes that play out on the stage of world history. Several of his plays ("Jim le téméraire", "Dave au bord du mer", and "Falsch") center on Jewish themes. Others are pseudo-biographical works around major historical figures, such as Fausto Coppi (a champion cyclist), Trotsky, Hitler, and Mussolini. In many of his plays, time becomes elastic, a disorienting element. Kalisky plays fast and loose with literal chronologies, often concatenating and overlaying historical periods. A person of consummate erudition, he loads his plays with literary and historical references the audience is assumed to know, which creates a sense of layering and challenge.

He began his career in the field of publishing as a secretary and, in the field of journalism, notably the Patriot Illustré, before entering on a career as a playwright. He authored two major essays published in 1968 and reissued in the 1980s on Arab political history, L’origine et l’essor du monde arabe and Le monde arabe à l'heure actuelle: Le réveil et la quête de l’unité.

It is noteworthy and exceptional that many of Kalisky's plays were published before any were ever performed, by the prestigious Paris publishing house Gallimard. In 1968, he began with the publication of "Europa", in Belgium. Kalisky wrote several historical pieces including Trotsky, Etc. (1969), Skandalon (1970), Jim le Téméraire and Le Pique-Nique de Claretta (1973).He worked with Jacques Lemarchand, director of the established collection "Le Manteau d’Arlequin", at Gallimard in France until 1974.

His career slowly began to flourish as he received several literary prizes, including the Annual Dramatic Literature Prize awarded by the Society of Dramatic Authors and Composers in 1974 and the Triennial Grand Prize for Dramatic Literature awarded by the Government in 1975. He then was awarded by Germany and asked to craft an original project across a yearlong stay in former western Berlin. In 1977, the French editor, Stock published several controversial pieces, including, “La passion selon Pier Paolo Pasolini”, “Dave au bord de mer”, “Résumé” and “Du sur jeu au sur texte” in which he describes us his own and personal vision of his theater work.

His last pieces were mostly directed by French theatrical companies, "Sur les ruines de Carthage" (1980). Several theater and film directors expressed an increasing interest in Kalisky and brought his works to the stage, including Antoine Vitez, Albert-André Lheureux, Ewa Lewinson, Bernard de Coster, Jean- Pierre Miquel, or Marcel Delval. Since 1974, Kalisky's plays have been played and replayed on the most National stages, such as Le Botanique Garden Theater in Brussels, the Théâtre National de l'Odéon, at the Comédie Francaise, the Théâtre de l'Est Parisien, or Théâtre National de Chaillot and the Festival d’Avignon.

He abruptly died of lung cancer aged 44. Among his friends and contemporary authors, Romain Gary shared a special relationship with Kalisky, as he viewed them, as recalled by their published correspondence.[3] An abundant published correspondence with Antoine Vitez likewise showed how close they had become.[4]

Falsch, his last play, was then created in 1983 by Antoine Vitez in Paris, Théâtre National de Chaillot,[5] and later on adapted by the Dardenne brothers into a movie that was screened in 1987, starring Bruno Cremer.[6][7]


Personal life


Kalisky was born in Etterbeek, one of municipalities located in the Brussels-Capital Region of Belgium, 20 July 1936. His father Abram Kaliski was born in Lodz 10 May 1908. His grandparents, Solomon Yitzhak Kaliski and Hadassah Kaliski had at least 8 children, who all perished during the holocaust except for one son and one daughter. After his wife's death, fleeing the pogroms, Solomon traveled to South Africa before ending up in Mandatory Palestine at the beginning of the century and died in Tel-Aviv in 1948, aged 80. Abram emigrated to Belgium where he became a leather merchant and a dancer. Aged 23, in 1932, he met and married Fradla Wach, born in Warsaw on November 15, 1901. They had four children: René who became a writer, Haim who became a historian, cartoonist and author, Sarah who became a painter and Ida. All of the four children were dispatched and remained hidden in separate places during the war. Their parents stayed alone and survived almost until the surrender of the Nazi German forces. Abram nevertheless was caught by the Belgian police while seeking milk for their newborn. After being imprisoned and tortured in the Mechelen transit camp, he reportedly was assassinated in Auschwitz around December 1944, being 36 years old. Fridla gathered her four kids and raised them alone after the war ended. Kalisky was about eight years old when he lost his father. Although their mother was illiterate, he recalled his parents always wished their children could become accomplished artists.[citation needed]


Awards and Recognition



Works



Movies



Surtexte, Supertext or Superacting


The "surtexte" technique that he forged along his short career has been studied by numerous directors and authors as defined by Encyclopedia Universalis.[1] That new concept could be related to "Brecht's "distancing effect" ("Verfremdungseffekt"), which aims to break the theatrical illusion to awaken the critical sense of the audience by giving it to see the artificial nature of representation, and thus making everyone aware of his position as a spectator"[21]


Bibliography



Translations of Kalisky's Work



References


  1. Universalis, Encyclopædia. "Définition de surtexte – Encyclopædia Universalis". www.universalis.fr.
  2. "René Kalisky – Belgian author".
  3. [Correspondance : Lettres de [Romain Gary] à [René Kalisky] (1972–1980)]
  4. "MORT DE RENÉ KALISKY Comme un écolier". Le Monde.fr. 15 May 1981.
  5. Gershman, Judith (21 September 1983). "Falsch by René Kalisky (review)". Performing Arts Journal. 7 (3): 84–85. doi:10.2307/3245153. JSTOR 3245153.
  6. "Falsch". IMDb.
  7. Archived at Ghostarchive and the Wayback Machine: IMAJ - Rencontre : Luc Dardenne - "Falsch" de Jean-Pierre et Luc Dardenne (2005). YouTube.
  8. "STORIA DI COPPI, CAMPIONE DI GHIACCIO – la Repubblica.it".
  9. "VITEZ: 'VEDIAMO UN PO' COM' ERA IL TEATRO DELLA RIVOLUZIONE...' – la Repubblica.it".
  10. Agency, Hands. "Claude Mathieu".
  11. Agency, Hands. "Bérengère Dautun".
  12. Agency, Hands. "Patrice Kerbrat".
  13. Agency, Hands. "Jean Le Poulain".
  14. Agency, Hands. "Aïda vaincue".
  15. Agency, Hands. "Comédiens de la Troupe".
  16. Agency, Hands. "Alberte Aveline".
  17. Agency, Hands. "Jean-Yves Dubois".
  18. Agency, Hands. "Dominique Constanza".
  19. Photographe, Cande, Daniel (1938-....). (21 September 1990). "[Aïda vaincue. Mise en scène de Patrice Kerbrat : photographies / Daniel Cande]". Gallica.
  20. Mosley, Philip. 2013. The Cinema of the Dardenne Brothers: Responsible Realism. New York: Wallflower Press.
  21. Du Surjeu au surtexte» in Dave au Bord de Mer, Paris, L'Arche, 1992, pp. 91-109





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