On June 17, Gogolewski was celebrating his 91st birthday.
The actor is best known as Konrad Gustau after the war in “Dziady” by Adam Mickiewicz and Antek in “Chłopy”.
We remember his interview with artist Jacek Cieślak in June 2021.
“Rzeczpospolita”: do you remember the first television theater?
Ignasi Gogolevsky: As if through the fog. Maybe because I didn’t play it. But I have been working with Polish Radio and Television for exactly 60 years. I was active in radio in the fourth year of my studies. I was reading the news or prose. One day, Michal Milena, director of the Polish Radio Theatre, invited me to the microphone and handed me a card. It read: “Alexander, Count Fredro. The gun.” I read once quickly, again slowly. It was my first show. Audio rehearsal. A week later I received 60 pages of the play in which I played the main role. Today I no longer go to the actors. The roles have changed.
The actor is best known as Konrad Gusto after the war in Adam Mickiewicz’s Dziady
Television theater operates on Powstańców Square.
She debuted there with young Jerzy Groza in Tweem’s “Blue List”, and then we met in the fantastic Portrait of Dorian Gray, the first performance announced live by Krzysztof Theodor Toplitz. I was playing a blonde portrayed by Zofia Nasierowska. It is a pity that this performance was not recorded, but I still met viewers who say that they remember me from this role. In Dorian Gray, this was the first time Jerzy Gruza had combined film with a studio set. The stair climbing scene was taped, but I played the cut-out as Dorian gets old. Jesus”. I thought I had killed someone. There was a fireman behind the painting. He didn’t know the drama and changed it because his streak had gone over the ether. Once again, I happened to have a conversation with Czeslav Woka, and he disguised himself behind the camera. And he was glad it made me laugh. He was celibate, he made his friends laugh. In “The Glass Menagerie” by Jerzy Antczak with Jadwiga Barańska, the first part moved slowly, entered the second – feelings conquered. Jerzy Antczak was the hero, the main role. She captured her and was supposed to Someone else is playing me. I called Jersey. I said, ‘You threw me into one role, and you threw me into the other. Maybe I’ll play both. He replied, “The story’s brilliant philosophy is about the alter ego of the main character. It was the first Polish TV movie to win the Ramses Prize at the Alexandria Film Festival.
Did you like the adrenaline in the live theater?
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It so happened that I learned the script before the evening broadcast in the morning. It is unhealthy. The last time I played live – in “Death of a Salesman”, the stress was so great that when I left the TV building, the contraction of the solar plexus held me for a long time. I had to lean against the wall and wait for my breathing to return to normal. We can only deal with the interpretation of the role. But the work was slower and slower, the rehearsals were canceled. The actor needs a stage fright. If I don’t have it before the premiere, it means I’m putting on the role.
I’ve played twice in “Cida”, once by Morsztyn, and the second by Wyspiański.
In Morsztyn, in Ludwik René’s memorable production, I almost broke my tongue, and during the second premiere I caught such a cold that I worked wonders to hide it from the camera’s eye. This was also the peculiarity of live theater. The premiere could not be canceled due to the actor’s illness. You had to go out and play. It is a good school. I was in the hospital recently. I told the doctors that I was at their disposal, but until 6 pm, because then I had to be at the Bologna Theatre. I was warned of the possibility of a drop. I preferred to stay in the Polish community rather than the hospital. It was Valentine’s Day. Those in love will never forgive me for not playing.
Let’s talk about “Kordian” Anchak.
It was implemented as the first with three technologies for remote recording, film and live. The scene of a horse jumping, over bayonets, occurred on the Służewiec track. We recorded the sequence with the Pope at the Palace of Culture and Science. The role of Mont Blanc was played by a 20 cm platform in the studio. “Yes, that’s your Mont Blanc,” Jerzy said to me. He was blowing a spray of incense. I started suffocating. They find another powder.
Also known as Dmitriy in “Brothers Karamazov”.
I owe it to Jerzy Krasovsky. He gave me a superficial outline, and I filled it with emotions. He suggested that when they came to arrest Mithia, I should play with my back to the camera. A good manager is looking for new resources. He does not show the actor’s face nor make him test it. Jerzy said, “Turn your back. I want to see the laughter in your back.” He was a witty wit. an artist. There is also a tape with” Brothers “, but it is already melting. The beautiful and adorable Marta Lipińska as Gruszeńka can be seen through the mist.
Your manager a history of “Horsztyński”?
In television theatre, plays by Przybyszewski, Perzyński and Szaniawski were presented, but in the 1980s, they were not favored. I don’t think these shows are that bad. And ever since I made “Teresa Hennert’s Romance” and “St. Casimir’s House,” notable directors have ignored me. You direct – cast it. His grandfather, Kotz, and Zanussi didn’t even find an episode of Lee in the movie.
“Freedom Day” premiered in 1982, when the television boycott began.
I’ve been avoided by some of my friends who believed in the “solidarity” mantras, and I still believe that if the doctor heals and the priest confesses, the actor should act.
You have been interrupted.
Some people looked up at the sky when they saw me. pass them by. Society remains divided on the issue of martial law. The situation is stable for me, although I have played smaller roles. Even on the radio – accidental. But I was always good for something. I was doing my job. Perhaps if I had been in Warsaw, I would have acted differently. But I was the theater director in Lublin, I was in charge of a team of 300 people. I convinced my colleagues to organize demonstrations in the theater because it is my responsibility. That they wouldn’t go out into the street, because someone might not be in the cast.
Have you received an offer from TV that you cannot refuse?
Kazimierz Dejmek said the performances may be broadcast on television theatre. The decision to end the boycott was made by the primate Glimp.
Until 1996, when Zbigniew Zapasiewicz invited you to “Horsztyński”, there were no roles for you in the television theater.
There should be many dark frames in every life. I didn’t feel comfortable, but it moves and gives me the strength to get back to work with double energy. We are all actors, except for a few good comedians. Professor Alexander Zelorovich gave us the logo for this content. I wish you were talking not to an actor, but to a comedian who managed to find a place for 60 years – as a creator.
You have triumphantly returned as Count Zarem in Grzegorzewski’s “Operetta”.
This is an example of a director who searched for new solutions on television and did not take his performance literally from the stage. We had a static position when I was sitting on a bench with Albertine. “Let’s imagine, Mr. Enko, that you are a connoisseur of female beauty, and Albertine is standing at the table.” It was becoming dynamic. Grzegorzewski has expanded my acting adventure. If I had given up – I would have made a fatal mistake. At first I refused to play Szarma. I felt like I was getting old. Grzegorzewski persuaded me, saying that he cares about Sazarma – such a rotting fox. It wasn’t easy, but I believed it. I followed the artist.
Will you continue to play in TV theatre?
Apparently we’re going to be doing “32 Swoons” with Kristina Janda, Jerzy Storr, and myself. I have a scroll of viewers in the form of many messages saying that they loved “Russian Sanctuaries” by Kristina Janda. I would also like to mention the performances by Brzezinski, Sanyavsky and Przebyszewsky. Those are from the 80’s, directed by me. After all, how often can you watch Antek shoot old Boryna, with all due respect to the gorgeous Jan Rybkowski? But the most important thing is that, despite the difficulties and ideas, the Polish Radio and Television Theater, awarded the title of Master of Polish Speech, must survive. Because it is a unique and exceptional phenomenon, which our national culture desperately needs.