The first cabarets in Nowa Huta

An attempt to characterise the programme of the cabaret which was created in Nowa Huta - as the first one - is an extraordinary dilemma for me. Recreating its features of both content and form, its authentic artistic qualities and unprecedented originality, runs the risk of minimalism. My fragmentary memory, drawing on the account of the creator of that cabaret, Bronisław Gotkowski, allows me only this general reflection: the overriding element of the programme was the stage design: sashes, tulles and chiffons - juggled by the performers - wound and interwove with one another and so filled the stage space, creating an extraordinary setting. Setting those elements of the design in motion, and their rich colours, created a world that was half fairy tale and half metamorphosis.

And here my knowledge of that unconventional show breaks off. I can only guess that the factor of an interesting visual effect, enriched by an equally effective musical illustration and intensified by the message of intriguing spoken content, could altogether not only amaze the audience but also provide a powerful portion of impressions.

Of a completely different character was the cabaret called "Dwudziestolatek". It worked - at the same centre - and had an occasional mission to fulfil: taking part in the celebrations of the 20th anniversary of Nowa Huta. The idea of the programme was based on a retrospective of the changes and achievements of those 20 years. The threads of its content were - for the most part - contained in songs kept in the rhythm of the twist and rock and roll - the fashionable current of youth music at the time - entertainment music in the broader sense.

The performers of the programme were young people marked by extraordinary vitality and expression. The elements of space and movement, and of dance too, in which they took part - integrated with their youthful mentality - had exceptional dynamics. No wonder, then, that they won real applause from the audience. In form and content the dominant role in the programme was played by song, garnished with monologue, sketch and blackout. The programme was held together by the compering of the author of the lyrics and music, Stanisław Florek.

The performers were accompanied on the piano, together with a rhythm section, by the excellent musician Andrzej Dutkiewicz. He adorned his accompaniment with syncopated rhythm and jazz-sounding chords, which undoubtedly enriched the overall colour of the show. The photos above perhaps illustrate only to a small degree the girlish and youthful vitality and expression, but to a large extent they confirm the naturalness and sense of the stage. But in the group it was certainly Ewa Kawa who led the way and showed the most versatile gifts. And since artistic talents come in pairs, it is no accident that her brother is the poet - Adam Kawa.

The Lenin Steelworks (HiL) House of Culture, generously financed by its patron works, could afford, alongside the already active music, vocal, theatre and many other groups, to create an artistic form of particularly ambitious qualities and considerable status, and at the same time of an exceptional artistic profile. And so it happened: the cabaret "Violinka" was born.

The writing of the programme was commissioned from professional lyricists and composers, and its performance was entrusted to out-of-the-ordinary performers. The performers were fitted out with elegant, truly theatrical costumes. And most importantly: to stage the programme and give it a quasi-professional face, a man of outstanding artistic abilities and exceptional stage imagination was engaged. Who can this be about again? - Of course, the already familiar figure of Bronisław Gotkowski. It was he who undertook to direct the programme entitled "Siedem dni plotek i piosenki".

Bronisław Gotkowski was not a professional artist, but his directing skills and artistic vision once again raised him to a high pedestal. Without exaggeration one could say that he was a phenomenon of his own kind in the amateur artistic movement. His cabaret was joined by people with significant stage experience (as already mentioned), and this undoubtedly determined the high level of performance. On this thread it is hard not to mention that a special touch of spice among the performers was three-year-old Marlenka, who with dance steps opened and closed the whole show.

The cabaret shows were presented mainly in the theatre hall of building "S" of the HiL steelworks. I think the cabaret "Violinka" needs no detailed description, as the photographs present it in an excellent and highly communicative way. I am still tempted to add that the show, kept (in principle) in the cabaret convention, was not free of revue elements. Responsible for this were not only the props in the form of feather plumes, but also the stage design and certain stage arrangements. Thanks to these elements the effect of the programme was considerably enriched and gained much in attractiveness.

Moving on to reveal the animators, who were not without influence on the image of the show, I apologise in advance to those whose names I have not remembered: Aleksander Barbaszewski, Kazimiera-Katarzyna Florek, Stanisław Florek, Jerzy Kulikowski, Janusz Seyrlhuber, Zofia Sotoła, Wiesława Szymczykiewicz, Larysa Wdzięczkowska, Wanda Zuch.

So I - Stanisław Florek - can expect a reprimand, while the originator of the subject and creator of the website - Ryszard Szczudłowski - awaits the missing names.

It is absolutely necessary to give the name of the musician who illustrated the programme musically in an extremely accomplished form, and above all accompanied the singers with great mastery. It was Andrzej Czopik.