https://doi.org/10.31648/pl.6978
This article is devoted to the analysis of the statements by avant-garde writers formulated
years later, after 1956, and related to political, social and artistic transformations. It analyses the
forms of expression (essays, memories, analyses, interpretative sketches, etc.) employed by former
avant-garde authors. The research material consists of the memories of Julian Przyboś, Anatol
Stern, Adam Ważyk and Aleksander Wat. What is significant is the analysis of the narrative strategy
adopted by each of these authors as well as the position they gained after 1945 and, then again,
after October 1956. This article focuses mainly on presenting the problematic aesthetic changes
and indicates that, in this context, the attitude of avant-garde writers to neo-avant-garde art, to the
new literary trends emerging after the Second World War, is particularly important. The central issue
examined is the formulation of the concept of the avant-garde and its definition on Polish soil.
The poets’ statements presented show concern for the image of the Polish avant-garde as well as the
importance of the competition for historical narratives. This is connected with the individual perception
of the notion of the avant-garde. Some of the authors, for instance Julian Przyboś, considered
the program and the theoretical nuances specified a hundred years ago very significant, while
the others put great emphasis on the synthetic orientation which viewed the avant-garde as a whole
set of heterogeneous trends. It should be observed that there seems to be a significant difference of
opinion between Adam Ważyk and Aleksander Wat. The former sees the avant-garde in the context
of modernism and its changes, whereas the latter shows the degree to which twentieth-century art
resulted from the innovativeness of futurists.
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