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Autor: Bruno Shulz;
Tytuł: "Sanatorium pod klepsydrą";
Adaptacja: Elżbieta Marcinkowska;
Reżyseria: Janusz Kukuła;
Realizacja akustyczna: Andrzej Brzoska;
Obsada:
Jan Świderski, Olgierd Łukaszewicz, Mieczysław Voit, Anna Gornostaj;
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Zaledwie dwa zbiory opowiadań wprowadziły Bruno Schulza do grona najwybitniejszych pisarzy polskich XX wieku: Sklepy cynamonowe pisane pierwotnie jako postscripta
w listach do zaprzyjaźnionej poetki i prozaiczki lwowskiej Debory Vogel, wydane w 1933 roku dzięki poparciu Zofii Nałkowskiej (postdat. 1934) oraz wydane
w roku 1936 Sanatorium Pod Klepsydrą (postdat. 1937).
W jakim świecie żył Bruno Schulz, skromny nauczyciel rysunków w drohobyckim gimnazjum? Chyba nie w tym, który go otaczał bezpośrednio: wielokulturowym świecie
miasteczka na kresach, pełnego uroku, ale też prowincjonalnych reguł i oczywistości, trudnych do zniesienia dla nieprzystosowanego nadwrażliwca. Może raczej
na granicy pomiędzy monotonną codziennością a światem osobistej mitologii, zbudowanej z kawałków realnego życia, skrawków marzeń, a nawet mrocznych snów,
z których żal się obudzić, bo bardziej fascynują niż straszą.
Taki właśnie jest świat zapisany w jego niezwykłych opowiadaniach.
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Bruno Schulz 1892-1942

biography

He was small, unattractive and sickly, with a thin angular body and brown, deep-set eyes in a pale triangular face. He taught art at a secondary school
for boys at Drohobycz in South Eastern Poland, where he spent most of his life. He had few friends outside his native city. In his leisure hours he made
drawings, etchings on photographic plates and wrote endlessly. At the age of forty, having received an introduction through friends to Zofia Nalkowska,
a distinguished novelist in Warsaw, he sent her some of his stories. They were published in 1934 under the title Cinnamon Shops (known in the United States
as Streets of Crocodiles). Three years later, a further collection of stores, with drawings by the author, Sanatorium Under the Sign of the Hourglass,
was published; the The Comet, a novella, appeared in the leading literary weekly. In between, Schulz made a translation of Kafka's The Trial. It is said
that he was working on a novel, entitled The Messiah, but nothing remains of it. These two books, drawings and novella are the sum total of his artistic
output.

Bruno Schulz was shot in the streets of Drohobycz in November of 1942. Schulz was bringing home a loaf of bread when he was killed by a Gestapo officer
who had a grudge against another Nazi, Schulz's temporary "protector" who liked his paintings.

When Bruno Schulz's stories were re-issued in Poland in 1957, translated into French and German, and acclaimed everywhere by a new generation of readers
to whom he was unknown, attempts were made to place his oeuvre in the mainstream of Polish literature, to find affinities, derivations, to explain him
in terms of one literary theory or another. The task is nearly impossible. He was a solitary man, living part, filled with his dreams, with memories of
his childhood, with an intense, formidable inner life, a painter's imagination, a sensuality and responsiveness to physical stimuli which most probably
could find satisfaction only in artistic creation - a volcano, smoldering silently in the isolation of a sleepy provincial town.
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