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    Tytuł:
    Wyzwania kolektywnej dyrekcji Volksbühne oraz teatru politycznego par excellence
    Challenges of Collective Management of the Volksbühne and of the Political Theatre Par Excellence
    Autorzy:
    Duda, Artur
    Powiązania:
    https://bibliotekanauki.pl/articles/2079074.pdf
    Data publikacji:
    2022-06
    Wydawca:
    Instytut im. Jerzego Grotowskiego we Wrocławiu
    Tematy:
    Volksbühne
    post-heroic management
    contemporary German theatre
    political theatre
    the order of the distribution of the sensible
    Opis:
    The article presents selected issues related to the collective management of the Volksbühne initiated by René Pollesch together with six representatives of the theatre company. The crisis caused by the non-renewal of Frank Castorf’s managerial contract and the disclosure of the sexist practices of one of his successors, Klaus Dörr, provoked a broad debate around the preferred management style in this Berlin theatre. Drawing on numerous articles and conversations published in professional magazines (Theater heute, Theater der Zeit) and the opinion-forming all-German press, the author illuminates the heuristic, intuitive character of the new collective management at the Volksbühne against the background of the growing debate in Germany about the need to empower social groups excluded in terms of class, race or gender. The calls for dismantling the central position of the theatre manager (Intendant) and employing a post-heroic management model are confronted with the analysis of the Volksbühne case in terms of ‘politicised’ theatre. According to Jacques Rancière, the political nature of art manifests itself in establishing an open space in which voiceless groups or communities can articulate their political aspirations and attempt to redefine the order of the ‘distribution of the sensible.’ On the one hand, it is worth noting that the newest collective management of the Volksbühne seeks to go beyond the centralised pattern of leadership performed by Frank Castorf and his group of ‘old revolutionaries’ towards the emancipation of women and non-heteronormative groups. On the other hand, the problem of empowerment of Eastern Europeans regained its importance after the outbreak of the war in Ukraine. It means the restitution of a key challenge of Castorf’s theatre that was proclaimed after the reunification of Germany.
    Źródło:
    Didaskalia. Gazeta Teatralna; 2022, 169-170; 312-335
    2720-0043
    Pojawia się w:
    Didaskalia. Gazeta Teatralna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    British Sociology, the Bourgeois Media-Sociology Hybrid and the Problem of Social Class
    Autorzy:
    Blackshaw, Tony
    Powiązania:
    https://bibliotekanauki.pl/articles/462288.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Opolski
    Tematy:
    class
    social inequality
    sociology
    bourgeois media
    distribution of the sensible (partage du sensible)
    ideology
    legislators
    Bourdieu
    Rancière
    Opis:
    This article advances the scandalous argument that we live in a post-social class modernity, and that the perpetual reinvention of class as the key concept for understanding social inequality is untenable. Class is not only a zombie concept but also an ideology that reflects a set of normative attitudes, beliefs and values that pervade sociology. Its starting point is that, sociology, once adept at imagining new ways to interpret the world, has become a subject field that wants to claim a radical space for itself while simultaneously relying on outworn theoretical frameworks and denying the work radicals do. The article begins by suggesting that the problem of class has its roots in the deep structure of sociology. Taking its cue from Jacques Rancière’s classic study The Philosopher and His Poor it develops the argument that if class was once upon a time the fundamental issue in the study of social inequality, today sociology urgently needs an alternative cognitive framework for thinking outside this paradigm which it uses to open up a critical space for its own intellectual claims rather than reflecting society in the round. After arguing that we a living at the ‘end of Class’, the critique explores the limits of the work of Pierre Bourdieu, who has replaced Marx and Weber as sociology’s key theoretician of class. It is argued that in Bourdieu’s sociology, contentment is permanently closed to ‘the working class’ that thumps about like a dinosaur that survived extinction, anachronistic proof of the power and privilege of the theorist and his sociology rather than proof of the usefulness of his ideas. The key to understanding the limits of this interpretation, it is argued, is that it assumes a ‘working class’ that has little or no agency. It is subsequently argued that sociology and the bourgeois media are coextensive. The specific function of the bourgeois media-sociology hybrid is to provide ideological legitimation of class inequality and of integrating individuals into sociology’s interpretation of social and cultural life. Focusing on the work of two self-identified ‘working class’ journalists who have successfully made the transition into the bourgeoisie and who seek solid validation of their new found status in the bourgeois media it is demonstrated that social inequality is neither expressed nor examined in a convincing way. Framing ‘working class’ worlds even more ‘working class’ than ‘working class’, the bourgeois media, at best, lay them bare for clichéd interpretation. Here the article argues vis-à-vis Quentin Skinner that words are not so much mere ‘reflections’ of the world, but ‘engines’ which actively play a role in moulding the worlds to which they refer. Drawing on Rancière’s idea of the partage du sensible (distribution of the sensible) it is argued thereafter that here thinking ends up as the very thought of inequality because by posing social inequality as the primary fact that needs to be explained the bourgeois media-sociology hybrid ends up explaining its necessity. The final part of the article offers some suggestions about how to rethink social inequality after class, and it concludes with the observation that the predicament facing sociology derives not just from its theoretical limits but also from its failure to give social inequality human meaning and the people who suffer it the proper respect by acknowledging their own interpretations of their own lives.
    Źródło:
    Studia Krytyczne/ Critical Studies; 2016, 3; 13-43
    2450-9078
    Pojawia się w:
    Studia Krytyczne/ Critical Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sztuka wspólnoty Krzysztofa Wodiczki. Wokół Projekcji Poznańskiej
    Krzysztof Wodiczko’s community art. Analyzing “Poznan Projection”
    Autorzy:
    Juskowiak, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/1011873.pdf
    Data publikacji:
    2010-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    homelessness
    community
    community art
    public projection
    distribution of the sensible
    city
    dzielenie postrzegalnego
    miasto
    wspólnota
    sztuka wspólnoty
    projekcja publiczna
    bezdomność
    Opis:
    Artykuł skupia się na trzech problemach wspólnoty w pracach Krzysztofa Wodiczki. Analizuje jeden z jego najnowszych projektów „Projekcja Poznańska” (efekt współpracy artysty z bezdomnymi z „Pogotowia Społecznego) w odniesieniu do wybranych filozoficznych teorii wspólnoty autorstwa Jacquesa Rancière’a, Jeana-Luca Nancy’ego, Julii Kristevy czy Jacquesa Derridy. Twierdzę, że wspólnotowy charakter ostatnich prac Wodiczki jest konsekwencją zmiany jego artystycznego nastawienia, przejścia „od symboliczno-krytycznej polityki do etyczno-terapeutycznej polityczności” (Andrzej Turowski).Tekst składa się z trzech części. Pierwsza zwięźle prezentuję sztukę wspólnoty jako specyficzny obszar sztuki publicznej. Punktem zainteresowania czynimy tu etyczne dylematy charakterystyczne dla tego rodzaju produkcji artystycznej. Kolejna część poświęcona została wizji wspólnoty Wodiczki oraz jej wyrazowi w „Projekcji Poznańskiej”. W ostatniej części artykułu, „Projekcja Poznańska” zostaje skonfrontowana z Rancière’owskim pojęciem “podziału widzialnego” oraz z Victora Turner’a teorią communitas. Twierdzę, że podczas gdy większość prac Wodiczki może być odczytana jako polityczna artykulacja równości (a zatem podstawa dla nowego podziału tego, co widzialne), „Poznańska Projekcja” ponosi klęskę w ustanawianiu przekonującej relacji między „małą” wspólnotą bezdomnych a „dużym” miejskim kolektywem.
    The article concentrates on the community issues in Krzysztof Wodiczko’s art. It analyzes one of his latest projects, “Poznan Projection” (the effect of artist’s cooperation with homeless people from “Social Emergency”), in reference to selected philosophical community theories, signed by Jacques Rancière, Jean-Luc Nancy, Julia Kristeva or Jacques Derrida. Author argues that communal character of Wodiczko’s latest works is a consequence of changes in his artistic attitude, passage “from the symbolic and critical politics to the ethical and therapeutic political” (Andrzej Turowski).The text consists of three parts. The first part briefly presents community art as a specific field of public art. The focus is on the ethical dilemmas characteristic for this kind of artistic production. Next part is dedicated to Wodiczko’s vision of community and its articulation in “Poznan Projection”. In the last part of the article, “Poznan Projection” is being confronted with Rancière’s concept of “distribution of the sensible” and Victor Turner’s theory of communitas. Author argues that while most of Wodiczko’s works can be read as political articulation of equality (therefore foundation for a new distribution of the sensible), “Poznan Projection” failed to establish a valid relationship between the “little” community of the homeless and the “big” urban collective.  
    Źródło:
    Praktyka Teoretyczna; 2010, 1; 67-80
    2081-8130
    Pojawia się w:
    Praktyka Teoretyczna
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Creatively rethinking the augmented Society of the Spectacle. A discussion on art and the political
    Autorzy:
    Grubišić, Daniela
    Manfredini, Manfredo
    Powiązania:
    https://bibliotekanauki.pl/articles/28407826.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Komisji Edukacji Narodowej w Krakowie
    Tematy:
    Public space
    Emancipatory artistic practice
    The Society of the Spectacle
    Hegemonic Culture
    The Right to the City
    Carnivalesque distribution of the sensible
    Public art installation
    Visual art film
    Opis:
    Radical structural transformations of the public realm in our post-civic urban condition progressively reduce relationality and negate the Right to the city. Fifty years after Debord’s Real Split, the ever-accelerating abstractive effects of the Society of the Spectacle impose a radical redress of the critical theory informing its interpretation. This paper discusses a film on the creative work of Daniela Grubisic, documenting daily detournement practices of public space subversion-by-sublation. An initial analysis of her sculptural work that deconstructs abstractive conditions of domination to reestablish instances of emancipatory relational resonance is followed by an exploration of her filmic work that reverses emplaced annihilating conditions. Finally, a critical evaluation of the combined capacity of these established rich relational intensities foregrounds its effectiveness in engaging multiple actants in formulating effective counter-hegemonic cultural practices.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2022, 17, 375; 91-103
    2081-3325
    2300-5912
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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