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Tytuł:
Upupianie Henryka, czyli Nekrošius inscenizuje Gombrowicza
Autorzy:
Kopciński, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/1186750.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Ślub [The Marriage]
Witold Gombrowicz
Eimuntas Nekrošius
theatre performance
‘creative betrayal’
Opis:
The subject of the essay is the staging of Gombrowicz’s Ślub [The Marriage], directed by Eimuntas Nekrošius at the National Theatre in Warsaw, treated as an example of ‘creative betrayal’ of the stage arranger towards the author of the dramatic text. ‘Creative betrayal’ is a perfect metaphor for directorial interpretation, which consists not so much in the stage materialisation of the fictional universe of the drama, as in the translation of the literary work’s meanings into the signs of a theatrical work. Referring to the theory of the spectacle as intersemiotic translation, the author shows how the stage world remains a creative reaction to the dramatic situations and conflicts designed by the playwright, as well as – to put it much more broadly – the image of a man and the shape of reality. According to the author of the essay, such a reaction as a rule contains polemic elements in relation to the playwright’s vision. Nekrošius remains polemical towards Gombrowicz, but his criticism – included in the actions of actors, scenography, costumes, and all directorial solutions – takes on a very deceitful shape. In his interpretation of The Marriage, the Lithuanian director focused on the motif and the problem of betrayal, which seems to be crucial in his worldview, based on psychoanalysis and existentialist philosophy. In this way, the stage arranger’s ‘betrayal’ became only an ironic response to the author’s ‘betrayal’, proving in fact ‘faithfulness’ to the meanings of the The Marriage, which was not noticed by the reviewers of the performance. Recalling the statements of one of them, author makes us aware of the complicated relationship between the author of a dramatic work, its director and the reviewer of the performance. And at the same time – of how typical for the dynamics of cultural life is the conflict between the participants of the artistic and critical dialogue.
Źródło:
Załącznik Kulturoznawczy; 2018, 5; 223-239
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Lola Arias: Pozostać w fikcji, by przekroczyć fikcję
Lola Arias: To Remain in Fiction in Order to Transcend It
Autorzy:
Sztarbowski, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/1815517.pdf
Data publikacji:
2021-02
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
Lola Arias, Argentina, social theatre, memory performance, overlapping realities, speculative fabulation
Opis:
In this article, the author describes the work of the Argentinian artist, Lola Arias, from the perspective of her interest in individual and collective memory. The frame for this research is the notion of „time machine” compared with Maria Janion’s notion of „archive of existence”. The author situates the work and biography of Lola Arias the director, filmmaker and visual artist within the „archeontology in action”. Also, he describes Arias’ strategy of overlapping reality and fiction to project the new vision of the future. Her performances are juxtaposed with Donna Haraway’s notion of „speculative fabulation” according to whichsmall, individual stories help us to understand complex reality and new modes of perception.
Źródło:
Didaskalia. Gazeta Teatralna; 2021, 161; 7-35
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in Jerzy Grotowski, Eugenio Barba and Phillip B. Zarrilli
Autorzy:
Rafolt, Leo
Powiązania:
https://bibliotekanauki.pl/articles/508846.pdf
Data publikacji:
2015
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
transculturalism
interculturalism
theatre anthropology
cross-cultural performance and theatre practice
Asian martial arts
Opis:
Transcultural and Transcorporal Neighbors: Japanese Performance Utopias in  Jerzy Grotowski, Eugenio Barba and Phillip B. ZarrilliThis paper is mainly focused on the concept of transcultural bodily knowledge elaborated by Eugenio Barba and Nicola Savarese in their concept of theatre anthropology. Their research on pre-existent and pre-expressive values of the human movement, especially considering Asian theatre and performative practices, will be reexamined in the context of over-imposed interculturalism in Humanities and Social Studies. The focus will be thus put on the modifications of the bodily knowledge in this sense (Yuasa), as well as on the (re)appropriations of the Asian philosophical/theoretical embodiment schemes in the Western thought, not only from the standpoint of performative research made by Eugenio Barba and Phillip B. Zarrilli, but also from the standpoint of Shusterman’s pragmatic reinterpretations of Merleau-Ponty’s legacy, Schechner/Turner’s anthropology of human performativity, etc. In this context, the key idea of unique transcultural background of the human kinesis, employed mainly by Barba, will be put in an overall context of contemporary (trans)cultural utopism. The key element for interpretation will thus be an overall context of Asian martial arts practice, especially the significance of ‘iemoto principle’ (hereditary bodily technique) for the establishment of Grotowski’s, Barba’s and Zarrilli’s psychology and physiology of performance tactics. Transkulturowi i transcieleśni sąsiedzi: japońskie utopie performatywne u Jerzego Grotowskiego, Eugenia Barby i Philipa B. ZarrilliegoArtykuł skupia się głównie na pojęciu transkulturowej wiedzy cielesności, wypracowanym przez Eugenia Barbę i Nicolę Savaresego w ich ujęciu antropologii widowiska. Ich badania nad uprzednimi i przedekspresywnymi wartościami ruchu ludzkiego, zwłaszcza w kontekście teatru azjatyckiego i praktyk performatywnych, zostają wpisane w kontekst nadreprezentowanego w humanistyce i naukach społecznych interkulturalizmu. Uwaga autora skupia się na zmianach w wiedzy cielesnej w tym kierunku (Yuasa), jak też recepcji azjatyckich filozoficznych/teoretycznych schematów wcielania w myśli Zachodu, nie tylko z punktu widzenia badań performatywnych Barby i Zarrilliego, lecz również w Shustermanowych pragmatycznych reinterpretacjach myśli antropologii performatywności Merleau-Pontiego, Schechnera i Turnera itd. W tym kontekście kluczowa idea jednego transkulturowego podłoża ludzkiej kinesis, wykorzystywana głównie przez Barbę, jest wpisana w nowy kontekst współczesnego (trans)kulturowego utopizmu. Zasadniczym elementem interpretacji stają się azjatyckie sztuki walki, zwłaszcza znaczenie zadasy iemoto (dziedzicznej techniki cielesności) w ustanowieniu psychologii i fizjologii taktyk performatywnych u Grotowskiego, Barby i Zarrilliego.
Źródło:
Colloquia Humanistica; 2015, 4
2081-6774
2392-2419
Pojawia się w:
Colloquia Humanistica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
For a feminist gender horizon in productions and studies on men and masculinities in the performing arts
Autorzy:
Péclat, Chavannes Procopio
Ferracini, Renato
Powiązania:
https://bibliotekanauki.pl/articles/2158944.pdf
Data publikacji:
2022-10
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
Theatre
Performance
Masculinities
Methodology
Intersectional
Opis:
Taking as a starting point the construction of the conceptual framework of gender produced by the Brazilian authors Benedito Medrado and Jorge Lyra, the present article brings as a central focus the discussion on the creation of strategies, principles and methodological horizons for the insertion of masculinities in the scene. Developing the issue of the need for a welcoming of masculinities in the scenic activity beyond a simple opportune thematic interest for the construction of performances and plays, the authors propose the creation of clues/principles that can be developed so that masculinities enter the scene under a perspective of political and careful awareness of gender issues that goes beyond a dichotomous and binary model of power relations, resulting from a universalizing stereotyping of being a man and being a woman. The authors also include in their observation the creation of an expanded artistic territory where the work does not close in on itself and includes artistic proposals linked to intersectional factors (such as race, class, age, sexuality and coloniality) that constitute the relations of gender consider the vast and complex production of multiple masculinity models.
Źródło:
Didaskalia. Gazeta Teatralna; 2022, 171; 102-127
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Humanistyka performatywna
The performative humanities.
Autorzy:
Krajewska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1039770.pdf
Data publikacji:
2019-01-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
drama
theatre
performance
performative humanities
Opis:
This article foregrounds the collapse of the binary opposition between drama and theatre that in literary and theatre discourses are traditionally recognized as wholly separate art forms, with the former based on words and the latter based on live performances. The present author argues that by applying a performative perspective on art in its varied forms and introducing the category of the entanglement of matter and meaning, derived from quantum physics, a non-antagonistic approach to drama and theatre is still possible. The argument that sees literature as a performative art, adopted by the author, provides additional support. This article shows how changes in the very notion of the text as well as in the ontological status of literature itself have had their effect on the transformations of beliefs and conceptions grounded in the vision of the humanities understood as “the textual world” to produce the concept of “entangled world” instead. This being the case, the author proposes to depart from the concept of “text” (no matter how restructured or redefined), abandon thinking in categories of network structures (even Latour’s actor-network’s theory), and discard dialectical or holistic approaches (even the theory of cognitive blending – “cognitive amalgams”) in favour of emergent “entanglement acts”, anamorphic perspective in art reception and synaesthetic discourses. By studying experiences related to performativity in the arts and discourses related to performance studies, the article goes to show the changes currently going on in the humanities and transforming them into the perfomative humanities in the process.
Źródło:
Przestrzenie Teorii; 2018, 29; 31-51
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nad trumną bohatera romantycznego
Over the Coffin of a Romantic Hero
Autorzy:
Makaruk, Maria
Powiązania:
https://bibliotekanauki.pl/articles/1521075.pdf
Data publikacji:
2018-06-28
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
theatre
performance
review
romanticism
stereotype
Opis:
The article is an analysis and interpretation of Juliusz Słowacki’s Kordian directed by Jakub Skrzywanek at the Polish Theatre in Poznań in January 2018. Although it is a discussion with romantic stereotypes and myths, rather than another classical staging of the play, Skrzywanek’s staging is one of the most interesting voices in the Kordian case in years. This essay is an attempt to reconstruct the performance on the basis of its reviews and statements of the staging’s creators.
Źródło:
Białostockie Studia Literaturoznawcze; 2018, 12; 169-182
2082-9701
2720-0078
Pojawia się w:
Białostockie Studia Literaturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Filmowe rejestracje teatru - opis i problematyzacje zjawiska
Film Recordings of Theater – Description and Problematisations
Autorzy:
DOMALEWSKI, ADAM
Powiązania:
https://bibliotekanauki.pl/articles/921095.pdf
Data publikacji:
2016-10-09
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film recordings of theatre
TV theatre
performance
theatre in Poland
film production
Opis:
The paper attempts to distinguish film recordings of theater from the TV theater genre. The decisive criterion for this distinction proposed by the author is the chronology of the production process - film recordings of theater performances provide a record of pre-existing theater performances, whereas TV theatre includes all theatre-like productions created for the small screen and which do not have their own stage ‘odginali In each of these cases there are different tasks and difficulties facing producers and executors. The next part of the article focuses on film recordings of theater: the reasons for which they are made (documentation, dissemination, promotion) and the differences between their types. Referring to the work of Jacek Wachowski, the author also presents a brief discussion about the possibilities and consequences of technical mediation of any performances, not only theatrical shows. The article concludes with an attempt to define the status of the film recording of a performance in relation to its original theatrical nature (the “residuum of the theater”).
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 18, 27; 332-338
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sensitive Research Areas in Theatre and Disability
Autorzy:
Nieduziak, Edyta
Powiązania:
https://bibliotekanauki.pl/articles/1967942.pdf
Data publikacji:
2019-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
qualitative research
ethnographic research
disabled people theatre
performance
applied theatre
disability
theatre
Opis:
The article raises the issue of research in artistic expression and creativity used in therapy. Such research requires an interdisciplinary approach combining the humanities (art studies) and the social studies (pedagogy, psychology, sociology), which causes issues with implementing a consistent research perspective. The author points out a few issues, called “sensitive areas”, and analyses them in relation to the disabled people theatre. These are: the presentation status of such groups, the dangers of subjectivism or the necessity of implementing the qualitative research model, the methods of research documentation.
Źródło:
Kultura i Edukacja; 2019, 4(126); 151-161
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obrus. O definicji performansu
Autorzy:
Solski, Zbigniew Władysław
Powiązania:
https://bibliotekanauki.pl/articles/487762.pdf
Data publikacji:
2018
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
PERFORMATICS
PERFORMANCE ART
THEATRE
PERFORMATYKA
TEATR
Opis:
Tablecloth. On the definitions of performance From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Po- land theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the sub- ject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with per- formance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 6-29
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
KOR I TEATR
KOR and Theatre
Autorzy:
WACHOWSKI, JACEK
Powiązania:
https://bibliotekanauki.pl/articles/776917.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
KOR – Workers’ Defense Committee
theatre
performance
Opis:
The article is an attempt at characterizing the connections between KOR (the Workers’ Defense Committee, established by a group of Polish oppositionists in June 1976) and theatrical practice. Theatrical references are mentioned together with the prevailing literary –regerences in two areas: biographical (the founders of the movement were writers, poets, songwriters, and actors) and ideological. The biographical area also serves as an introduction to the other perspective which can be referred to as ideological. The theatre became a breeding ground for thoughts defying the communist reality. It was a meeting place for the broadly defined opposition, a cradle of ideas hostile to the system based on “workers and peasants” and the alliance with the Soviet Union. The resulting works included politicized performances of the classics as well as performances presented by alterative groups: Teatr Ósmego Dnia: Teatr 77, Jedynka, Provisorium and Teatr Stu. KOR’s activity from 1976 to the beginning of martial law introduced on 13 December 1981 clearly shows that the links between the revolutionary movement and the theater were an important feature of dissident activity and helped to reinforce and popularize its ideological values.
Źródło:
Slavia Occidentalis; 2018, 75/2; 69-79
0081-0002
Pojawia się w:
Slavia Occidentalis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dreaming as Performance. An Attempt to Explain the Phenomenon of the Inner Mental Theatre Stage
Autorzy:
Krpič, Tomaž
Powiązania:
https://bibliotekanauki.pl/articles/22337088.pdf
Data publikacji:
2023-10
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
sleep
performance
body
spectActor
theatre stage
Opis:
This article addresses the phenomenon of sleeping performance artists. Several performance artists have investigated or included sleep in their performance art. These artists radically transform Eric Bentley’s conventional theatre model from ‘A impersonates B, while C looks on’ into “A impersonates A, while A looks on.’ The sleeping performer builds a mental inner theatre stage inside their body, becoming the ‘spectActor,’ who simultaneously embodies both the performer and the spectator. The spectActor’s consciousness is generated by memories stored in his or her body. He or she is in the state of aesthetic inner-bodymind.
Źródło:
Didaskalia. Gazeta Teatralna; 2023, 177; 110-132
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Postmedia w mediach: przypadek teatru
Postmedia in media: The case of theatre
Autorzy:
Pieniążek, Marek
Powiązania:
https://bibliotekanauki.pl/articles/22645698.pdf
Data publikacji:
2020-09-22
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
teatr
postteatr
performans
postmedia
aktor
theatre
post-theatre
performance
actor
Opis:
Artykuł poświęcony jest obecności postmediów w przestrzeni współczesnych przedstawień teatralnych. Autor wykorzystuje kategorię tak zwanego postteatru. W kontekście diagnoz kultury postmedialnej proponuje spojrzenie na współczesne przedstawienia teatralne jako syntezę dramaturgicznych, cielesnych, afektywnych i technologicznych mechanizmów mediatyzacji. Na przykładzie odbioru spektaklu Vernon Subutex autor dowodzi, iż współczesny podmiot znajduje swoje najpełniejsze uobecnienie w postmedialnym teatrze. Reakcje recenzenckie odsłaniają zarazem niską świadomość społeczną nowego paradygmatu kulturowego, który choć na co dzień tworzy i stymuluje zachowania na masową skalę, nie jest rozumiany i adekwatnie nazywany.
The paper is devoted to the presence of postmedia in contemporary theatre performances. The author uses the category of the so-called post-theatre. In the context of diagnosis of postmedial culture, he suggests looking at modern theatre plays as a synthesis of dramaturgical, corporal, affective and technological mechanisms of mediatisation. On the basis of Vernon Subutex performance, the author proves that the contemporary subject finds its fullest representation in postmedial theatre. At the same time, reviews show a low social awareness of the new cultural paradigm, which despite creating and stimulating mass behaviours on a daily basis, is not understood or appropriately named.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2020, 12, 3; 13-29
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Meyerhold Bound: Montažstrojs “Vatrotehna (2.0)” and the Barbaric Discipline of the Machine
Autorzy:
Rafolt, Leo
Powiązania:
https://bibliotekanauki.pl/articles/508848.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
Montažstroj
re-performability
physical theatre
avant-garde theatre
radical performance
Opis:
Meyerhold bBound: Montažstroj's Vatrotehna (2.0) and the Barbaric Discipline of the MachineThe paper deals with Montažstroj’s two versions of Vatrotehna performance, inspired by Aeschylus’ Prometheus Bound and Meyerhold’s tragic execution. Context of both performances is analyzed, especially in the light of re-performability in post-sociorealist and neo-capitalist conditions. Montažstroj’s performances are, hence, seen as radical in situ performance praxis, community oriented, and deeply rooted in traditions of avant-garde theatre. Therefore, questions like iterability, social proxemics and political engagement of the performance arise as most important. Aeschylus’ plot intertekst and Meyerhold’s performative intertext thus function as a platform for re-examining and re-performing in a rigid, utmost barbaric biomechanical mode, furthermore – in totally mediatized and mechanicocentric society. Skok Meyerholda: Vatrotehna (2.0) grupy Montažstroj i barbarzyńska dyscyplina maszynyArtykuł analizuje dwie wersje widowiska Vatrotehna, inspirowanego Prometeuszem skowanym Ajschylosa i tragicznością interpretacji Meyerholda w wykonaniu grupy Montažstroj. Przedstawiony został kontekst obu wykonań, a zwłaszcza perspektywa re-performatywności w warunkach postsocrealistycznych i neokapitalistycznych. Wykonania Montažstroju uznane są za radykalną in situ performatywną praxis, zorientowaną na wspólnotę i głęboko zakorzenioną w tradycjach teatralnej awangardy. W związku z tym kluczowe okazały się takie kwestie jak iteratywność, proksemika społeczna i polityczne zaangażowanie widowiska. Fabularny intertekst Ajschylosa i performatywny intertekst Meyerholda stają się platformą ponownego zbadania i ponownego wykonania w surowym, niemal barbarzyńskim trybie biomechaniki, co więcej – w totalnie zmediatyzowanym i maszynocentrycznym społeczeństwie.
Źródło:
Colloquia Humanistica; 2017, 6
2081-6774
2392-2419
Pojawia się w:
Colloquia Humanistica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dramaturgy of "Hamlet"(s) in Czech Theatre between 2000 and 2023
Autorzy:
Drozd, David
Powiązania:
https://bibliotekanauki.pl/articles/39774946.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
dramaturgy
directing
post-modern theatre
performance analysis
Czech theatre
Opis:
The paper focuses on five Czech productions of Hamlet that attracted the most critical and public attention between 2000 and 2023. Namely, the productions directed by Miroslav Krobot (2006), Jan Mikulášek (2009), Daniela Špinar (2013), Michal Dočekal (2021) and finally the most recent version by Jakub Čermák (2022). All five performances could be seen as contemporary reinterpretations of a classical text using a (post-)modern stylistic approach, as examples of post-millennium Hamlets. The paper discusses dramaturgical choices (such as the conceptualisation of the ghost, the mousetrap scene, or the character of Fortinbras) in order to identify and analyse possibilities for interpreting Hamlet as a political drama in the context of Czech performance tradition and the current political situation. The results show that performances generally present variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 177-192
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The motif of the window and the experience of latency in the work of Tadeusz Kantor
Figura okna i doświadczenie latencji w twórczości Tadeusza Kantora
Autorzy:
Szalewska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/2089368.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Polish experimental theatre
the object in theatre and in performance
theatre and space
Tadeusz Kantor (1915–1990)
The Theatre of Death
Hans-Ulrich Gumbrecht (b. 1948)
latency
latencja
Tadeusz Kantor
Teatr Śmierci
figury spacjalne
przestrzeń w sztuce
Opis:
The window is a recurring image in the imaginarium and the art of Tadeusz Kantor. Fixed in his memory at an early age, it resurfaced in the spectacle Wielopole, Wielopole (1980) as a plain object "of the reality of the lowest kind", and in the 'cricotage' A Very Short Lesson (1988) as a quasi stage prop charged with metaphysical meaning. The window motif is also a persistent feature of his graphic art. Most notably, it appears in the drawing Man and window (1971), a picture for the Dead Class (Window) from 1983, an autothematic cycle of paintings You cannot look inside through the window with impunity (1988-1990), and Kantor's last dated drawing of pigeons being watched through a window. Kantor's fascination with the window as an objet d'art can be explained by his philosophical aesthetics (especially the use of objects as markers of the 'spaces' of the stage action). This article analyzes the image of the window as a 'site' of special significance in Kantor's art (an object that encapsulates the antynomy of inside/outside, or a claustrophobic incarceration/a barrier to entry) in the context of Hans-Ulrich Gumbrecht's theory of latency (i.e. the inability of throwing off the past, the suspension of time symbolized by artistic constructs of imprisonment).
Źródło:
Ruch Literacki; 2019, 5; 563-575
0035-9602
Pojawia się w:
Ruch Literacki
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 45

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