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Tytuł:
Damir Bartol Indoš and Tanja Vrvilo — House of Extreme Music Theatre: Performative Translation of Croatian Neo/Avant-garde
Damir Bartol Indoš i Tanja Vrvilo — Kuća ekstremnog muzičkog kazališta: izvedbeno prevođenje hrvatske neo/avangarde
Damir Bartol Indoš and Tanja Vrvilo — Dom Ekstremalnego Teatru Muzycznego: przekład performatywny chorwackiej neo/awangardy
Autorzy:
Marjanić, Suzana
Powiązania:
https://bibliotekanauki.pl/articles/38594433.pdf
Data publikacji:
2023
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
House of Extreme Music Theatre
music performance
spiritually recycled trash
schachtophone performance
Opis:
DB Indoš and Tanja Vrvilo — House of Extreme Music Theater work with material from the Croatian historical avant-garde scene in all their performances of exhausting, physical theater, which they approached through the Zagreb circle of zenithists, “through Kamov and Čerina as predecessors of the Futurists (but not the Marinettists), and their influence on the literary-revolutionary circle of rebellious youth. Some of them included August Cesarec, Đuka Cvijić, Zora Ruklić and members of their ‘Republic of Stenjevac’, members of the Zagreb group Zenit, the lyrics of a visionary film through the books of Ivan Martinac, concrete poetry by Josip Stošić and the silent art that we ‘shachtophonize’ for our parallel performance canon” (Vrvilo 2020). Their systematic work on the performance and reactualization of the neo/avant-garde can be defined, by using Roman Jakobson’s definition, by intersemiotic translations (cf. Munday, Ramos Pinto, Blakesley 2022: 9) into musical theater which, in their example, is based on manipulating sound objects/installations/sculptures with the cut-up technique of original texts into schachtophone scores (moving away from music notation to graphic notation) for schachtophone music, all through the vision of the performance of exhausting (physical) theater with Indoš’s constant dedication to Artaud’s theater of cruelty, the alchemical theater of pre-logic and pre-rationality, a theater that, as a magical ritual, can lead to the healing of society.
Źródło:
Przekłady Literatur Słowiańskich; 2023, 13; 1-21
1899-9417
2353-9763
Pojawia się w:
Przekłady Literatur Słowiańskich
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:
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:
“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography
Autorzy:
Meyer, John M.
Powiązania:
https://bibliotekanauki.pl/articles/39763541.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare in performance
utopia
race
slavery
Early Modern history
Black
African American
Public Theatre
American Shakespeare Center
Oregon Shakespeare Festival
Texas
Opis:
The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 119-146
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
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:
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:
Władysław Hasior: od rzeźby do performansu
Władysław Hasior: from Sculpture to Performance
Autorzy:
Figzał-Janikowska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1830700.pdf
Data publikacji:
2021-10
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
Władysław Hasior
visual arts performance
ephemeral action
stage design
theatre of the elements
Opis:
The aim of this article is to draw attention to the theatrical and performative aspect of visual works by Władysław Hasior. The Zakopane artist is presented not only as an acknowledged sculptor, creator of assemblages and banners, but above all, as a performer, stage designer, director of a peculiar “theatre of the elements”, and the author of open-air shows with complex dramaturgy and precisely defined course. The author of the article attempts to indicate the sources of Hasior’s theatrical interests and their development. The issue of theatricality is examined in relation to the way in which the artist’s works are displayed, and to his scenographic projects or his own artistic performances. These activities reveal the Hasior’s fascination with theatrical means of expression and the idea of a collective gathering of ceremonial nature. The ephemerality of the Hasior’s open-air shows means that they have been the area least explored by researchers to date.
Źródło:
Didaskalia. Gazeta Teatralna; 2021, 165; 53-80
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:
Poza homo- i heteronormą Zerwanie z binarnymi przeciwieństwami na przykładzie przedstawień HIV/AIDS w Polsce
Beyond Homo- and Heteronormativity. Breaking with Binary Oppositions as Illustrated by Representations of HIV/AIDS in Poland
Autorzy:
Pindor, Radosław
Powiązania:
https://bibliotekanauki.pl/articles/1817004.pdf
Data publikacji:
2020-12
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
HIV/AIDS
homosexual identity
identity performance
homonormativity
theatre
Opis:
The aim of this article is to look at the categories of homo and heteronormativity with their resonance in Polish society. To visualise the specific strategies of identity performance beyond these concepts the author uses two main artistic examples created around the subject of HIV/AIDS - Angels in America directed by Krzysztof Warlikowski (2007) and An Ongoing Song by Szymon Adamczak (2019). Starting from the reconstruction of the debate about homoidentity on Polish ground, the article comes across topics such as living with the virus and struggling with gay self-identity, to finish with the new idea of moving forward from the strict categories of homo and hetero.
Źródło:
Didaskalia. Gazeta Teatralna; 2020, 160; 122-148
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przemiany teatru w dramacie. Kilka uwag o teatralnej koncepcji dramatu jako metodzie
Theatre Transformations in Drama: Some Remarks on Theatrical Concept of Drama as a Method
Autorzy:
Gracla, Jadwiga
Powiązania:
https://bibliotekanauki.pl/articles/1807343.pdf
Data publikacji:
2020-01-02
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
przemiany teatru
teatralna koncepcja dramatu
Wielka Reforma Teatru
konstrukcja przestrzeni
spektakl
theatre transformations
theatrical concept of drama
the Great Theatre Reform
space construction
performance
Opis:
Teatralna koncepcja dramatu, jak twierdzą badacze, jest nierozerwalnie związana ze zjawiskiem Wielkiej Reformy Teatru. Podkreśla to pierwotną zależność obydwu dziedzin sztuki i owej więzi odrodzenie. W prezentowanym szkicu ośrodkiem zainteresowania stały się wybrane dramaty powstające w pierwszym trzydziestoleciu XX wieku i teorie zmierzające ku odnowie oblicza sceny, których autorami byli zarówno Prawodawcy Reformy: Craig, Appia i Fuchs, jak i ich spadkobiercy: Jessner, Reinhardt. Prześledzenie struktury dramatu ujawnia zaskakujące zbieżności z tymi teoriami. Ich jednak odkrycie, co należy podkreślić, staje się możliwe wyłącznie dzięki takiemu rozumieniu dzieła dramatycznego, które eksponuje istniejącą w nim wizję teatralną i jego teatralne przeznaczenie. Dlatego też wykorzystanie właśnie tej teorii pozwala na lepsze zrozumienie dramaturgii, odkrycie związków ze współczesnym jej teatrem i nierzadko również prześledzenie zmian zachodzących w samym teatrze, jako że nierzadko właśnie w dziele dramatycznym postulat reformowania teatru przetrwał próbę czasu.
Theatrical concept of drama, as it is assumed by researchers, is inseparably connected with the Great Theatre Reform. It emphasises its primary dependence of both areas of art and the renaissance of this bond. The presented sketch focuses on selected plays written in the first three decades of 20th century and theories aiming at the revival of stage vision suggested by authors were both the Reform creators Braig, Appia and Fuchs, as well as their followers Jessner and Reinhardt. The analysis of the play structure reveals striking similarities with these theories. However, what must be emphasised, their discovery becomes possible only if the work of drama exhibits a theatrical vision involved in it and its theatrical purpose. Therefore, the use of this specific theory allows for better understanding of drama, discovering its connections with its contemporary and frequently following changes happening in the theatre because it is in the work of drama where frequently the postulate of reforming the theatre stood the test of time.
Źródło:
Roczniki Kulturoznawcze; 2014, 5, 1; 89-100
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Revolution beyond politics
Autorzy:
Świerkosz, Monika
Schreiber, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/2035231.pdf
Data publikacji:
2020
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
political theatre
disabilities studies
performance
Teatr 21
Opis:
Monika Świerkosz reviews the performance Rewolucja, której nie było (A Revolution That Was Not There), produced by Teatr 21 and Biennale Warszawa, directed by Justyna Sobczyk, and first performed on 7 Dec 2018 at Teatr Soho. The author points out that even though the performance was inspired by the 40-day-long protest staged by parents of persons with disabilities, it is more than a journalistic commentary on these events. Świerkosz describes the performance, emphasizing its political aspect. The author mentions specific dramaturgical, aesthetic and formal strategies which make A Revolution That Was Not There a space for the voices of Teatr 21’s actors. Finally, the author writes that the performance is a clear signal that the revolution has not ended, that it is still on, even though it’s far from the corridors of the Polish parliament.
Źródło:
Didaskalia. Gazeta Teatralna; 2020, English Issue 3; 4-17
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Teatr przedmiotu i teatr podmiotu. Kulturowe uwarunkowania relacji teatr–performans
Theatre of the Object and Theatre of the Subject: Cultural Determinants of Theatre–Performance Relationship
Autorzy:
Kawalec, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1807466.pdf
Data publikacji:
2020-01-02
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
teatr
performans
performatyka
sztuka
kultura
podmiot
działanie
czyn
praca aktora
theatre
performance
art of performance
performance studies
art
culture
subject
acting
work of the actor
Opis:
The distinction between philosophy of the object and of the subject is deeply rooted in our culture. Many consequences, including cultural ones, follow from it. Among them is also a change regarding the ways of how the works of art are made and received and also regarding the criterion of art. One instance of this phenomenon is the so called ‘performative turn’. The distinction between theatre of the object and of the subject (which parallels the philosophical distinction) propounded by the main claim of this paper is intended to facilitate understanding of the essence of the change which accompanied the development of the art of performance. The art of the object is represented, to my mind, by the theater; the art of the subject – by the artistic performance. The criterion, in a manner similar to the case of philosophy, is the conviction (or belief) of the creators (as well as of the audience) of the primacy of the subject over the object, of human ability to create an autonomous reality, of human decisiveness regarding the fact of its existence. The conclusion of the presented investigations concerns the character of theatre: the theatre is in its essence performative, however not in the sense attributed to it by contemporary representatives of performance studies. Rather it is so in the sense of how the very nature of reality determines the relation between the subject and the object, human being and the world.
Źródło:
Roczniki Kulturoznawcze; 2010, 1; 147-161
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Artystyczne transmisje afektu
Artistic transmissions of affect
Autorzy:
Pieniążek, Marek
Powiązania:
https://bibliotekanauki.pl/articles/520770.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
performans
edukacja
trauma
teatr
poezja
proces twórczy
performance
education
theatre
poetry
creative process
Opis:
W artykule przedstawiam formy wykorzystania afektu w edukacji artystycznej. Doświadczenia emocjonujących spotkań z miejscami, w których powstawały ważne spektakle, gdzie tworzyli wielcy artyści i poeci, są wskazane jako punkty węzłowe wywoływania postaw afektywnych, przenoszonych na działania twórcze. Siłę sprawczą afektu demonstruję na przykładzie spotkania z miejscem kluczowym dla powstania Umarłej klasy Tadeusza Kantora. Następnie wskazuję na wykorzystanie zespołowego charakteru przeżywania emocji twórczych. Dynamika grupowego oddziaływania emocji jest pokazana na przykładzie działania Klubu Literackiego MOK w Olkuszu. Poezja i proza czytane na głos oraz odpowiednio teatralizowane umożliwiają dzielenie się doświadczeniami, tworzą afektywną przestrzeń spotkania, służą do przepracowywania osobistych traum i wytyczania nowych celów życiowych.
The article presents the forms of using affect in artistic education. Experiences of exciting encounters with places where important performances were made, where great artists and poets created their work, are indicated as nodal points for the induction of affective attitudes, transferred to creative activities. Using as an example a meeting with a key place for the rise of Umarła klasa (the Dead Class) by Tadeusz Kantor, I demonstrate the driving force of affect. Then, I point to the team nature of experiencing creative emotions. The dynamics of group interaction of emotions can be seen in the Literary Club of MOK in Olkusz. Poetry and prose read aloud and staged properly make it possible to share experiences, create an affective space of encounter, serve to get over personal traumas and set new life goals.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2019, 11, 2 "Teatr w edukacji, terapii i profilaktyce"; 77-90
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fenomenologia i performatyka gestu w tańcu współczesnym
The phenomenological and performative aspects of modern and postmodern dance
Autorzy:
Fazan, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/1039857.pdf
Data publikacji:
2019-01-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
phenomenology of art
theory of performance
dance
theatre
M. Merleau-Ponty
E. Fischer-Lichte
M. Sheets-Johnstone
Opis:
The paper covers the problem of gestural expression and the role of the body in the aesthetic experience analysed in the Maurice Merleau-Ponty’s phenomenology of art and Erika Fischer-Lichte’s theory of performance. The author compiles these theorists’ conclusions and contextualizes them in the field of modern and postmodern dance. The ultimate goal is to analyse the artists’ statements in the context of formulated conclusions and syntheses. In summary, the author draws attention to current aesthetic research on dance and pinpoints the benefits of philosophical  phenomenological) interest in the modern and postmodern dance.
Źródło:
Przestrzenie Teorii; 2018, 29; 215-234
2450-5765
Pojawia się w:
Przestrzenie Teorii
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
Wyświetlanie 1-15 z 45

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