Rozważania o teatrologii. Próba opisu sytuacji

Title variants

EN

Considerations on Theatrology. An Attempt to Define the Situation

Abstracts

EN

In order to determine what has happened with Polish theatrology and what the chances of changing its situation are, one needs to go back to the year 1913, to the programmatic text Nowy kierunek badań teatrologicznych (A New Direction in Theatrological Research) by Leon Schiller, and take a look at the origins of the discipline in high modernist thought. It is so, because theatrology owed its existence to the so-called high modernism that conceived it as a high cognitive act having an autonomous art as its object, which had its correlate in the concept of autonomous aesthetic experience. Aesthetics constituted a line of defence against commercialisation of art, and institution became the new discipline’s hero. Theatrology was founded on several myths, which in turn formed its prison: they included the myth of the theatre as a temple of art, the myth of pure art, and the summaries myth of the auratic work of art. Thus, the process of its transformations had to be triggered by the changes taking place in the artistic reality, i.e. by art itself and by aesthetics, which turned into anaesthetics; it had to become dependent on the development of new media, the emergence of new relations between man and technology, the validation of everyday life, and a number of related turns and breakthroughs in various fields of academic research and science. All of this has resulted in reconfiguring the discipline of theatrology and expanding its borders. A rough outline of the fields claimed and cultivated by today’s theatrology looks interesting. There are two types of historical research: one that prolongs the existence of the old history of theatre, still closed within the walls of institutions and aesthetics, which I call the history of the first degree; and a new history of the second degree, consisting of various other historical narratives, in which theatre turns out to be a phenomenon encompassing diverse regions of activity and collective consciousness. Recent years have also shaped a broad field of new theatrology understood as an inter-discipline of maximally inclusive character, with multiple lines of research and different methodologies. Finally, a trans-disciplinary area of hybrid character has emerged, where, for example, performatics can be located. By summing up all the various tendencies present in our current research practice we can see that the big picture consists of dynamic and mobile lines of inquiry, very attractive in the multitude of possibilities it offers, which is a cultural consequence of the time.

Keywords

EN

theatrology; theatre studies; thearte theory

• Publisher: Polska Akademia Nauk. Instytut Sztuki PAN
• Journal: Pamiętnik Teatralny
• Year: 2014
• Volume: 63
• Issue: 1-2(249-250)
• Pages: 55-64

Contributors

References

• D. Bachmann-Medick, Cultural turns. Nowe kierunki w naukach o kulturze, przeł. K. Krzemieniowa, Warszawa 2012.
• A. C. Danto, Po końcu sztuki. Sztuka współczesna i zatarcie się granic tradycji, przeł. M. Salwa, Kraków 2013.
• E. Domańska, Historia egzystencjalna. Krytyczne studium narratywizmu i humanistyki zaangażowanej, Warszawa 2012.
• J. McKenzie, Performuj albo… Od dyscypliny do performansu, wstęp i przekł. T. Kubikowski, Kraków 2011.
• Miasto w sztuce – sztuka miasta, red. E. Rewers, Kraków 2010.
• Odkrywanie modernizmu. Przekłady i komentarze, red. i wstęp. R. Nycz, Kraków 1998.
• Teoria wiedzy o przeszłości na tle współczesnej humanistyki. Antologia, red. E. Domańska, Poznań 2010.
• D. Wiles, Krótka historia przestrzeni teatralnych, przeł. Ł. Zaremba, red. naukowy W. Dudzik, Warszawa 2012.