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2021 | 2(278) | 11-36

Article title

Existing Within and Beyond Time: «Capri—the Island of Fugitives» by Krystian Lupa

Title variants

EN
Existing Within and Beyond Time: «Capri—the Island of Fugitives» by Krystian Lupa

Languages of publication

EN

Abstracts

EN
The proposed article ponders upon Krystian Lupa’s Capri—the Island of Fugitives (2019), an original production staged at the Powszechny Theatre in Warsaw that brings together two of Curzio Malaparte’s prose books: Kaputt (1944) and The Skin (1949). By focusing on the parts of the production that adapt Kaputt, the article scrutinizes scenes produced by the live performance and the virtual projections in order to describe and explain how theatrical expression is enriched by such a juxtaposition. This analysis uses the theoretical frameworks of unnatural narratology (Jan Alber et al.), postdramatic durational aesthetics (Hans-Thies Lehmann), and the idea of the virtual double (Matthew Causey). The primary argument relies on the specific temporality emerging from the Lupa’s performance that enables spectators to feel existence within and beyond time. Furthermore, the study investigates the overarching idea of the performance, recognized by the strategy of foregrounding the thematic that oscillates within the problematics of human cruelty.

Year

Issue

Pages

11-36

Physical description

Contributors

  • University of Łódź

References

  • Alber, Jan, and Brian Richardson, eds. Unnatural Narratology: Extensions, Revisions, and Challenges. Columbus: Ohio State University, 2020.
  • Alber, Jan, Stefan Iversen, Henrik S. Nielsen, and Brian Richardson. “Unnatural Narratives Unnatural Narratology: Beyond Mimetic Models.” Narrative 18, no. 2 (2010): 113–136.
  • Alber, Jan. Unnatural Narrative: Impossible Worlds in Fiction and Drama. Lincoln: University of Nebraska Press, 2016.
  • Balme, Christopher. “Surrogate Stages: Theatre, Performance and the Challenge of New Media.” Performance Research 13, no. 2 (2009): 80–91. https://doi.org/10.1080/13528160802639342.
  • Causey, Matthew. Theatre and Performance in Digital Culture: From Simulation to Embeddedness. London: Routledge, 2006. https://doi.org/10.4324/9780203028223
  • Critchley, Simon. Very Little . . . Almost Nothing. Death, Philosophy, Literature. London: Routledge, 2004.
  • Czardybon, Marcin. “Jeżeli nie wierzycie, to popatrzcie tu, na mój talerz: Prawda konfabulacji w prozie reportażowej Curzia Malapartego.” Tekstualia 47, nr 4 (2016): 93–110.
  • Foucault, Michel. Society Must Be Defended: Lectures at the Collège de France 1975–1976. Translated by David Macey, edited by Mauro Bertani and Alessandro Fontana. New York: Picador, 2003.
  • Gruszczyński, Piotr. Ojcobójcy: Młodsi zdolniejsi w teatrze polskim. Warszawa: W.A.B., 2003. https://www.encyklopediateatru.pl/ksiazka/184/ojcobojcy-mlodsi-zdolniejsi-w-teatrze-polskim/strona/1.
  • Kwaśniewska, Monika. „Między wolnością a manipulacją: Sytuacja aktorów i aktorek w Factory 2.” Didaskalia, nr 150 (2019): 2–9.
  • Lehmann, Hans-Thies. Postdramatic Theatre. Translated by Karen Jürs-Munby. New York: Routledge, 2006.
  • Richardson, Brian. “Beyond Story and Discourse: Narrative Time in Postmodern and Nonmimetic Fiction.” In Narrative Dynamics: Essays on Time, Plot, Closure, and Frame, edited by Brian Richardson, 47–63. Columbus: Ohio State University, 2002.
  • Ubersfeld, Anne. Reading Theatre. Translated by Frank Collins. Toronto: University of Toronto Press, 1999.
  • Yacobi, Tamar. “Time Denatured into Meaning: New Worlds and Renewed Themes in the Poetry of Dan Pagis.” Style 22, no. 1: Narrative Theory and Criticism (1988): 93–115.

Document Type

Publication order reference

YADDA identifier

bwmeta1.element.desklight-96250037-78e9-4e47-902d-e8993cc742e7
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