PL EN


2014 | 63 | 1-2(249-250) | 65-76
Article title

Dyscyplina po przejściach. O strategiach badań teatrologicznych

Authors
Title variants
EN
A Discipline with Baggage. On Strategies of Theatrological Research
Languages of publication
Abstracts
EN
New challenges that theatre studies had to face in the last decades inspire one to ponder on some basic questions: What is the contemporary theatre? And in what directions is today’s acting heading? But also: How has the status of the theatre performance changed under the influence of new technologies (most notably by the means of its recording and transmission, and their presence within the performances themselves)? The answers to these (and other) questions provided by theatre scholars lead to the conclusion that we can talk about at least four distinct ways – epistemic paradigms, as it were – of tackling such issues within the discourse of theatre studies. The first may be called inclusive theatrology. Its source is the belief that everything is theatre and theatre is everywhere. The second position may be called exclusive theatrology. It originates in understanding theatre in a narrow sense, which enables one to discriminate between theatre and other spectacles (and exclude theatre from the discourse about them). The third way is of interdisciplinary character (it means constructing a discourse that is a confluence of disciplines, or to be more exact, methodological positions; there can, obviously, be several of them). The fourth, trans-disciplinary, stance seeks out narratives summaries breaking away from the customary theatrocentrism of the scholars (and readers). It is aimed at supporting independent methods of inquiry, i.e. those devoid of any methodological (often dogmatic and a priori) assumptions. Its aim is not to produce methodological-and-epistemic contaminations, but to broaden the scope of research by shedding multi-disciplinary bands of light to see the things “caughtin-between” that would otherwise go unnoticed. It seems that it is this trans-disciplinary approach that holds the most promise for theatre studies not only because it is a breeze of fresh air that broadens the scope of theatrological research and renews the discourse, but also because it brings about a change in what is meant by criteria for academic scholarship. It redefines old concepts and customary notions (relating to the scope of research and its tools), replacing them with new methodological categories. It aims at a discourse open to cognitive inspiration and responding to challenges resulting from the developments in the humanities of today.
Year
Volume
63
Issue
Pages
65-76
Physical description
Contributors
  • Uniwersytet im. Adama Mickiewicza w Poznaniu
References
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  • T. Kubikowski, Siedem bytów teatralnych. O fenomenologii sztuki scenicznej, Warszawa 1994.
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  • J. M. Pradier, Ciało widowiskowe. Etnoscenologia sztuk widowiskowych, tłum. K. Bierwiaczonek, Warszawa 2012.
  • M. Różewicz, Teoria dzieła sztuki teatru w Ingardenowskim modelu humanistyki. Wrocław 2002.
  • A. Ubersfeld, Czytanie teatru I, tłum. J. Żurowska, Warszawa 2002.
  • J. Wachowski, Performans, Gdańsk 2011.
  • Wprowadzenie do nauki o teatrze, pod red. J. Deglera, t. 1–3, Wrocław 1976.
  • Współczesna teoria badań literackich za granicą, oprac. H. Markiewicz, t. 3, Kraków 1976.
  • A. Zeidler-Janiszewska, Visual Culture Studies czy antropologicznie zorientowana Bildwissenschaft? O kierunkach zwrotu ikonicznego w naukach o kulturze, „Teksty Drugie” 2006 nr 4
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-d3cd07b9-0ac5-4ade-9de8-14ef0d4fada0
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