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2012 | 56 | 2 | 53-69
Article title

Chorea – próba odwrotu czy… powrót?

Title variants
Languages of publication
EN
Abstracts
EN
The article presents an analysis of selected elements of the Chorea Theatre Association play entitled Grotowski - An Attempt to Retreat. The discussion starts with the mutual relations between a series of ideas in contemporary theatrological discourse: the performance, the actor-performer and the actor-character. In the course of the argument, the categories ‘theatre of an attempt’ and ‘processual montage principle’ are introduced and used in the context of the issues involved in theatrical events and experiences. The first term refers to the contemporary theatrical practice of treating a theatre event as a sort of anthropological experiment, and the second refers to the compositional technique characteristic of this approach. The ‘theatre of an attempt’ formula, as a situation of confrontation in the tripartite structure of actor, viewer and stage-action reality, allows the anthropological dynamic of the theatre event, whose integral component is the mental activity of the spectator, to be captured. The ‘processual montage principle’ relates not only to the construction of the spectacle and the actor’s actions, but also to the attitudes and actions of the cognitive spectator, who, in participating in the theatrical process of becoming must himself attempt an imaginative reflection of this process. In conclusion, an interpretation of the play in the context of the ‘Everyman’ morality tradition is suggested.
Publisher
Year
Volume
56
Issue
2
Pages
53-69
Physical description
Dates
published
2012-06-01
online
2012-11-23
Contributors
References
  • Di Benedetto Stephen, 2011, The Provocation of the Senses in Contemporary Theatre, Routledge, New York-London.
  • Domańska Ewa, 2007, „Zwrot performatywny” we wspołczesnej humanistyce, „Teksty Drugie”, nr 5.
  • Fisher-Lichte Erika, 2008, Estetyka performatywności, tłum. Mateusz Borowski, Małgorzata Sugiera, Księgarnia Akademicka, Krakow.
  • George David E. R., 1996, Performance Epistemology, „Performance Research”, t. 1, nr 1, s. 16-25.
  • Grotowski Jerzy, 1990, Ćwiczenia, w: Jerzy Grotowski, Teksty z lat 1965-1969, Wiedza o Kulturze, Wrocław.
  • Grotowski Jerzy, 2000, Tu es le fils de quelqu’un, tłum. Ludwik Flaszen, „Didaskalia. Gazeta Teatralna”, nr 39.
  • Jackson Shannon, 2004, Professing Performance: Theatre in the Academy from Philology to Performativity, Cambridge University Press, Cambridge.
  • Kocur Mirosław, 2010, Drugie narodziny teatru. Performanse mnichow anglosaskich,Wydawnictwo Uniwersytetu Wrocławskiego, Wrocław.
  • McConachie Bruce, 2008, Engaging Audiences: A Cognitive Approach to Spectating in the Theatre, Palgrave Macmillan, New York.
  • McKenzie Jon, 2001, Perform or Else: From Discipline to Performance, Routledge, London-New York.
  • Osiński Zbigniew, 1993, Grotowski wytycza trasy. Studia i szkice, Pusty Obłok, Warszawa.
  • Richards Thomas, 2003, Pracując z Grotowskim nad działaniami fizycznymi, tłum. Magda Złotowska, Andrzej Wojtasik, Homini, Krakow.
  • Richards Thomas, 2004, Punkt graniczny przedstawienia, rozm. LisaWolford, tłum. Artur Przybysławski, Ośrodek Badań i Tworczości Jerzego Grotowskiego i Poszukiwań Teatralno-Kulturowych, Wrocław.
  • Richards Thomas, 2008, Heart of Practice:Within theWorkcenter of Jerzy Grotowski and Thomas Richards, Routledge, London-New York.
  • Schechner Richard, 2006, Performatyka. Wstęp, tłum. Tomasz Kubikowski, Ośrodek Badań i Tworczości Jerzego Grotowskiego i Poszukiwań Teatralno-Kulturowych, Wrocław.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.doi-10_2478_v10276-012-0016-2
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