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Performing memory - workers' strikes in post-war Poland

100%

Sosnowska D.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2019

vol. 22

issue 1

89-96

Andrzej Leder, Polish psychoanalyst and philosopher, states that between 1939 and 1956, a revolution took place in Poland. A revolution he calls an 'overslept revolution' (LEDER 2014). To him, it is the time when Polish society entered modernity and changed its model from a feudal to a bourgeois society. He utilizes Jacques Lacan's term trans-passive to underscore the character of Polish revolution: it is perceived as someone else's act, as a nightmare and a sweet phantasy at the same time. This article explores the consequences the workers' protests in Poland between 1945 and 1948, and their performative, or theatrical character. I question how this influences our understanding of common memory and history. Another important philosophical context is Hannah Arendt's On Revolution (1963), and her statement that in any revolutionary act there is a deep division between the mass population and how their goals are formulated. Performative perspective is a way to overcome this division – at least in historical thinking.

Blackness as medium : body in contemporary theatre practice and theory

63%

Sajewska D., Sosnowska D.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

2016

vol. 19

issue 2

91-102

Our text presents the theoretical approach to the problems of body and technology in stage performance. The starting point is the status of the categories such as presence, ephemerality, immediacy of the (theatre) performance, radically undermined in the texts of performance studies scholars such as Rebecca Schneider, Amelia Jones or Philip Auslander. Utilizing examples of performances from young Polish theatre: Krzysztof Garbaczewski (b. 1983) and Radosław Rychcik (b. 1981), we juxtapose two functioning models of the body-technology relation on stage. The first – represented by Garbaczewski – is based on an understanding of the body as always mediated. It multiplies (undermines) the body's presence by use of audio-visual means. The second – Rychcik's case – is to push the theatrical presence of the body to the absolute maximum. In this case, the audio-visual layer is used to build a strong opposition to the actor's stage presence. The two examples are used to propose a new theoretical approach. We show that such stage phenomena are not only a sign of a (technological) reality shift, but also, a very important theoretical input in the understanding of theatre. We state that every single body on stage (no matter if consciously, as in Garbaczewski's case, or unconsciously as in the Rychcik's case) is already mediated and the use of technological tools is a way to play with this specific character of theatre corporeality. This broader perspective also incorporates elements of the political dimension of annexing media-mediated and media-manipulated corporeality, for it will follow the apparently transparent and natural dimension of such actions, whereby once again it will turn, as postulated by Jacques Rancière, aesthetic considerations into political considerations.

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2 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 2019

1 2016

2 Sosnowska D.

1 Sajewska D.

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Performing memory - workers' strikes in post-war Poland

Blackness as medium : body in contemporary theatre practice and theory