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Theological Tropes in Piotr Cieplak's Theatre

100%
Flader-Rzeszowska K.
Kultura – Media – Teologia
|
2015
|
issue 20
80 - 87
EN
In contemporary art, seemingly far from religious or faith-related affiliations, one can find many theological tropes: hidden values, symbols and motifs. Being focused on existential issues, touching upon the problems of suffering, dying, longing and love, theatre is still open to getting engaged in a dialogue with theology. Piotr Cieplak, one of the contemporary theatre directors that is worthy of greater attention, uses the language of “verging realities”, i.e. in his performances, he refers to the notions from the realm of theology. He is interested in such issues as faith, doubt, trust, hope and salvation. One of Cieplak’s inspirations at work is the thought of Tomasz Halik, an outstanding Czech theologian. His deliberations contained in the book Cierpliwość wobec Boga (Patience With God) can be a key to interpreting “Somkowy kapelusz” performance. This French farce dressed with T.S. Elliot’s poetry and read through the theological lens of Tomasz Halik becomes a story of patient waiting for an unnamed mystery. Here, Cieplak refers to the apophatic theology where God is described as the presence of Absence, a being impossible to embrace or label in any way. From this perspective, “Słomkowy kapelusz” is a story of a man who knows that he is an actor in the big theatre of the world, who believes, doubts, ask questions, longs but is unshakably waiting on the threshold of the mystery.
2
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«Ja do radia wejdę»: Radiowe realizacje Marii Wiercińskiej w latach 1946–1952

100%
Flader-Rzeszowska K.
Pamiętnik Teatralny
|
2020
|
issue 3(275)
133-150
EN
This article is devoted to Maria Wiercińska’s work from 1946–1952, when the theatre actress and director focused on radio, first in Łódź and then in Wrocław. It presents the results of research based on Wiercińska’s manuscript listing her radio works of that time and on the script of her radio play Niebezpieczne życie (Dangerous Life, written and first broadcast in 1935 under the direction of Michał Melina), which has not been analysed or published to date. The extant script dates from 1946, when Wiercińska directed the radio play herself (broadcast in 1947). Thanks to the author’s notes and edits, it is possible to reconstruct her understanding and enactment of the principles of performance art in the new medium. These sources, as well as Wiercińska’s correspondence, confirm that radio was her passion, showing the place of radio work in her artistic output and the influence of her experience in recitation on her work with the microphone. The perspective of micro-history enables a thorough examination of this form of Wiercińska’s work, casting light on this somewhat forgotten figure. The article broadens the knowledge about women who co-created Polish theatre in the 20th century.
3
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,,Tak, tak” miłości na ,,nie, nie” śmierci. Walka Tanatosa z Erosem w Teatrze Tadeusza Kantora

100%
Flader-Rzeszowska K.
Pamiętnik Teatralny
|
2015
|
vol. 64
|
issue 2(254)
97-121
EN
The main goal of the article is to analyse and interpret Tadeusz Kantor’s works from a crypto-theological perspective. The author focuses on the last theatre cycle by the artist, the Theatre of Love and Death. Most researchers do not take into account the fact that at the end of his life the artist added “Love” to his Theatre of Death and by doing so clearly emphasised new epistemic and philosophical aspects of his art. The theatre of Kantor’s last years of creative activity is a theatre in which death is not the only one of prime importance. It is counterbalanced by the idea of love “as powerful as death”, of love able to challenge the absurdity of death. The author analyses “Cricotages”, short theatrical forms realised mostly outside the Cricot 2 and interprets them as containing Kantor’s “small theology” based on metaphors, symbols. It encompasses questions of great importance about the meaning of suffering, about the purpose of man’s journey, about the deep feeling of want and emptiness, about the necessity of reading the disappearing traces of transcendence. Inspired by studies carried out by philosophers and anthropologists of death (e.g. Vladimir Jankélévitch, Hans Belting, Jean-Didier Urbain, Edgar Morin, or Stanisław Cichowicz), the author argues that Tadeusz Kantor’s theatre is not a nihilist one, devoid of any hope; it is rather a theatre that resumes communication, severed sometime earlier, with the dead. Kantor’s leaning towards death, his way of looking at the man from the perspective of a cemetery, hints at spiritual aspects of his art, revealing oft-times hidden theological tracks. The Cracow artist insisted in his last creative years that when death puts an end to life, love does not stop; Eros can become the only worthy opponent of Thanatos.
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