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1

Po co dramaturgowi aktor performatywny?

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Baluch W.

Przestrzenie Teorii

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2021

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issue 36

137-152

EN

The article is an attempt to answer the question of how contemporary performative acting enters into artistically and cognitively significant interactions with the new Polish dramaturgy. The relationship between the two forms of art is discussed in relation to two types of acting: task-oriented and performative. The concept of both types of acting is derived from the analysis of selected contemporary theater and television productions of dramas and scenarios arising from the achievements of the latest Polish dramaturgy. The examples that are analyzed reveal various aspects and types of the actors’ performative game, which include the issues of the actor’s subjectivity, their presence on stage and the materiality of the body. Unlike many of today’s discussions, the interpretations and comments on selected scenes and fragments of a performance do not focus on the subversive dimension of the above-mentioned aspects of acting, but look for new perspectives of reception and, at the same time, broaden the areas of theatrical experience. These new perspectives and areas are triggered by references to the affective and mental processes of reception, which allow perceptions to exclude, at least partially, the tendency to automatically interpret everything that surrounds them. The analyses featured in the article therefore aim to describe those aspects of performative acting that enable the viewer to derive benefit from what the new Polish dramaturgy offers.

2

„Bez pamięci” — od doświadczenia pokoleniowego po różnorodności wspomnień (na wybranych przykładach dramatów i filmów polskich)

100%

Baluch W.

Miscellanea Posttotalitariana Wratislaviensia

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2016

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vol. 4: POKOLENIE — TRANSFORMACJA — TOŻSAMOŚĆ Gardzienickie czytania teatroznawcze… i nie tylko

17-23

EN

This article outlines the perspective of the development of Polish drama after 1989, when the totalitarian system was replaced with the ideas of liberal democracy. The main terms that define the scope of issues under investigation and the selection of dramas include ‘memory’ and ‘generational experience.’ The reflections begin with stating the inadequacy of previous cultural models and discourses with reference to the new socio-political reality that began in Poland after 1989. Further on, selected dramas of the most prominent playwrights of the 20th century: Tadeusz Różewicz and Sławomir Mrożek are analysed. Based on their example it is proven that the language of Polish drama from the communist period actually transfers ancient linguistic forms from the pre-war period and from the 19th century. However, in the 1990s the old masters could no longer find a language which would render the experience of people living in the period of transformation. It is achieved only a decade after the system transformation in Poland when at the beginning of the 21st century an anthology of young Polish drama entitled Porno generation is published. It marks the beginning of an artistic attitude that is characterised with a close contact of a play’s subjects with the presented reality. This attitude leads to one of the branches of modern dramaturgy based on a free usage and combination of various styles and elements of both literature and culture while simultaneously revealing personal engagement in the reality created in artistic activity. I will discuss dramas by Dorota Masłowska and selected Polish films of the last decade: All that I love, Yuma, and Motor as representative examples of this type of artistic activity.

3

Nowe wymiary tożsamości – media, kultura popularna, rzeczywistość cyfrowa

100%

Baluch W.

Przestrzenie Teorii

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2016

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issue 25

245-262

EN

The text concentrates on the issue of identity and its transformations, driven by the spread of media and digital culture. In the first part it presents three canonic proposals for reflections on virtual identity. Firstly, reflections on the communication dimension of identity derived from Martin Buber’s philosophy of dialog. Secondly, the concept of “ontological shift” as suggested by Marek Krajewski, who sees in it the remedy for the lack of a real dimension of many virtual contacts. Thirdly, the issues of the integrity of the individual and the fluidity of modern reality in the approaches proposed by Wolfgang Welsh, Anthony Giddens, and Zygmunt Bauman. The analytical part contains an analysis of the important aspects of the notion of identity. The first is the issue of the subjectivity of an utterance and its source, which will be discussed using the example of a play based on texts that adapted from Internet blogs. The second issue is an attempt to answer the question posed by Sherry Turkle of whether if it is possible to kill someone virtually. The point of reference for the search for a solution to this issue is the popular computer game “Vampire”.The last aspect has to do with celebrity identity in the media world. This concerns the phenomenon of celebrities in the pragmatic dimension as a model strategy of behaviour in the world, in which the boundary between privacy and public space has been blurred. On the basis of these analyses, which cover merely a small part of human experience, the author proposes a new methodological approach to perceiving and analysing aspects of identity revealed through the confrontation with the new virtual reality.

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2 Przestrzenie Teorii

1 Miscellanea Posttotalitariana Wratislaviensia

3 Baluch W.

1 2021

2 2016

Po co dramaturgowi aktor performatywny?

„Bez pamięci” — od doświadczenia pokoleniowego po różnorodności wspomnień (na wybranych przykładach dramatów i filmów polskich)

Nowe wymiary tożsamości – media, kultura popularna, rzeczywistość cyfrowa