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No dirás falso testimonio contra tu prójimo. Himmelweg de Juan Mayorga en Cracovia

100%
Sawicka A.
Studia Iberystyczne
|
2011
|
vol. 10
295-315
EN
The present article focuses on three issues. The first one is the analysis of the drama Himmelweg, inspired by the events that took place in the ghetto of Terezin by Spanish playwright Juan Mayorga. The second problem discussed is a critical look at reviews that document the reception of this performance in the world, particulary referring to the one directed by Katarzyna Kalwat at the Juliusz Słowacki Theater in Cracow in 2011. And finally, the author describes one of the classes of Contemporary Spanish Theater course which was dedicated to this particular drama and performance. The special guest was the drama director. The conclusion stresses the complexity and relevance of this work, interpreted as a contemporary morality as well as the educational and intellectual benefits incurred by the workshop.
2
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W stronę archiwum-kłącza: Aneta Klassenberg

72%
Kościelniak M.
Pamiętnik Teatralny
|
2020
|
issue 3(275)
7-50
EN
This text discusses Katarzyna Kalwat’s project Maria Klassenberg, focusing on its most important part to date, Ekstazy (Ecstasies). Klassenberg represents women artists of the 1970s who have not been admitted to the canon. The author of the essay situates the project in the context of Kalwat’s output and other relevant works of the historiographical turn. He problematizes the shape of the female genealogy built by Kalwat by means of a counterfactual archive. His methodological basis is the concept of the archive understood as discursive practices (following Foucault and Derrida). If the archive produces and, at the same time, is a product of patriarchal culture, the author considers how and to what extent Kalwat’s counterfactual archive breaks the rules of utterability. The reflection is enabled and complicated by taking into account the Maria Klassenberg Archive 1970–1980, which comprises videos and photographs produced for the project by Aneta Grzeszykowska. According to the author, the chance to go beyond the patriarchal logic of the archive lies in the processual character of the project, developing between subsequent parts, from theatre to performance.
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