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Existing Within and Beyond Time: «Capri—the Island of Fugitives» by Krystian Lupa

100%
Budzowska M.
Pamiętnik Teatralny
|
2021
|
issue 2(278)
11-36
EN
The proposed article ponders upon Krystian Lupa’s Capri—the Island of Fugitives (2019), an original production staged at the Powszechny Theatre in Warsaw that brings together two of Curzio Malaparte’s prose books: Kaputt (1944) and The Skin (1949). By focusing on the parts of the production that adapt Kaputt, the article scrutinizes scenes produced by the live performance and the virtual projections in order to describe and explain how theatrical expression is enriched by such a juxtaposition. This analysis uses the theoretical frameworks of unnatural narratology (Jan Alber et al.), postdramatic durational aesthetics (Hans-Thies Lehmann), and the idea of the virtual double (Matthew Causey). The primary argument relies on the specific temporality emerging from the Lupa’s performance that enables spectators to feel existence within and beyond time. Furthermore, the study investigates the overarching idea of the performance, recognized by the strategy of foregrounding the thematic that oscillates within the problematics of human cruelty.
2
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Adaptacja jako twórcza praktyka w polskim teatrze współczesnym. Krystian Lupa – Krzysztof Warlikowski – teatr krytyczny

88%
Sordyl A.
Postscriptum Polonistyczne
|
2011
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issue 2(8)
43-60
EN
Adaptation of different literary texts is one of the important practices in Polish contempo-rary theatre after 1989. Adaptations are being undertaken by the creators of the authorial theatres, directors of the repertory theatres and young artists who began their professional career in the theatre in the late nineties and after a year 2000. The article discusses three different types of adaptory practices. Krystian Lupa's adaptations are a kind of creative dialogue with literature that becomes a base for individual and evolving esthetics of his own theatre. Krzysztof Warlikowski struggles with the tradition and exceeds it. Directors repre-senting critical theatre use classical dramatical and epic texts to build a dialectical discourse with Polish “ready¬ made world”.
3
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„Live Factory 2: Warhol by Lupa” Wystawa – instalacja – spektakl?

88%
Ruszkiewicz A.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 159
1-33
EN
The article, which is a part of the author’s master thesis, aims to analyze the installation in the Museum of Contemporary Art in Kraków – Live Factory 2: Warhol by Lupa. The installation is based on the stage design for Krystian Lupa's theatre production Factory 2 which was inspired by the concept of Andy Warhol's Silver Factory. The article attempts to define the relationship between Live Factory 2, Factory 2 and Warhol’s Factory as well as the status and the character of Live Factory 2 and its potential of being the information about Lupa's performance.
4
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DOS ESTRATEGIAS DEL TEATRO POSDRAMÁTICO FAUSTO 3.0 DE LA FURA DELS BAUS Y WYCINKA. HOLZFÄLLEN DE KRYSTIAN LUPA

87%
Kacprzak K.
Zeszyty Naukowe Uczelni Vistula
|
2017
|
issue 52(1) Filologia
55-66
ES
La autora reflexiona sobre algunos rasgos del llamado teatro posdramático, concepto de Hans-Thies Lehmann, aplicado aquí a la actividad creadora del grupo español La Fura dels Baus y el director de escena polaco, Krystian Lupa. En el artículo se presentan, sobre todo, elementos de dos obras de los artistas mencionados (Fausto 3.0 y Tala) que se pueden englobar bajo dos conceptos: “dramaturgia visual” y “montaje por variaciones”. Ambos son elementos que podemos considerar atributos del teatro posdramático. Aunque en el artículo se clasifica tanto a La Fura dels Baus, como a Krystian Lupa como creadores del teatro posdramático, se considera que dos estrategias divergentes se perfilan bajo aquella denominación común.
EN
The Author inquires into the Hans-Thies Lehmann’s postdrama concept features that appear in the performances of the Spanish La Fura dels Baus troupe and those of Krystian Lupa, a Polish theatre director. The paper discusses two performances: Fausto 3.0 of La Fura dels Baus and Wycinka. Holzfällen of Lupa. The productions reveal the features of “visual dramaturgy” and “variations driven montage”. Both belong to the postdrama repository. However, the Author argues that this common denominator conceals different strategies of the artists.
PL
Autorka zastanawia się nad niektórymi cechami tzw. teatru postdramatycznego (pojęcie wprowadzone przez Hans-Thiesa Lehmanna), występującymi w twórczości hiszpańskiej grupy La Fura dels Baus oraz polskiego reżysera Krystiana Lupy. W artykule analizowane są elementy dwóch spektakli tych artystów (Fausto 3.0 oraz Wycinka. Holzfällen), które można by zamknąć w kategoriach „dramaturgii wizualnej” i „montażu za pomocą wariacji”. Oba te elementy możemy uznać za cechy teatru postdramatycznego. Choć w poniższym tekście zarówno La Fura dels Baus, jak i Krystian Lupa są uznani za przedstawicieli tego właśnie rodzaju teatru, dowodzi się jednocześnie, że pod wspólną nazwą mogą kryć się dwie, dość różne strategie.
5
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Polscy mistrzowie teatru w Chinach

65%
Duda A.
Nauki o Wychowaniu. Studia Interdyscyplinarne
|
2019
|
vol. 8
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issue 1
324-328
EN
The aim of this article is to present aspects of a theatrical co-operation between Poland and China, in particular the reception in the Middle Kingdom of characters such as Jerzy Grotowski and Krystian Lupa.  
PL
Celem artykułu jest prezentacja wybranych aspektów współpracy teatralnej pomiędzy Polską a Chinami, w szczególności zaś recepcja w Kraju Środka postaci takich jak Jerzy Grotowski i Krystian Lupa.
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