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Litotes situated in the grand narration of the anthropological theatre: a case study of Teatr Węgajty/Projekt TerenowyThis article is an excerpt of the author's MA thesis: Litotes in the anthropological theatre’s grand narrative. The case of Teatr Węgajty/ Projekt Terenowy. It analyses the attitude of the anthropological theatre towards principles that constituted its foundation, such as the fascination with the traditional culture and work in the local community. The anthropological theatre’s grand narrative is replaced by the small narrative of teatr potrzebny (‘theatre of necessity’), which originates from the excluded, forgotten litotes. The paper provides documentation and an analysis of teatr potrzebny, taking the example of the work of Teatr Węgajty/Projekt Terenowy in a Social Welfare Home in Jonkowo. Narracje litotyczne w wielkiej narracji teatru antropologicznego na przykładzie pracy Teatru Węgajty/Projektu Terenowego w Domu Pomocy Społecznej w JonkowieArtykuł stanowi fragment mojej pracy magisterskiej Narracje litotyczne w wielkiej narracji teatru antropologicznego na przykładzie pracy Teatru Węgajty/Projektu Terenowego. Analizuję w nim możliwości teatru antropologicznego poprzez pokazanie elementów, które legły u jego podstaw: fascynacji kulturą tradycyjną oraz pracy w lokalnej wspólnocie. „Wielka narracja” teatru antropologicznego zastąpiona zostaje „małą narracją” „teatru potrzebnego”, wywodzącą się z wykluczonych, zapomnianych litot. Artykuł dokumentuje i analizuje tzw. teatr potrzebny na przykładzie działań Teatru Węgajty/ Projektu Terenowego w Domu Pomocy Społecznej w Jonkowie.
EN
Apart from poetry, Paul van Ostaijen also wrote grotesque prose. The grotesque shows an inverted world that is equally logical as the real world but governed by different norms and an upside-down morality. It is alienating and familiar at the same time. The grotesque texts reflect on the grand narratives of modernism. In this article, I focus on the image of the metropolis in three stories: De kudde van Claire, De gehouden hotelsleutel and De verloren huissleutel. Firstly, I define the concept of the grotesque. Then, I discuss van Ostaijen’s time in Berlin, before I turn to the metropolis and its inhabitants. They seem to desperately hold on to a logical and dual organisation of their city, lives and world, yet van Ostaijen undermines this dualistic world vision and positions his prose in the domain of ambiguity, in a labyrinth that may be the only answer to the question of the crisis imposed by reality.
EN
The article is a brief and schematic presentation of the notion of a “master narrative” and of the master narrative of the Bulgarian Middle Ages, which is the subject a detailed book of mine in Bulgarian. This master narrative was constructed starting with what is known as “Romantic” historiography (from Monk Paisij’s “Istorija Slavjanobolgarskaja” [Slavonic-Bulgarian History] in 1762 to Vasil Aprilov’s writings in the first half of the nineteenth century) but it was elaborated especially with the development of “scientific” (or critical) historiography first by Marin Drinov (1838–1906) and mainly by the most significant Bulgarian historians from the “bourgeois” era: Vasil Zlatarski (1866–1935), Petăr Mutafčiev (1883–1943), and Petăr Nikov (1884–1938). Then it was interrupted by the (crude) Marxist counter-narrative of the late 1940s through the 1960s. Starting in the late 1960s there was a gradual return to the nationalism of the master national narrative, which reached a peak with the celebration of the 1,300th anniversary of the founding of the Bulgarian state in 1981. The same line continued after 1989 (stripped of the Marxist vulgata), yet some new tendencies appeared.
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