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„Time for Revolution / Revollusion”. Awangarda Między Przeszłością a Teraźniejszością, Archiwum a Performansem

100%
Dzierżyc-Horniak A.
Sztuka i Dokumentacja
|
2018
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issue 19
75-84
PL
Tytułowe hasło „Time for Revolution / Revollusion” jest punktem wyjścia do podjęcia rozważań nad reinterpretacją tradycji Wielkiej Awangardy w sztuce współczesnej. W artykule zestawiłam ze sobą wspólny projekt Anny Baumgart i Andrzeja Turowskiego Zdobywcy słońca / Parowóz dziejów (2012) oraz pracę Nasana Tura Time for Revollusion (2008). Kierunek rozważań wyznaczają dwie kategorie: „zwrot historiograficzny” (powiązany z „gorączką archiwalną”) oraz „zwrot performatywny”. Analizuję zatem, jak archiwum – odsłaniając zapomniane historie awangardy – staje się w praktykach artystów przestrzenią performatywną. W efekcie, interesuje mnie to, w jaki sposób artyści zachęcają nas do poddania krytycznej interpretacji tego, w jaki sposób „wykonujemy” rzeczywistość.
2
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Taniec eksperymentalny dla rodzin z perspektywy practice as research na przykładzie spektaklu Dookoła kolektywu Holobiont

100%
Bylka-Kanecka H.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 111
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issue 4
135-144
EN
Written from the perspective of performance as research, this article seeks to apply the language of critique to the field of experimental dance for children and families. The flows of the theory and practice are discussed on the example of the DOoKOŁA performance by the Holobiont collective, showing the direct influence of institutional conditions on the final form of the event. Various interdisciplinary tools (reflection in psychology, pedagogy, theatre studies, dance theory, and philosophy) are used to highlight the emancipatory potential of dance for families. The seemingly distant languages – one connected with attachment parenting (described in Poland for example by Agnieszka Stein) and another with the political nature of dance (e.g. Anna Vujanović) – appear to be related. The production process, performance construction, and adopted choreographic strategies are also discussed. The article poses a series of critical questions that were asked during the multiple presentations of the DOoKOŁA performance. The text encourages progressive research and an artistic reflection on performances addressed to families with young children, recognising the relationship between the adult carer and the child as the axis of the political.
3
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The Politicality of Choreography for Families from the Perspective of Performance as Research

99%
Bylka-Kanecka H., Jaskulski J.
Didaskalia. Gazeta Teatralna
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2022
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issue English Issue 2022
4-30
EN
The aim of the paper is to provide a reflection on the choreographic practice in the field of dance performance for families in the context of related fields of politicalness, from the perspective of performance as research. The author describes some important moments in the global and Polish cultural policy concerning dance for children and presents an understanding of politicalness after Ana Vujanović and Mark Franko. The text undertakes reflection on the usefulness of the language of posthumanism (Chikako Takeshita, Karen Barad and Donna Haraway) in research into choreography intended for families. The author gives an insight into the creative practice by analysing the dimensions of politicalness in three performances by the Holobiont collective which she co-founded.
4
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Polityczność choreografii dla rodzin z perspektywy performance as research

99%
Bylka-Kanecka H.
Didaskalia. Gazeta Teatralna
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2022
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issue 167
209-235
EN
The aim of the paper is to provide a reflection on the choreographic practice in the field of dance performance for families in the context of related fields of politicalness, from the perspective of performance as research. The author describes some important moments in the global and Polish cultural policy concerning dance for children and presents an understanding of politicalness after Ana Vujanović and Mark Franko. The text undertakes reflection on the usefulness of the language of posthumanism (Chikako Takeshita, Karen Barad and Donna Haraway) in research into choreography intended for families. The author gives an insight into the creative practice by analysing the dimensions of politicalness in three performances by the Holobiont collective which she co-founded.
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