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Kilka spojrzeń na przedstawienia Innej Szkoły Teatralnej (2010-2019)

100%
Hasiuk M.
Didaskalia. Gazeta Teatralna
|
2021
|
issue 162
163-198
EN
The text is a proposal to present the specifics of activities carried out by Węgajty Theatre in the formula of the Other Theatre School, in the second decade of its existence – the years 2010-2019. The author uses categories such as process, road / walking, performative theatre, rhapsodic structure, artivism, in an attempt to present the way of creating performances in Węgajty. She employs the proposed terms with reference to the findings made in various areas of knowledge by such artists as: Arnold Mindell, Rebecca Solnit, Tadeusz Pawłowski, Jean-Paul Sarrazac as well as the practice of Ricardo Dominguez, for example. What constitutes a significant element of the research material are unpublished interviews with the founders of Węgajty Theatre and its associates conducted by the author and Joanna Kocemba-Żebrowska in the years 2018-2020.
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Der performative Zauber der Sirenen? Adornos negative Dialektik und das deutschsprachige Gegenwartstheater

71%
Englhart A.
Convivium. Germanistisches Jahrbuch Polen
|
2019
15-30
PL
Dlaczego ADORNO, filozof rewolty studenckiej, zwolennik awangardy od Schönberga po Becketta uciekł w kwietniu 1969 roku przed performatywnym protestem studentek, obnażających nagie biusty? Artykuł wyjaśnia związki między Dialektyką oświecenia, Dialektyką negatywną i Teorią estetyczną z estetyką dzisiejszego teatru performatywnego i postdramatycznego. Mimo wszystko teatr pozostał dla ADORNA miejscem sztuki, a rewolucja dokonała się nie w performatywnej negacji sensu, w okrutnej realności ‚syren’ i dekonstrukcji, lecz w dziele, które przedstawiając to, co nie do pogodzenia, prowadzić ma do ugody.
EN
Why, in April 1969, did ADORNO, the philosopher of the student revolt, the advocate of the avant-garde from Schoenberg to Beckett, flee when he was faced with the performative actions of protesting students with naked breasts? The article discusses connections between ADORNO’S Dialectics of Enlightenment, Negative Dialectics and Aesthetic Theory and the aesthetics of today’s performative and post-dramatic theatre. For ADORNO, theatre remained a place of art, and the revolution did not come to fruition in the performative denial of meaning, in the cruel reality of “sirens”, and in deconstruction, but in the work of art itself, that is supposed to represent the irreconcilable and thus to lead to reconciliation.
DE
Wieso flüchtete ADORNO, der Philosoph der Student*innenrevolte, der Fürsprecher der Avantgarde von Schönberg bis Beckett, im April 1969 vor der Performance protestieren-der Studentinnen mit nackten Brüsten? Der Beitrag erörtert Verbindungen von ADORNOS Dialektik der Aufklärung, Negativer Dialektik und Ästhetischer Theorie zur Ästhetik des heutigen performativen oder postdramatischen Theaters. Dennoch blieb für ADORNO das Theater ein Ort der Kunst, verwirklichte sich die Revolution nicht in der performativen Verweigerung von Sinn, im grausamen Realen der ‚Sirenen‘ und der Dekonstruktion, sondern in einem Werk, das das Unversöhnliche darzustellen und so zu versöhnen habe.
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