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1

THE RETURNS OF ODYSSEUS (Powroty Odysa)

100%
Jopek J.
|
2008
|
vol. 62
|
issue 2(281)
76-79
EN
'This is a theatre, and not a private flat! This is a private flat but also a theatre!'. Words uttered in the second half of the spectacle 'On. Drugi powrót Odysa' (He. The Second Return of Odysseus) focus on three important themes of the last production staged by Jerzy Grzegorzewski: turning the boundary between the private and the 'political' in art into a problem, indicating the meta-theatrical dimension of the spectacle and, finally, referring to a concrete experience and historical moment. In June 1944 Tadeusz Kantor showed 'Powrót Odysa' (The Return of Odysseus) in a private flat in 3 Grabowskiego Street in Cracow at the time of the German occupation. The presented sketch is an attempt at following Kantor's traces in the Jerzy Grzegorzewski staging and at discovering an answer to several questions: what links 'Powrót Odysa' from 2005 with the version from 1944? What is the significance of the drama and Wyspianski? Finally - probably the most important question of all - why did Kantor act as the patron of such a difficult and bold declaration, intent on settling accounts?
2

On a film by Andrzej Sapija

80%
Tokarska K.
Teksty Drugie (Second Texts)
|
2006
|
issue 4(100)
177-190
EN
This article presents the most important stages and areas of Tadeusz Kantor's output, as shown in 'Powrót Odysa II'. Tadeusza Kantora notatki z prób' (The Return of Odysseus, 2. Tadeusz Kantor's rehearsal notes), a documentary directed by Andrzej Sapija. The motif of a 'return of Odysseus', the principal category in Kantor's art, was employed as the film's structural skeleton. Once a real event, the production staged in 1944, when reduced to a few elements, often recalled as a reference and discussed at a length, had effectively been deformed. The article, in turn, becomes a commentary of a sort, exceeding the limits of the filmmaker's script. The trade mainly concerns the 'Powrót Odysa' production: for the author, the facts established with respect to the premiere version have become the basis for a critical analysis of Kantor's later utterances on the performance, including on a sequence repeated in his 'Nigdy tu juz nie powróce' (I shall never return here). The article follows the film's narrative, attempting at communicating the abundance of motifs touched upon by Sapija and taking into account the filmmaker's interpretation and precise composition of the material, as ensuing from the editing work and documents selected.
3

'THE DEAD CLASS' BY TADEUSZ KANTOR IN THE FILM OF ANDRZEJ WAJDA AND IN 'KADYSZ' (KADDISH) BY JAN KOTT ('Umarla klasa' Tadeusza Kantora w filmie Andrzeja Wajdy i 'Kadysz' Jana Kotta)

80%
Chodzewicz F., Dziewulska M., Kloczowski P., Morawinska A., Palikot J., Stangret-Kantor M.
|
2008
|
vol. 62
|
issue 2(281)
45-58
EN
A register of a conversation held at the Warsaw 'Zacheta' Gallery about a new edition of Jan Kott's book on Tadeusz Kantor as well as Andrzej Wajda's DVD version of the spectacle 'Umarla klasa'.
4

I WAS TADEUSZ KANTOR'S ASSISTANT (Bylem asystentem Tadeusza Kantora)

80%
Wajda A.
|
2008
|
vol. 62
|
issue 2(281)
59
EN
The director described how for a single day he became Tadeusz Kantor's assistant while recording the spectacle 'Umarla Klasa' (Dead Class). Concluding, he reflects that an assistant may be a genius creating all that the director conceives but he will never receive his due praise.
5

'COMING BACK HOME. THE ITALIAN EXPERIENCE OF TARKOVSKI AND KANTOR' (Powrót do domu. Tarkowski i Kantor)

80%
Benedyktowicz Z.
|
2008
|
vol. 62
|
issue 2(281)
14-27
EN
The topic of the presentation is an analysis of the specific perception of Europe by two great artists from the East: Andrei Tarkovski (Nostalgia 1983) and Tadeusz Kantor (Wielopole, Wielopole, 1980, a theatrical spectacle staged as part of the Florentine programme at Teatro Regionale Toscano, Florence). The motif of the return home is inscribed into the Italian cultural landscape and experiences. The next problem is the inclusion of local, own cultural tradition into the universal entity. Both works share the motif of coming back home, nostalgia, the experiencing of the province, an epiphany of poor reality, and the significance of 'lowest rank regions'. Analysing the structure of those motifs and imagery as well as their concurrence with the essence of the symbol (a confirmation of identity, a token) the author considers the message contained in both visions - cinematic and theatrical - and its meaning for the contemporary European dialogue. This is a meaning concurrent with the ideas of an anthropological-cultural and European insight, aimed at searching for, and discovering unity in diversity.
6

THE ACTOR'S BODILY EXPRESSION IN THE TADEUSZ KANTOR THEATRE OF DEATH IN THE PERSPECTIVE OF THEATRICAL DANCE (Cielesna ekspresja aktora w Teatrze Smierci w perspektywie tanca)

80%
Krolica A.
|
2008
|
vol. 62
|
issue 2(281)
71-75
EN
An attempt at comparing the Pina Bausch Tanztheater Wuppertal with the works of Tadeusz Kantor from the period of the Theatre of Death, examined from the vantage point of work with the actor, direction methods, the structure of the spectacle, and the rejection of the categories of time and plot. The central theme, however, is the actor, who by rejecting verbal expression communicates with the spectators primarily by resorting to his body and physical presence. The actors' body articulates assorted emotions by means of controlled tension. Similar techniques of the 'use' of the body are discernible in Chaplin's silent movies and modern dance from the early twentieth century. The corporal form of expression appears to be quite natural for theatrical dance, and in this case - for the Pina Bausch Tanztheater, but such an interpretation of the problem within the context of Kantor's work appears to be a new and tempting research aspect.
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