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1

Doswiadczenie jako proba dziela – proba siebie

100%
Gorska I.
Pamiętnik Literacki
|
2012
|
vol. 103
|
issue 2
115-139
EN
The article shows the activities of the artist in a perspective of broadly understood category of experience. The considerations raised here derive from Richard Shusterman’s and Wolfgang Welsch’s aesthetic thought, and are an attempt at reading Tadeusz Kantor’s creativity in the optic of new aisthesis. Moreover, following Arnold Berleant, the category of “embodied subject” is introduced. All the aforementioned tropes direct the reflection on experience towards somatoaesthetics. This approach, used to refer to the creator himself as well as to his work showing the bodily dimension of the art and its sources, unfolds the mental conditions of the process of creation and Kantor’s thinking of himself and of his creativity in terms of “infernum interior.” Artistic creativity, indispensably linked to mental and physical effort, is not only seen as an experience of oneself and experience of one’s own work, but also as a feeling of one’s work and one’s mental and physical presence in it. In this perspective the aesthetic experience earns a dramatic trait.
2

TOWARDS FLORENCE. THE DISCOVERY OF TRACES. TADEUSZ KANTOR AND THE 'CRICOT 2' THEATRE ABROAD 1968-80 (Ku Florencji. Odkrywanie sladów. Tadeusz Kantor i Teatr' Cricot 2' zagranica 1968-80)

100%
Zarzecka N.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 2(281)
60-70
EN
The text recounts the beginnings of the foreign career of the Cricot 2 Theatre and its founder, Tadeusz Kantor. The authoress recalled the localities of the first tours abroad and the artist's other performances, together with the persons and festivals that contributed to his growing popularity as well as that of his company in Italy and the United Kingdom. The reader accompanies Kantor on his artistic journeys, starting with International Artists Meetings in Vela Luka (Yugoslavia, 1968) and successive tournées In Italy, France and England ('Kurka wodna' /The Water Hen/, Rome 1969, Nancy and Paris 1971, Edinburgh1972; 'Nadobnisie i koczkodany' /Beauties and Baboons/, Edinburgh 1973 and Rome and Paris 1974, 'Umarla klasa' /The Dead Class/, Rome 1978) to recollections of the artist's happenings performed outside Cricot 2, although sometimes involving actors from his company ('Szafa' / Wardrobe/ after Witkacy's 'W malym dworku' /In a Small Manor House/, Baden-Baden 1966, a series of happenings shown in Bled in 1969 and recorded in D. Mallow's film 'Säcke, Schrank und Schirm', participation at I Atelier International des Recherchés Théâtrales in Dourdan near Paris, 1971). The article makes special mention of Achille Perilli and Richard Demarco, who continued the presentation of the Tadeusz Kantor Theatre, and the exhibitions accompanying the theatre's performances abroad. The authoress discussed more extensively the Florence Programme (1979/1980), which led to a new spectacle: 'Wielopole, Wielopole' (premiere in Florence on 23 June 1980), as well as assorted recent art undertakings (exhibitions, publications, symposia), making it possible to take a closer look at the breakthrough in the history of the Cricot 2 Theatre, which, as it later became apparent, inaugurated the last decades of its activity.
3
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FROM ALEKSANDER BARDINI'S CORRESPONDENCE (Z korespondencji Aleksandra Bardiniego)

51%
Bardini A., Kantor T., Korzeniewski B., Strzelecki Z., Jasiukiewicz S., Swinarski K., Sokorski W., Brandys K., Wyka K., Osiecka A., Fetting E., Dworakowska M., Kencki P.
Pamiętnik Teatralny
|
2010
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vol. 59
|
issue 3-4(235-236)
409-436
EN
no abstract
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