Search results

1

Cytat teatralny w twórczości Tadeusza Kantora

100%

Stangret P.

Colloquia Litteraria

|

2009

|

vol. 7

|

issue 2

35-59

PL

A Theatrical Quotation in Tadeusz Kantor’s Oeuvre In my text I focus on the problem of a theatrical quotation. Such form of referring to previous statements is traced at the example of Tadeusz Kantor’s Wedding in a Constructivist and Surrealistic Manner. This spectacle, carried out by a group of students from Scuola d’Arte Drammatica in Milan perfectly presents the subject in question. Its core lies in a practical realization of theoretical concepts which have been expounded within a month’s lectures. Kantor demonstrated how to quote a poetics of historical theatrical movements in a theatrical play. The first phase of a theatrical quotation has to be the fulfilment of a quoting element – in the case of Tadeusz Kantor’s Milan project the idea is to create one’s own contemporary constructivism and surrealism. The Cracow artist achieves it by using his artistic oeuvre and also his theoretical rumination on the influence of these trends on the whole art of the past century (during his lectures which culminated in The Wedding... Kantor used to say that in Scuola d’Arte Drammatica he made a summary of the 20th century). The second phase of the quoting process in the theatre is becoming an inherent part of a formerly created tradition, reconstructed according to its own theoretical concepts. Kantor, while preparing a spectacle “in a constructivist and surrealistic manner” and showing it as cricotage – that is his own works of art, not merely a didactic workshop performance, describes himself as an artist. He shows that these literary trends are the most important for his artistic output. Moreover, he uses these two movements since in his view they dominated 20th century thinking of art and aesthetics. Hence, while quoting constructivism and surrealism, Kantor shows that artists’ concepts taken from these trends are still significant because they work in a stage experience, the evidence of which is the spectacle staged in Milan school in 1986.

2

O pewnych aspektach Panoramicznego Happeningu Morskiego Tadeusza Kantora

80%

Hanusek J.

Estetyka i Krytyka

|

2014

|

issue 4(35)

89-105

XX

Tadeusz Kantor’s “Panoramic Sea Happening” was one of the most important and most talked artistic events in Poland in the late 60’s. In this article I discuss participation of Maria Pinińska-Bereś in this happening. So far, outside the relation of the artist, objective evidences of it were not known. Her participation has been effectively silenced by Kantor and consequently erased from the collective memory. The article finally resolve the issue of the participation of Maria Pinińska-Bereś on Kantor's happening. I try to reconstruct the atmosphere of the event and motives of Kantor.

3

The material world of digital fictions

80%

Janik J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2021

|

vol. 29

|

issue 38

57-72

EN

This paper explores the interdependency between digital matter and the representational or mimetic layer of the digital game object. The main aim is to foreground the mechanisms by which the representationalelements of the game world emerge from the materiality of the process of play. These mechanisms are examined from the perspective of the ontology of the game object. The issue of digital materiality will be linked with the aesthetical explorations of Tadeusz Kantor, who emphasised the relation between the materiality of the theatre and its fictional elements. As the main example of this analysis, I will focus on Undertale (Toby Fox, 2015) as an example of a game that plays with the boundaries between the fictional world being presented and the elements of digital materiality that are usually hidden from the player’s sight.

4

Sukces czy niepowodzenie? O francuskiej realizacji Szewców Tadeusza Kantora

80%

Czerska K.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

37-51

EN

The production based on The Shoemakers by Stanisław Ignacy Witkiewicz realised by Tadeusz Kantor at Malakoff near Paris in 1972 was not a success he had expected. This is probably the reason why we know little about it, as it was not received favourably by Parisian theatre critics. Yet it marked a very important phase in the development of Kantor’s theatre, and it had a remarkable influence on his subsequent productions. Both the dramaturgical and visual aspects of The Shoemakers production may serve as a starting point for broader research on Kantor’s theatre oeuvre. It is possible to reconstruct the spectacle based on the surviving photographs, stage designs, notes and reminiscences. Emballages played an important role in the performance as kind of “wrappings” that restricted the actors’ movements. The props, costumes and bio-objects constituted a very interesting visual side of the production, further enhanced by references to the art of painters whom Kantor admired. Visually, then, the production was well thought out, even though Kantor did not manage to realise all of the things he had planned; among other things, he failed to create “folk atmosphere”, to some extent related to his plans for staging The Wedding by Wyspiański.

5

Rekolekcje w „umarłej klasie”. „Historyja o chwalebnym zmartwychwstaniu pańskim” Mikołaja z Wilkowiecka w Teatrze Wierszalin wobec tradycji inscenizacyjnej

80%

Puzyna-Chojka J.

Konteksty - Polska Sztuka Ludowa

|

2020

|

vol. 74

|

issue 3 (330)

199-204

PL

Artykuł przedstawia analizę przygotowanej przez Piotra Tomaszuka w Teatrze Wierszalin inscenizacji dramatu Mikołaja z Wilkowiecka Historyja o chwalebnym Zmartwychwstaniu Pańskim w odniesieniu do bogatej tradycji inscenizacyjnej utworu w polskim teatrze, a szczególnie trzech interpretacji, zaproponowanych przez wybitnych reżyserów-adaptatorów: Leona Schillera (Teatr Reduta, Warszawa 1923), Kazimierza Dejmka (Teatr Nowy w Łodzi, 1961; Teatr Narodowy w Warszawie, 1962) i Piotra Cieplaka (Teatr Współczesny im. Edmunda Wiercińskiego we Wrocławiu, 1993; Teatr Dramatyczny w Warszawie, 1994). Analizując inscenizację przygotowaną przez Piotra Tomaszuka w Teatrze Wierszalin, autorka wskazuje również na inspiracje reżysera estetyką Teatru Śmierci Tadeusza Kantora.

EN

Analysis of the staging of Historyja o chwalebnym Zmartwychwstaniu Pańskim (History of the Glorious Resurrection of Our Lord), a drama by Mikołaj of Wilkowiecko, prepared by Piotr Tomaszuk at Teatr Wierszalin with reference to the varied tradition of staging this play in the Polish theatre and in particular three interpretations proposed by outstanding directors-authors of adaptations: Leon Schiller (Teatr Reduta in Warsaw, 1923), Kazimierz Dejmek (Teatr Nowy in Łódź, 1961; Teatr Narodowy in Warsaw, 1962) and Piotr Cieplak (Teatr Współczesny im. Edmunda Wiercińskiego in Wrocław, 1993; Teatr Dramatyczny in Warsaw, 1994). By analysing the Piotr Tomaszuk staging at Teatr Wierszalin the author also points to inspiration sought in the aesthetics of Tadeusz Kantor’s Theatre of Death.

6

Od eksperymentów Bauhausu do Teatru Galeria

80%

Groth M.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

150-163

EN

The article presents the history of a still little known, set apart theatre, the Galeria formed by Jerzy Krechowicz in Gdansk in 1961. In less than a decade, the visual artists and musicians of the theatre carried out a number of significant experiments involving movement, light and sound onstage, which resulted in five programmes. The author notes that the final formula of poly-visual spectacle arrived at by Jerzy Krechowicz, which involved multi-stream projection onto three-dimensional screens, had much in common with ideas propounded by László Moholy-Nagy, an artist associated with Bauhaus. In his theoretical writings, published in the 1920s, Moholy-Nagy declared, among other things, that it was necessary to replace traditional painting with shaping of light and expand the potential of projection by simultaneous projection of pictures onto screens of different shapes. Krechowicz’s interest in the progressive dimension of the art work corresponded to artistic experiments conducted a few years earlier by Andrzej Pawłowski, most of all to his improvised light projections called Kineformy (“Cineforms”, 1959), as well as to tachiste painting actions by Tadeusz Kantor, recorded in the film Somnambulicy (“Somnambulists”, 1958). Furthermore, the author situates the experiments by Polish artists in the context of kinetic art and expanded cinema around the world.

7

Utopia rzeczywistości

80%

Michalik J.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

52-66

EN

The Happenings movement, since its beginnings in the 1950s and 1960s, survived for only a decade. It was abandoned by virtually all of its participants, who deemed it to be exhausted and with no perspectives for further development. Despite this, the impact of Happenings on modern culture cannot be overestimated, particularly due to the fact that they have laid the foundation for the widespread artistic practice of performance. To a large extent, modern theatre, consciously or not, draws from the same pool of experiences. Kantor’s happenings hold a special place both in the history of the phenomenon itself and in his artistic work. In his happenings Kantor deliberately transgressed rigid bounds of the genre, introducing formal solutions unaccounted for or even disapproved by the theorists and major practitioners of the movement. He felt free to combine Happenings aesthetics or Happenings solutions with some of his other conceptions, introducing them into his theatre. The article presents a sketchy history of the Happenings movement with emphasis on its theoretical foundations and the position occupied in it by Tadeusz Kantor. Special attention is paid to utopian concepts underlying the phenomenon, such as “representation of reality with reality” or the postulate that the actions performed be completely nonsemantic.

8

W kręgu awangardy. Kantor nie był osamotniony…

80%

Koecher-Hensel A.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

14-36

EN

Tadeusz Kantor’s is not the only name to be associated with development of the idea of autonomous theatre; there were other artists who inspired and supported him, and contributed substantially to the creation of the new face of Polish theatre in the 20th century. Most of them worked at professional repertory theatres. At the time when Kantor studied at the academy of art, the centre of avant-garde endeavours in Cracow was the Cricot Artists’ Theatre set up by painter Józef Jarema, which was active in 1933–1939. It grouped artists averse to naturalism and psychologism in theatre; most of them were visual artists, but other members of the company included actors, directors, musicians and versatile artists as well. Józef Jarema drew into the artistic enterprise nearly all of his family – not only his sister Maria, but also his brother Władysław, who, along with his wife Zofia, set up the Groteska Puppet-and-Actor Theatre in Cracow in 1945, thus continuing the search for a theatre that would unite visual art, spoken word, music, and dance. A strong group of stage designers from Kantor’s underground Niezależny Theatre, active in 1942–1944, joined the Groteska theatre; they were Kazimierz Mikulski, Jerzy Skarżyński, Ali Bunsch, and Andrzej Cybulski. Mikulski remained with the Groteska theatre for the rest of his life while working at the Cricot 2 theatre not only as a scenario author, but also as a director and actor. Cricot’s goal was theatralisation of theatre. The visual aspect, spanning the modern mask, costume, new gesture, movement and situation arrangement, played a key role in their performances. It was the place where famous Polish premieres of Śmierć Fauna by Tytus Czyżewski (The Death of a Faun) and Mątwa (Cuttlefish) by Stanisław Ingacy Witkiewicz were put on. The production authored by Henryk Wiciński, Trójkąt i koło (Triangle and Circle, 1939) was the most innovative of their performances as far as form is concerned; it was inspired by constructivist experiments, mostly those of Bauhaus artists. Kantor drew inspiration from the same source when he was producing The Death of Tintagiles by Maeterlinck at the Ephemeral (and Mechanical) Marionette Theatre in 1938. Artists from the company, Jerzy Zitzman and Zenobiusz Zwolski, set up the Banialuka Puppet Theatre in 1947, still active in Bielsko-Biała, which, along with the Groteska theatre, has been one of the most important centres of puppetry in post-war Poland. At the Cricot Theatre, the most interesting, albeit forgotten, individuality was Henryk Wiciński. He was persistent in his struggle to realise the idea of visual theatre in which all elements of the show, i.e. decorations, costume, movement, and spoken word, would play an equally important part in the performance. A few years younger than Józef Jarema, Wiciński belonged to the second wave of the Cracow avant-garde, to a certain extent opposed to its earlier Formist and Futurist tenets. He died in 1943, when Kantor, along with other young artists, continued his experiments at the Niezależny Theatre. In 1932 Wiciński was a co-founder of Grupa Krakowska (the Cracow Group). In 1957 his friends, Maria Jarema, Jonasz Stern and Adam Marczyński along with Kantor and the painters from the Niezależny Theatre formed the Grupa Krakowska 2 Society, which continued to promote the ideas of its namesake and predecessor. One of its major goals was to support the Cricot 2 Theatre.

9

Szpula taśmy od Kantora

80%

Tokarska-Stangret K.

Konteksty - Polska Sztuka Ludowa

|

2020

|

vol. 74

|

issue 4 (331)

218-224

EN

Methodological reflection on research focused on the creative process in non-written documents. Ostensibly, a video-recording of more than a hundred hours of rehearsals of Nigdy tu już nie powrócę (I Shall Never Return), staged by Cricot 2, preserved in the Cricoteka archive, and rendering available Tadeusz Kantor’s work on the spectacle, outright discloses both its origin and the director’s creative method. By adapting the instruments of genetic criticism the author of the article demonstrated assorted tensions between the intention of the artist, who employed an operator, and the mediation of the document, the excess of analytical material and its discontinuity, as well as the availability for the researcher of intimate information registered on video tapes and lost in successive minutes of the film.

10

Kantorowskie wynalazki. Między przedmiotem magicznym a maszyną

80%

Fazan K.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

67-96

EN

Objects of Kantor’s imagination filled his paintings, theatrical productions and writings. The article reflects upon their material existence in the performances and their subsequent “museum life”, freed from the context of theatrical performance. Objects of Kantor’s art are viewed here both as embodiments of an eternal dream of theatre involving a mechanical invention that would live in art and as consequences of the avant-garde search for form arising from critical reflexion on technological and cultural progress. Such an object is, thus, a magical form yielding circus-like and ludic effects within a theatrical performance and a machine, or apparatus, employing modern technology and entering into ambivalent relationships with human presence. Machine is a human invention (made by a miracle man, artist, engineer, researcher) and a projection of dreams and anxieties experienced by the individual subjected to pressures of technological progress. Tadeusz Kantor had a peculiar way of taking note of this function; during the Second World War he introduced Goplana not through a performing actress that would represent the fairy-tale character of Julisz Słowacki’s Romantic drama but through the “razor of history”, a formal construction threatening in its expressive qualities (Balladyna, 1943). He created intuitive spaces of exclusion in the form of the Aneantisation Machine for his production of The Madman and the Nun (1963) based on Stanisław I. Witkiewicz’s drama and the Final Judgment Trumpet in Gdzie są niegdysiejsze śniegi (“Where Are the Snows of Yesteryear”, 1973). He treated his inventions as discoveries of unbridled artistic imagination (emballages, cambriolages, ready-mades feeding off reality), as objects of prophecies, apocalyptic visions or historiosophical and metaphysical conclusions: Mr Daguerre’s Invention (Wielopole, Wielopole, 1980), Bodies of Power (“Organa władzy”) in Dziś są moje urodziny (“Today Is My Birthday”, 1990). To him, an object was an actor.

11

The Politics of Appearance: Tadeusz Kantor Exhibiting in Sweden 1958–2014

80%

Larsson C.

Sztuka i Dokumentacja

|

2022

|

issue 27

77-91

12

Wielopole, wielopole Tadeusza Kantora. Między medium pamięci a medium fotografii

71%

Górska I.

Zagadnienia Rodzajów Literackich

|

2014

|

vol. 57/113 z. 1

135-149

PL

Celem artykułu jest pokazanie, że Tadeusz Kantor, podejmując w spektaklu Wielopole, Wielopole próby zrekonstruowania utrwalonych w pamięci obrazów rodzinnego domu i miasteczka, stawia w istocie niezwykle uniwersalny, niezależny od kultury i szerokości geograficznej problem niemożliwego powrotu do przeszłości. Odwołując się do medium pamięci i medium fotografii, artysta z uporem odtwarza obrazy tego, co minione, choć jednocześnie wyraża świadomość, że utraconego dzieciństwa nie można powtórzyć. Klisze pamięci poddawane w spektaklu nieustannym korekcjom i korektom zyskują fizykalny wymiar, stają się niemal dosłownie rozumianą przestrzenią działań artysty. Wywoływane z nich obrazy stanowią uobecnienie fotograficznego widzenia twórcy.

EN

This paper aims to show that, by attempting in his play Wielopole, Wielopole to reconstruct images of his family home and home town recorded in his memory, Tadeusz Kantor in fact poses an extraordinarily universal problem that is independent of culture and latitude: that of the impossibility of revisiting the past. By referring to the medium of memory and the medium of photography, Kantor perseveres in reconstructing images of the past, but at the same time expresses an awareness of the fact that a lost childhood cannot be repeated. The snapshots of memories, continually adjusted and corrected in the spectacle, acquire a physical dimension and become a space for the author’s endeavours that can be construed almost literally. The images retrieved from them create a presence of the author’s photographic vision.

13

Tadeusz Kantor – Engagement – Multiplication – Participation

71%

Łarionow D.

Art Inquiry. Recherches sur les arts

|

2018

|

vol. XX (XXIX)

235-244

EN

The article discusses the Multipart project prepared by Tadeusz Kantor for the Foksal Gallery in Warsaw (1970 and 1971). The name's neologism arose from the combination of words: multiplication and participation. The author's intention was formulated in the manifesto accompanying the whole event. For Kantor, it was important to question the notion of a work of art against growing consumerism. The artist was the author of a project of 40 canvases, which were used for umbrellas. The performers of the whole were students of the Academy of Fine Arts in Warsaw. The works were sold at the vernissage to start the second part of the Multipart. The spectators' participation was secured with a carefully written contract and assumed that the final shape of the work would be created through and through the recipient's creativity. From today's historical perspective, thanks to the works of Claire Bishop, it is quite easy to see the ideas of the artist of Polish convergence with the ideas of the Situationalist International. Kantor, with all the fascination with the possibility of active involvement of the viewer in the creation of the work, did not associate his actions with politics or any aspect of politics. This fact clearly separates his way of thinking about the function of art in the modern world from the leftist movement of situationists.

PL

Artykuł omawia akcję Multipart przygotowaną przez Tadeusza Kantora dla Galerii Foksal w Warszawie (1970 i 1971). Neologizm nazwy powstał z połączenia słów: multiplikacja i partycypacja. Intencja autora została sformułowana w towarzyszącym całemu wydarzeniu manifeście. Dla Kantora było ważne zakwestionowanie pojęcia dzieła sztuki wobec narastającego wokół konsumpcjonizmu. Artysta był autorem projektu 40 płócien, do których doszyto parasole. Wykonawcami całości byli studenci Akademii Sztuk Pięknych w Warszawie. Prace zostały sprzedane na wernisażu by rozpocząć drugą część Multipartu. Partycypacja widzów została obwarowana dokładnie spisaną umową i zakładała, że ostateczny kształt dzieła powstanie poprzez i dzięki kreatywności odbiorcy. Z dzisiejszej perspektywy historycznej, dzięki opracowaniom Claire Bishop dość łatwo można się dopatrzeć w pomysłach Kantor zbieżności z ideami Międzynarodówki Sytuacjonistycznej. Kantor, przy całej fascynacji możliwością aktywnego zaangażowania widza w kreację dzieła, swojego działania nie wiązał z polityką czy jakimkolwiek aspektem polityczności. Fakt ten wyraźnie oddziela jego sposób myślenia o funkcji sztuki we współczesnym świecie od zbudowanego na korzeniach lewicowych ruchu sytuacjonistów.

14

„Cały świat – samo życie”. Rola materii w malarstwie Tadeusza Kantora w latach 1945–1964

70%

Cieślak J. P., Kozioł W., Kunińska M.

Artium Quaestiones

|

2018

|

issue 29

121-159

PL

The topic of the paper is the idea of matter in Tadeusz Kantor’s painting after World War II, including metaphorical painting, the informel, and the painting of the matter (1945-1964). The artist defined matter as an indeterminate, universal foundation which is a vehicle of the attributes of all that can be perceived by the senses, both animate bodies and inanimate things. A starting point are Kantor’s own texts – his notes and publications reflecting particular stages of his artistic evolution, critical essays on art, as well as later statements referring to the period under scrutiny. The present analysis is an attempt to find out whether Kantor’s postulates were really reflected in his art. Its main goal is to reconstruct his line of reasoning concerning matter and focus on the activities rooted in his theories, which is why contemporary reception and interpretations of his painting have not been taken into account. The frame of reference includes philosophical and artistic ideas known to Kantor or available to the artistic circles of the period. The text has been divided into four parts corresponding to particular stages of the artist’s development: (1) 1945-1947, when Kantor was trying to find ways of artistic expression beyond traditional topics of painting, such as the human figure, (2) 1947-1954, the metaphorical period, when, as a result of his visit to the Palais de la Découverte, he tried to represent the world invisible to the eye, (3) 1955-1959, the informelperiod, when paint became for him an equivalent of the matter, a synecdoche, one substance symbolizing all of it, and (4) 1958-1964, painting of the matter, when he kept using also other substances added to paint and chose a “concrete” approach to the painting’s meaning. The authors argue that over the first two decades following World War II Kantor succeeded in creating a new kind of painting, corresponding to the present, in which matter was to be dominant. To achieve that goal, for many years he was experimenting with different ways of representing matter – its ruling forces and principles. His initial existential observations, which challenged the uniqueness of humans in the universe, were later supplemented by shocking contact with science at the Paris Museum of Inventions. In the next decade, Kantor stopped making references to science and accepted process as a basic method of reaching the ontological foundation of the world, i.e. “matter.” His art was no longer “production,” but turned into “action.” At the last stage under consideration, he decided that the painting must not present signs referring to reality beyond it. He rejected the idea of painting as illusion and mediation, claiming that the matter of art is concrete, that it becomes “what it is.”

15

„Nigdy już tu nie powrócę…” – koncepcja „powrotu” Tadeusza Kantora do jego domu w Hucisku (gmina Gdów)

70%

Orzechowska A.

Zarządzanie w Kulturze

|

2012

|

vol. 13

|

issue 2

PL

„I won ’t come back here anymore ...” – the concept of Tadeusz Kanor ’s „return ” to his home in Hucisko (municipality Gdów)In the nineties of the twentieth century, Tadeusz Kantor built a house in Hucisko, a small town located in the municipality of Gdów. The design of the artist’s office definitely served a practical aesthetic. It is therefore not surprising that the rhythm of the windows is determined by the functional layout. The artist distributed them so that they could encompass the widest possible view. „Kantorówka” is very modest and intimate, but not without fancy elements. It was built in three months by a highland carpenter. In „Kantorówka” one finds the workshops of Tadeusz Kantor and his wife – Mary Stangret. Today the house is empty. Maria Stangret comes here but rarely. Also, „Cricoteka” no longer organizes activities and trips to the village near Cracow. Yet the manor house in Hucisko is the home of the artist’s „soul” and is ideal for conducting creative workshops and the development of artistic imagination. Kantor wanted his home in Hucisko to become a place for meetings, conferences, exhibitions and educational activities aimed at the local population. He tried to create a meeting place for people of different views, to discuss the art and science, and thus encourage and educate the public. However, his death meant that this vision was never fully realized. Kantor’s house is deserted, and the title of one of his recent dramas „I’ve been here not to come back” takes on an added significance... The Foundation „Given a Chance”, whose statutory aims are based on educational and cultural activities, has proposed to create a summer Theatre Academy in the home of Tadeusz Kantor in Hucisko. The Academy would organize a wide variety of different classes devoted to drama activities, painting and photography workshops, as well as literary – journalistic activities. At the end of each cycle, the Academy would organize a conference and a series of exhibitions of works by people who participated in the workshops. It is proposed that classes should be available to foreigners, so that the work of Tadeusz Kantor could return to his home in Hucisko. This paper also proposes that the above projects should be financed from the European Union funds available for the years 2007–2013.

16

Tadeusz Kantor – Jerzy Grotowski – Jerzy Gurawski

70%

Osiński Z.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

122-149

EN

Contrary to widespread opinion (including enunciations of the artists themselves) I believe that one of the greatest artistic partners of Jerzy Grotowski’s was his great rival and opponent, Tadeusz Kantor. It may be said that Kantor was in a way obsessed with having an idea in art. At the same time, the relations of the two artists were marked with strong ambivalence. At the opening of the exhibition Witkacy a Teatr Cricot 2 (“Witkacy and the Cricot 2 Theatre”) that took place at the Cricot 2 Theatre Centre on 2 Kanoniczna Street in Cracow on 26 February 1985 Kantor publicly admitted that, among artists known to him at the time, only Grotowski had his own idea of theatre. Jerzy Gurawski was born in Lwów on 4 September 1935. He is twenty years younger than Tadeusz Kantor and two years younger than Grotowski, with whom he co-created the Laboratorium Theatre in Opole since the production of Siakuntala (“Śākuntalā”) based on Kalidasa’s play in 1960. What testifies to the import of Gurawski, an architecture graduate of the Cracow University of Technology whom Grotowski called “the doctor of theatre space”, are mostly his work at the Laboratorium Theatre in the 1960s, his correspondence with Grotowski and a number of comments, scattered here and there, made by himself and by other artists. Eugenio Barba was right in what he wrote in his autobiographical book, translated into many languages, Land of Ashes and Diamonds. My Apprenticeship in Poland. Followed by 26 Letters from Jerzy Grotowski to Eugenio Barba (Aberystwyth, Wales: Black Mountain Press, Centre for Performance Research, 1999), pp. 28-29: “The creator of the scenic space was Jerzy Gurawski, an architect (not a scenographer) of the same age as Grotowski. Their encounter belongs to the category of events that can well be described as historical. Neither one of them would have been capable of arriving at such extraordinary solutions without the other. Gurawski’s contribution to Kordian, Doctor Faustus and The Constant Prince was exceptional. When his collaboration was lacking, Grotowski’s scenic space was reduced to an empty room with the spectators seated at the sides, thus involuntarily becoming a theatre in the round. Gurawski was a modest man who was seldom to be seen at the theatre and who worked by himself while remaining in constant contact with Grotowski. In the case of Doctor Faustus too, where I was assistant director, he neither attended rehearsals nor intervened in the realisation of the designs. He was an unforgettable personality who, through his encounter with Grotowski, changed the conception of scenic space for generations to come. Theatre history has not given him the prominence he deserves, whereas Grotowski himself always underlined his importance. It is often the case that the creativity of a group, their collective tension and effective symbiosis, are associated with a single name.” This year Gurawski turns eighty. As it turns out, Tadeusz Kantor’s art has been one of the most important sources of his inspiration for many years. He has been interested in Tadeusz Kantor’s personality and art throughout his career as can be attested by his works from the cycle titled In memoriam Tadeuszowi Kantorowi – Jerzy Gurawski. Rysunki architekta z Teatru Laboratorium (“Jerzy Gurawski – In Memory of Tadeusz Kantor. Drawings by an Architect from the Laboratorium Theatre”) exhibited publicly for the first time at Wielopole Skrzyńskie in September 2014.

17

,,Tak, tak” miłości na ,,nie, nie” śmierci. Walka Tanatosa z Erosem w Teatrze Tadeusza Kantora

70%

Flader-Rzeszowska K.

Pamiętnik Teatralny

|

2015

|

vol. 64

|

issue 2(254)

97-121

EN

The main goal of the article is to analyse and interpret Tadeusz Kantor’s works from a crypto-theological perspective. The author focuses on the last theatre cycle by the artist, the Theatre of Love and Death. Most researchers do not take into account the fact that at the end of his life the artist added “Love” to his Theatre of Death and by doing so clearly emphasised new epistemic and philosophical aspects of his art. The theatre of Kantor’s last years of creative activity is a theatre in which death is not the only one of prime importance. It is counterbalanced by the idea of love “as powerful as death”, of love able to challenge the absurdity of death. The author analyses “Cricotages”, short theatrical forms realised mostly outside the Cricot 2 and interprets them as containing Kantor’s “small theology” based on metaphors, symbols. It encompasses questions of great importance about the meaning of suffering, about the purpose of man’s journey, about the deep feeling of want and emptiness, about the necessity of reading the disappearing traces of transcendence. Inspired by studies carried out by philosophers and anthropologists of death (e.g. Vladimir Jankélévitch, Hans Belting, Jean-Didier Urbain, Edgar Morin, or Stanisław Cichowicz), the author argues that Tadeusz Kantor’s theatre is not a nihilist one, devoid of any hope; it is rather a theatre that resumes communication, severed sometime earlier, with the dead. Kantor’s leaning towards death, his way of looking at the man from the perspective of a cemetery, hints at spiritual aspects of his art, revealing oft-times hidden theological tracks. The Cracow artist insisted in his last creative years that when death puts an end to life, love does not stop; Eros can become the only worthy opponent of Thanatos.

18

Brudnopisy Tadeusza Kantora – od przestrzenności zapisków do czasowości archiwaliów

70%

Szalewska K.

Przestrzenie Teorii

|

2019

|

issue 31

93-108

EN

The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.

19

Wielopole wielokrotnie: przestrzenna reżyseria afektu

62%

Pieniążek M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria

|

2019

|

vol. 19

285-297

RU

The article presents the forms of repetition in the creation and reception of Tadeusz Kantor’s performances. Krakow cellars, Kantor’s home in Wielopole and school class in Bielkowo near Łazy in Pomerania connect here the topic of affective searching and finding sources of identity and memory. The process may refer to both the artist and the viewer, seeking in the memory, art and landscape the traces of himself, recorded in the past and projected onto the surroundings. The author’s discovery of the interiors of the cellars under the floor of the house in Wielopole, similar to the Krzysztofory cellars in Krakow where Kantor conducted the rehearsals of the famous The Dead Class, leads to the conclusion that the preexisting in Wielopole under the floor of a childhood room the space of Kantor’s play can be the source of director’s affective repetition. With the use of the repetition mechanism, numerous further artistic discoveries and meetings of the artist with the self and visions of his future performances have been made. The facilitation of this process for viewers of exhibitions and to the recipients of art, both in Bielkowo and Wielopole, seems to be the inclusion of another tool in theatrical and artistic education.

20

Poeta Grochowiak – „dusza czująca” uwięziona w oście

61%

Stelmaszczyk B.

Przegląd Humanistyczny

|

2014

|

issue 2(443)

19-34

EN

The author of the essay makes an attempt to discover such aspects in Stanisław Grochowiak’s poetry which prove that he is rooted in the Romantic tradition, and at the same time experienced tragic, traumatic feeling of being hemmed in by contemporary reality. This feeling is caused by aesthetic and moral degradation of the world surrounding him, which prevents the continuation of high style poetic tradition and forces the change of the language used. Thus, Grochowiak introduces dissonances, plays with opposites, uses grotesque to present lyrical situations. His connections with Romantic tradition focus mainly on taking over Romantic symbols/masks of the author’s persona and his individual perspective on the world, in which he ambivalently balances sensitive expression with defiant, accusatory description of the world. He uses irony, grotesque and blunt realism uncovering bad or mutilated images of the world. The author of the article made also an attempt to interpret Grochowiak’s hermetic, obscure, “dark” poems and explain the reasons why the poet deliberately employed “dark” poetics strategy.

Refine search results

Cytat teatralny w twórczości Tadeusza Kantora

O pewnych aspektach Panoramicznego Happeningu Morskiego Tadeusza Kantora

The material world of digital fictions

Sukces czy niepowodzenie? O francuskiej realizacji Szewców Tadeusza Kantora

Rekolekcje w „umarłej klasie”. „Historyja o chwalebnym zmartwychwstaniu pańskim” Mikołaja z Wilkowiecka w Teatrze Wierszalin wobec tradycji inscenizacyjnej

Od eksperymentów Bauhausu do Teatru Galeria

Utopia rzeczywistości

W kręgu awangardy. Kantor nie był osamotniony…

Szpula taśmy od Kantora

Kantorowskie wynalazki. Między przedmiotem magicznym a maszyną

The Politics of Appearance: Tadeusz Kantor Exhibiting in Sweden 1958–2014

Wielopole, wielopole Tadeusza Kantora. Między medium pamięci a medium fotografii

Tadeusz Kantor – Engagement – Multiplication – Participation

„Cały świat – samo życie”. Rola materii w malarstwie Tadeusza Kantora w latach 1945–1964

„Nigdy już tu nie powrócę…” – koncepcja „powrotu” Tadeusza Kantora do jego domu w Hucisku (gmina Gdów)

Tadeusz Kantor – Jerzy Grotowski – Jerzy Gurawski

,,Tak, tak” miłości na ,,nie, nie” śmierci. Walka Tanatosa z Erosem w Teatrze Tadeusza Kantora

Brudnopisy Tadeusza Kantora – od przestrzenności zapisków do czasowości archiwaliów

Wielopole wielokrotnie: przestrzenna reżyseria afektu

Poeta Grochowiak – „dusza czująca” uwięziona w oście