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Blackness as medium : body in contemporary theatre practice and theory

100%
Sajewska D., Sosnowska D.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 2
91-102
EN
Our text presents the theoretical approach to the problems of body and technology in stage performance. The starting point is the status of the categories such as presence, ephemerality, immediacy of the (theatre) performance, radically undermined in the texts of performance studies scholars such as Rebecca Schneider, Amelia Jones or Philip Auslander. Utilizing examples of performances from young Polish theatre: Krzysztof Garbaczewski (b. 1983) and Radosław Rychcik (b. 1981), we juxtapose two functioning models of the body-technology relation on stage. The first – represented by Garbaczewski – is based on an understanding of the body as always mediated. It multiplies (undermines) the body's presence by use of audio-visual means. The second – Rychcik's case – is to push the theatrical presence of the body to the absolute maximum. In this case, the audio-visual layer is used to build a strong opposition to the actor's stage presence. The two examples are used to propose a new theoretical approach. We show that such stage phenomena are not only a sign of a (technological) reality shift, but also, a very important theoretical input in the understanding of theatre. We state that every single body on stage (no matter if consciously, as in Garbaczewski's case, or unconsciously as in the Rychcik's case) is already mediated and the use of technological tools is a way to play with this specific character of theatre corporeality. This broader perspective also incorporates elements of the political dimension of annexing media-mediated and media-manipulated corporeality, for it will follow the apparently transparent and natural dimension of such actions, whereby once again it will turn, as postulated by Jacques Rancière, aesthetic considerations into political considerations.
2

Nażywość w kinie? O problematyczności odbioru „Salò, czyli 120 dni Sodomy” Piera Paola Pasoliniego

100%
Bal E.
Kwartalnik Filmowy
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2014
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issue 87-88
44-50
PL
Autorka bada relacje między teatrem a kinem w kontekście współczesnych tendencji traktowania filmu nie w kategoriach „dzieła sztuki” przedstawiającego jakieś fikcyjne „tam i wtedy”, ale jako świadectwa doświadczenia „życia w sztuce”. Bal w swojej analizie odwołuje się do kategorii „nażywości” zaproponowanej przez Philipa Auslandera, według którego to historycznie zmienna dynamika produkowanego w widzach efektu realności przedstawienia przesądza o poczuciu nażywości, a nie ontologiczne podziały między formami podawczymi teatru, telewizji i filmu. Jednak według Auslandera twórcom filmowym, inaczej niż w przypadku telewizji i nowych mediów, nie udało się skolonizować „nażywości”, bowiem na przeszkodzie stanął problem repetycji i czasowej przepaści między aktem powstawania filmu a jego odbiorem. Odnosząc się do historycznych i współczesnych świadectw odbioru „Salò, 120 dni Sodomy” (1975) w reżyserii Piera Paola Pasoliniego oraz ukazywanej w tym filmie cielesności, autorka stara się polemizować z tą ostatnią tezą Auslandera i pokazuje, że również w procesie percepcji dzieła filmowego zatarciu ulega różnica między „obrazem” traktowanym jako dzieło sztuki a bezpośrednim i natychmiastowym wydarzeniem dotykającym widzów tu i teraz oraz że w związku z tym film również może produkować efekt „nażywości”.
EN
The author examines the relationship between theatre and cinema in the context of contemporary tendency of films not as “works of art” depicting some fictitious “there and then”, but as testimonies to the experience of “living in art”. Bal in her analysis refers to the category of “liveness” proposed by Philip Auslander, according to whom historically variable dynamics of the effect of reality of the spectacle produced in viewers, decides on the feeling of “liveness”, and not the ontological clas sification between different forms of presenting of theatre, television and film. However, according to Auslander, filmmakers, unlike people working in television and the new media, failed to colonise “liveness”, as the question of repetition and the time gap between the act of creation of film and the time of its reception stood in their way. Referring to the historical and contemporary collection of testimonies of the reception of “Salò, or the 120 Days of Sodom” (1975), directed by Pier Paolo Pasolini, and the way body is shown in the film, the author questions the last thesis of Auslander and shows that even in the reception of a film, the difference between “picture” treated as a work of art and direct and immediate event touching the viewers here and now is blurred, and that because of that also film can produce the effect of “liveness”.
3

IL VALORE DELL’INCONTRO. ALCUNE CONSIDERAZIONI SU THE ARTIST IS PRESENT DI MARINA ABRAMOVIĆ

84%
Woźniak K.
Rocznik Przemyski
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2018
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vol. 54
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issue 2(22): Literatura i Język
123-129
EN
The purpose of the article is to interpret Marina Abramović’s project – The Artist Is Present – within the theories of liveness and encounter. First of all, we define post-mediatic culture referring to Piotr Celiński’s proposals and the term ‘encounter’ according to Adam Węgrzecki. Finally, we propose some considerations on the encounter as a methodological approach to the phenomena whose main characteristic is liveness (Peggy Phelan and Philip Auslander). Finally, we pass to the analysis of the performance of Marina Abramović The Artist Is Present based on the considerations made previously.
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