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Gesamtkunstwerk w dobie postmodernizmu. Peter Greenaway i walizki Tulse’a Lupera

100%
Michnik A.
Kwartalnik Filmowy
|
2010
|
issue 70
173-193
PL
Tekst dotyczy złożonego multimedialnego projektu "Tulse Luper Suitcases" autorstwa Petera Greenawaya. Ów projekt obejmuje filmy, książki, wystawy, strony internetowe, grę on-line oraz rozmaite przedsięwzięcia teatralne. Michnik zastanawia się nad tym, w jakim sensie można ten ambitny projekt potraktować jako współczesną realizację koncepcji Gesamtkunstwerku. Podążając za myślą Odo Marquarda, analizuje różne sposoby rozumienia tego pojęcia, zastanawiając się nad tym, czy w dobie estetyki fragmentu dzieło totalne ma rację bytu. W drugiej części tekstu autor dekoduje zawarte w projekcie znaczenia, odsłaniając systemy, jakimi Greenaway posługuje się przy jego organizacji, a także tworzywa, jakich używa przy jego konstrukcji. Następnie autor wpisuje omawiane przedsięwzięcie w kontekst XX-wiecznych inicjatyw artystycznych, szczególnie intensywnie śledząc znaczenia toposu walizki.
EN
The article is about the "Tulse Luper Suitcases" multimedia art project by Peter Greenaway. The project includes films, books, exhibitions, web pages, an on-line game and a gamut of theatre productions. Michnik wonders whether and in what way may this ambitious project be considered a contemporaryexample of Gesamtkunstwerk. Following Odo Marquard, Michnik analyses various ways of understanding of this concept, and asks whether in the world dominated by the aesthetics of the fragmentary, a total art work has a raison d’ętre. In the second part of the article the author presents various meanings of the project, and reveals systems used by Greenaway in the realization of the project and the materials used for its construction. Then the author places the project in the context of the 20th century art initiatives, with particular attention given to the meaning of the topos of the suitcase.
2
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„Brzoza” – filmowy „Gesamtkunstwerk” Ante Babai

70%
Pająk P.
Poznańskie Studia Slawistyczne
|
2012
|
issue 2
EN
The  Birch  Tree  (1967),  directed  by  Ante  Babaja,  is  one  of  the  most outstanding  achievements of Croatian film modernism. It touches on the problem of rural life, which is unusual for film modernism. The work is inspired by Slavko  Kolar’s rural prose, naive paintings by artists  from Hlebine  and  north  Croatian  folk  rites  and  songs.  In  this film,  Babaja  presents a naturalistic interpretation of rural existence, where the human spirit is stifled by dull material  and  inert  nature. The  Birch  Tree  is  also  an  example  of  a  film  Gesamtkunstwerk  that combines not only the elements of various arts (painting, literature, music, theatre), but also two historical-cultural models of artistic creation: the modernist and the folk.
PL
The  Birch  Tree  (1967),  directed  by  Ante  Babaja,  is  one  of  the  most outstanding  achievements of Croatian film modernism. It touches on the problem of rural life, which is unusual for film modernism. The work is inspired by Slavko  Kolar’s rural prose, naive paintings by artists  from Hlebine  and  north  Croatian  folk  rites  and  songs.  In  this film,  Babaja  presents a naturalistic interpretation of rural existence, where the human spirit is stifled by dull material  and  inert  nature. The  Birch  Tree  is  also  an  example  of  a  film  Gesamtkunstwerk  that combines not only the elements of various arts (painting, literature, music, theatre), but also two historical-cultural models of artistic creation: the modernist and the folk. 
3
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The Prague School's contribution to the theory of intermediality

61%
Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2014
|
vol. 17
|
issue 2
41-49
EN
This paper explores the contributions of the Prague School scholars to the theory of intermediality. Although the theory of intermediality did not yet exist in the 1930s, scholars of the Prague School presented a number of ideas that today would certainly be understood within the scope of the theory. They perceived what we now call intermediality as part of a comparative exploration of arts, and aimed to establish a comparative semiology of arts. In their articles, these scholars touched upon two important relationships between arts, which are discussed in contemporary theories of intermediality as transmediality and plurimediality/multimediality. With regard to transmediality, this study looks at the broad interest of the Prague scholars' in the interchange of formal and thematic components between various arts, such as painting and literature or film and theatre, and presents their thoughts on the nature of these inter-art relationships. Regarding plurimediality, the Prague School scholars focused mainly on theatre, which they considered one of the most complicated artistic branches. Comparing their thoughts on theatre with those of Wagner, Brecht, Kandinsky and others, this study reveals the uniqueness and complexity of the Prague School's approach to theatre and points to its potential for contemporary intermedial theatre studies.
4
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Hermann Nitsch: anty-logos i ciało

61%
Jędrysko C.
Estetyka i Krytyka
|
2012
|
issue 2(25)
83-98
XX
The text is devoted to the analysis of the works by Hermann Nitsch. Its first part, which has a descriptive character, presents the artist’s profile set in the context of the Viennese Actionism and depicts three forms of his art: action painting, choreographic scenes and processions. The second part examines the meaning of Nitsch’s works, based on his declarations. It outlines the theory of a total work of art, the so called Gesamtkunstwerk as well as three underlying ideas: Freudianism, the idea of mysteries and the issue of corporality. The last part is an attempt to show similarities between Nitsch’s theoro-practice and trends of the Russian philosophy of creativity.
5
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Z historii polskiego performansu. Happening, performans, intermedialność

36%
Hendrykowski M.
Przestrzenie Teorii
|
2018
|
issue 29
EN
Marek Hendrykowski’s case study shows the original idea of The Salon Niezależnych’s performances, one of the most spectacular events of 1970s Polish student counter-culture.
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