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1

„Winning is strictly prohibited”. O strategiach twórczych Banksy’ego i Jana Klaty

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Lubaszewska M.

Śląskie Studia Polonistyczne

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2010

EN

The paper analyzes the activities of two socially committed artists: Banksy and Jan Klata, who both use the funfair motif. Banksy employs it in a literal though subversive way in his project Dismaland, which is a quizzical reversal of Disneyland. Klata employs it in his performances (which often take the form of the director’s comments on the reality that surrounds us), showing a set of “amusements” resembling those from a funfair and leading the viewer to a perceptive dissonance (similarly to the collection of Eisenstein’s amusements). It seems that the space created by the committed art that uses the concept of a funfair allows for the implementation of a real rebellion against the status quo. Actual amusement parks, however, create only an illusion of the possibility to break with the norms of the social system.

2

Uwspółcześnianie tradycji. Przykład Rewizora Jana Klaty

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Bialik K.

Prace Literaturoznawcze

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2013

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issue 1

297-308

EN

The article is devoted to the spectacle Comptroller by the drama of Nicholas Gogol. Stage premiere took place in The Jerzy Szaniawski Theatre in Wałbrzych in 2003, and then was realized in the Theater Television in 2005. The author describes the spectacle and are analyzes them. Indicates the ways of the Director, how to show the classic drama on the contemporary scene. Evaluates the function of the modern costume, what Director applied in production and describes the dialog with the tradition of theatre and the tradition of television.

3

Il desiderio di utopia. Elementi per definire la costruzione delle distopie teatrali polacche

85%

Minczewa B.

pl.it / rassegna italiana di argomenti polacchi

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2016

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issue 7

171-185

EN

The paper concerns some elements of the construction of worlds represented on stage in recent Polish theatre. This may be seen as a comment on the state of democratic Poland after 1989 and, more generally, as an analysis of the peculiarities of the contemporary world. However, a deeper analysis shows recent theatre staging as structurally similar to the construction of dystopias. The worlds represented on stage are characterized by the presence of a nonlinear construction of time, by the absence of ending, of a horizon and of death, by the presence of ruins (intended literally, as an aesthetic paradigm, and metaphorically) and by the construction of dystopian characters. The analysis focuses on one of the most important performances for the Polish political theatre of the last two decades, H. (2004), a version of Hamlet directed by Jan Klata, performed in the historic and derelict Gdańsk Shipyard, a symbolic stage set which becomes at the same time the place of fulfilment of dystopia and of the emergence of the desire for utopia.

4

“I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe

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Cieślak M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2019

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vol. 19

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issue 34

107-117

EN

In his Shakespearean productions Jan Klata tends to radically experiment with sets, texts, and contexts. He puts the plays in culturally and politically specific locations, experiments with bi- or multilingual productions, and incorporates other texts into the Shakespearean frame. In this way, he uses Shakespeare as a means to address contemporary problems and tensions that are vital for his geopolitical reality, exploring the issues of national identities, the cultural legacy of Europe and its nations, as well as past conflicts and present crises. Klata’s King Lear (Narodowy Teatr Stary, Kraków, 2014), set in the religious context of the Catholic Church and using mostly Polish language, with only decorative additions in foreign languages, does not engage in European politics with the same directness and force as his earlier productions. And yet, as I wish to argue, this performance is also strongly concerned with European identity, and may, therefore, be seen as a valid voice in the discussion on how Shakespearean productions help to understand our current-day reality.

5

Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions

85%

Fabiszak J.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2018

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vol. 17

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issue 32

51-60

EN

Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examines Klata’s treatment of theatrical and national authority in his Shakespeare productions, on the one hand, and the image of the director as an authority on the other. All in the light of the theoretical model on authority in theatre, especially in Shakespeare productions, developed by W.B. Worthen.

6

“… the ruins of Europe in back of me.” Jan Klata’s Shakespeare and the European condition

85%

Cieślak M.

Studia Anglica Posnaniensia

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2015

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vol. 50

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issue 4

67-77

EN

Jan Klata’s Shakespearean productions are famous for his liberal attitude to the text, innovative sets and locations, and a strong contemporary context. His 2004 H., a Teatr Wybrzeże production performed in the Gdańsk Shipyard, reaches to the Polish history of the eighties (the importance of Solidarity and the fall of communism) to comment on the state of the democratic Poland twenty years later. The 2012 Titus Andronicus, a coproduction of Teatr Polski in Wrocław and Staatsschauspiel Dresden, explores the impact of historical traumas on national prejudice and relations within the new Europe. The 2013 Hamlet with Schauspielhaus Bochum again tries to diagnose the contemporary condition and is again deeply rooted in a specific geopolitical context. Discussing both Titus Andronicus and Hamlet, I would like to explore Klata’s formula of working with Shakespeare. Primarily, he takes advantage of the fact that Shakespeare’s texts are not simply source texts but hypertexts with multiple layers of meanings accumulated over the centuries of circulation, production and adaptation. Perhaps similarly to Heiner Müller, whose plays he willingly incorporates in his productions, Klata anatomizes the plays and then radically reconstructs them using other texts, literary and paraliterary. What Klata eventually puts on stage is a hybrid that is rooted in the Shakespearean hypertexts but also heavily draws from historical, cultural and political contexts, and that is relevant to him as the director and to the particular specificities of the venues, theatres and companies he works with. The hybridized and contextualized Shakespeare becomes for Klata a way to comment on current issues that he sees as vital, like dealing with the burden of the past, confronting the reality of the present, or understanding and expressing national identity, problems that are at once universal and specific for a person living in the EU in the twenty first century.

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2 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Prace Literaturoznawcze

1 Studia Anglica Posnaniensia

1 pl.it / rassegna italiana di argomenti polacchi

1 Śląskie Studia Polonistyczne

2 Cieślak M.

1 Bialik K.

1 Fabiszak J.

1 Lubaszewska M.

1 Minczewa B.

1 2019

1 2018

1 2016

1 2015