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1
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Brexit on Stage: Two Verbatim Projects in Progress

100%
Kębłowska-Ławniczak E.
Porównania
|
2021
|
vol. 30
|
issue 3
77-92
PL
Artykuł poświęcony jest analizie dwóch projektów teatralnych zrealizowanych pod auspicjami instytucji narodowych – Teatru Narodowego oraz „Guardiana” we współpracy z zespołem Headlong. Celem projektodawców była analiza aktualnej sytuacji społecznej w Wielkiej Brytanii po referendum, a projekty powstały w odpowiedzi na zarzuty dotyczące utraty więzi ze społeczeństwem. Obie inicjatywy oparto na metodach stosowanych przez „teatr na faktach”, przyjmując z różną konsekwencją metody badań terenowych i tworząc archiwa wypowiedzi. Badano głównie polaryzację oraz brak zaufania społecznego. Artykuł skupia się na analizie zróżnicowanych efektów, jakie obserwujemy w Brexit Shorts oraz My Country. Efekty te, znacząco różne, prowadzą ku próbie zarówno społecznego pojednania, jak i niezamierzonego lecz wyraźnego populizmu.
EN
The article deals with two post-Referendum projects launched by British national organizations, the National Theatre and the Guardian with Headlong, whose task was to reflect more accurately on a broader range of current British experience. The projects were written in response to questions on whether national artistic institutions, the subsidized “complex culture,” have not been out of touch with the rest of the country, notably the post-Referendum crisis. Both projects set out to research the crisis with documentary and quasi-documentary methods, to involve in an exercise in “listening” and to focus on polarisation, voter fatigue and lack of trust. The article concentrates on the two projects as variants of political theatre and on the ways they use the verbatim method in their attempts to diagnose and understand the crisis arguing, further on, that the effects differ, leading either to populism or to empathetic understanding and reconciliation.
2
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Troping the City of Johannesburg in Portrait with Keys by Ivan Vladislavić

100%
Kębłowska-Ławniczak E.
Anglica Wratislaviensia
|
2012
|
issue 50
47-60
EN
From early years, literary criticism and urban studies have perceived Johannesburg as a city escaping the strictures of literary and civil concepts, the paradigms of literary genre and of concept city. Unlike Cape Town, whose history spans centuries, and the chance for her shape and existence to consolidate and to have been “properly” re-told — by both inhabitants and visitors — appears to be more tangible, the City of Gold remains formless, evasive and still immersed in the process of discovering her narrative/narratives. The present article seeks to provide some insights into a recent postmodern, post-antiapartheid project of rendering the cityness of Johannesburg put forward in Portrait with Keys: The City of Johannesburg Unlocked, the first nonfiction work by South African iconoclastic novelist Ivan Vladislavić who, as I hope to show, has developed an accretive style for recounting in the brief, at times photographic at other times epiphanic “prose poems,” his encounters in and with the city of Johannesburg. The following looks at the diverse contexts of Vladislavić’s explorations in search of a method, which includes his earlier work, where he reflects on attempts to comprehend the city in the course of semiotic analysis reducing the urban to language, and the later where he cooperates with David Goldblatt on a multimedia representation of Johannesburg. Finally, the article gives examples of Vladislavić’s strategy whose objective is to un-lock the city rather than construct its legible image.
3
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Attempts on the ‘life’ of Johannesburg: Ivan Vladislavić’s Use of the City Portrait Genre

100%
Kębłowska-Ławniczak E.
Anglica Wratislaviensia
|
2017
|
issue 55
47-68
EN
This article examines the changing practice of urban portraiture in reference to a selection of postmillennial texts written by Ivan Vladislavić. These generically diverse texts trace and reflect on transformations sweeping Johannesburg after the fall of Apartheid, to some extent a metonymic representation of South Africa. An immediate impulse to inquire whether and, if so, how the writer explores the boundaries of portraiture, derives from an explicit textual and visual thematisation of the practice in two of Vladislavić’s works, i.e. the collection of “verbal snapshots” entitled Portrait with Keys and his joint interdisciplinary project, TJ& Double Negative, involving the writer and David Goldblatt, a South African photographer. The article concentrates primarily on the uses and adaptations of the city portrait genre. Vladislavić’s foregrounding of the genre category invites us to consider a series of questions: How does Vladislavić proceed with the appropriation and transformation of the traditional practice of city portrait? Do the portrayals of Johannesburg merely address the past? To what extent does Vladislavić propose contemporary adaptations of the practice? What happens to such categories as realism, accuracy, and likeness? What knowledge does portraiture generate? Finally, the article reflects on whether Vladislavić responds to the need for a new epistemological project in rendering the urban.
4
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Caryl Churchill’s Artificial and Orificial Bodies: Between Subjective and Non-Subjective Nobody’s Emotion or Affect

100%
Kębłowska-Ławniczak E.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
330-352
EN
This article analyzes the shift from emotion to affect in Caryl Churchill’s writing for the theatre, a process which becomes prominent in the later seventies and culminates in the production of A Mouthful of Birds, a project designed jointly with the choreographer David Lan. The effects of the transformation remain traceable in The Skriker, a complex play taking several years to complete. It is argued that there is a tangible and logical correlation between Churchill’s dismantling of the representational apparatus associated with the tradition of institutional theatre - a process which involves, primarily, a dissolution of its artificially constructed, docile bodies into orificial ones - and her withdrawal from the use of emotional expression in favour of the affective. In the following examination, emotions are conceived as interpretative acts modelled on cognition and mediated through representations while the intensity of affect remains unstructured. Often revealed through violence, pain and suffering, affect enables the theatre to venture into the pre-cognitive and thus beyond the tradition of liberal subject formation.
5
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Eroticism in and of the City: The Question of Approach

100%
Kębłowska-Ławniczak E.
Text Matters: A Journal of Literature, Theory and Culture
|
2013
|
vol. 3
139-153
EN
Discussions of eroticism usually commence with references to Georges Bataille and his L’Erotisme, whose first English edition was published under the title Death and Sensuality: A Study of Eroticism and the Taboo (1962), thus encouraging analyses in terms of transgression. This article opens with a quotation from Zygmunt Bauman’s essay, “On Postmodern Uses of Sex,” which reflects on the instability of the concept and emphasizes its contextualization. This openly declared incongruity raises questions of applicability. What is meant by eroticism today, i.e. in and after postmodernism? The article seeks to explore the relevance of the term in studies of urban drama and tries to suggest a workable approach that would differentiate between the commonly observable erotic material found on display within the premises of the city and the eroticism of the city itself. In the latter case the erotic relationship involves the materiality of the urban context and its user. The essay, focusing on drama, assumes that plays are written for the stage-their proper mode of existence-and deems it necessary to include the city/theatre and city/drama interdependence as well as the nexus of concepts such as urban drama and its genre restrictions into the following analysis.
6
Publication available in full text mode
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Caryl Churchill’s Artificial and Orificial Bodies: Between Subjective and Non-Subjective Nobody’s Emotion or Affect

100%
Kębłowska-Ławniczak E.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
330-352
EN
This article analyzes the shift from emotion to affect in Caryl Churchill’s writing for the theatre, a process which becomes prominent in the later seventies and culminates in the production of A Mouthful of Birds, a project designed jointly with the choreographer David Lan. The effects of the transformation remain traceable in The Skriker, a complex play taking several years to complete. It is argued that there is a tangible and logical correlation between Churchill’s dismantling of the representational apparatus associated with the tradition of institutional theatre - a process which involves, primarily, a dissolution of its artificially constructed, docile bodies into orificial ones - and her withdrawal from the use of emotional expression in favour of the affective. In the following examination, emotions are conceived as interpretative acts modelled on cognition and mediated through representations while the intensity of affect remains unstructured. Often revealed through violence, pain and suffering, affect enables the theatre to venture into the pre-cognitive and thus beyond the tradition of liberal subject formation.
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