Transnarodowa, czyli wszędzie obca? Syndrom aktorstwa filmowego Anny Prucnal
Transnational and Therefore a Stranger? The Syndrome af Anna Prucnal’s Film Acting

Summary/Abstract: Relationships – life and professional – with Poland, Germany and France, and aesthetic contexts and artistic communities of the places where she worked, shaped Anna Prucnal’s film acting as a phenomenon in which the readable sources of local and national elements are obscured by the irreducible Other-Different. Thanks to that Prucnal in films be Fellini, Makavejev, Deville, Wajda, Vadim or Amalric functions on the one hand as the fascinating, disturbing Other, and on the other hand by transcending the local, she might be easily assimilated by international cinema (which paradoxically turned against the actress, when after 1989, she tried to return to the local, that is Polish cinema). The authors describe the means of expression in Prucnal’s roles, they analyse her characteristic, “excessive” presence on the screen. They ponder to what extend is she a “foreign body” and to what extend is she a unique, transgressive, dissonant, confusing “added value”. The aim of the article is the definition of “Prucnal’s acting syndrome” and the interpretation of the forces that shaped it (by reference to opera, the aesthetics of Brecht and Felsenstein, Student Satirical Theatre, Avignon avant-garde theatre, counter-culture and camp, and left wing views), above all from the perspective of the strategy of reinterpretation of symbols of national cultures and tensions between what is local, transnational and international.

• Details
• Contents