Metody perswazji we współczesnych inscenizacjach antyku greckiego. Wybrane zagadnienia
Persuasive methods in modern staging of Greek antiquity. Chosen issues

Author(s): Grażyna Golik-Szarawarska
Subject(s): Philology
Published by: Wydawnictwo Uniwersytetu Śląskiego
Keywords: „theatre of tragedy”; performativity; aesthetic experience; persuasive action; rewriting; adaptation; devising; recycling; sampling;
Summary/Abstract: The study presents a look at the practice of a Polish theatre in the first decades of the 21st century in a perspective of classical rhetoric as a research tradition. It includes also an analysis of two important Polish theatrical performances: Oedipus Rex (directed by Jan Klata; premiered on 17th October 2013 in The Narodowy Stary Teatr im. Heleny Modrzejewskiej in Krakow) and Oresteia by Iannis Xenakis (directed by Michał Zadara; premiered on 14th March 2010 in The Teatr Wielki – Opera Narodowa in Warsaw). The analysis searches for performative examples of modern staging of Greek antiquity with reference to the fact that tragic experience is regarded as a kind of aesthetic experience. Researchers and authors associate the persuasive character of a Greek tragedy staged in a post-dramatic theatre with a katharsis category and reference to Aristotle’s authority. A prime conviction is that an persuasive effectiveness of the Greek tragedy is gained thanks to a theatre articulation and understanding of anagnorisis category. The mentioned performances are examples of persuasive action which is concentrated on action effectiveness. The main emphasis within the analysis is on an attempt to outline persuasive methods which are used in performing pragmatics of a modern theatre for realizing the persuasive specificity of an ancient tragedy. The performances discussed here are based on new strategies of dramatization of the classics; such as rewriting; adaptation; devising; recycling and sampling; which are used by directors. This article describes methods of space creation in a modern theatre under the strict rules which leads back to the tradition of the scène à l’italienne and use of non-theatre space; where the rules in comparison to the Greek theatre are completely different. Furthermore; this article is an attempt to outline the participation of a modern spectator in both performances as well as to show evidence of theatrical criticism and a particular document – a protocol of memories.

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