![Wielopole i "Wielopole" Tadeusza Kantora](/api/image/getissuecoverimage?id=picture_2015_22045.jpg)
Wielopole i "Wielopole" Tadeusza Kantora
Selected reviews and descriptions of the play (1983-1984).
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Selected reviews and descriptions of the play (1983-1984).
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The conversation focuses on assisted issues associated with the exhibition "We Were", co-organised by the interlocutor (Tadeusz Kantor’s daughter) at an art gallery in Tarnów – the town where her father attended secondary school. With the assistance of photographs the exhibition portrays the void left by the large local Jewish community.
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Zuzanna Berendt writes of the Aristocrats project by Łukasz Chotkowski, Magda Hueckel, Tomasz Śliwiński, and Stefan Węgłowski (Komuna// Warszawa,premiere: 7,8.11.2015). The author provides outlines of the protagonists of the diptych, Krzysztof Niemczyk and Małga Kubiak, pondering the consequences of the presentation of such colorful and diverse figures within a single series. She analyzes the evening devoted to Niemczyk, focusing on the re-performances of the artist's projects in a gallery setting, and the construction of a narrative about him by the creators of the project. She sees Małga Kubiak's performance combined with a screening of her films and a drag queen performance as a multi-level statement on physicality, a theme which is ever-present in the artist's work
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Aleksandra Haduła reviews Western (premiere: 4.09.2015), closing the Śląski Theater in Katowice's Holy Silesia / Damned Silesia series. The author outlines the theme of Artur Pałyga's staging, the story of 19th-century emigrants from Silesia who arrive in the United States. She focuses on describing the hybrid identity of the protagonists, their entanglement in the past. She has a critical take at the cabaret and metatheatrical conventions used in the play and the lack of original response to questions of Silesian identity.
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Writing about Schönberg's opera Moses und Aron, staged by Romeo Castellucci (Opéra National de Paris, Opéra Bastille, premiere: 20.10.2015), Tomasz Fryzeł focuses on the fundamental issue of the relationship between the idea, the mystic revelation, and religion, ideology, and politics. The author calls attention to the modernity of the staging. The performance is shown in the building of Paris's Opèra Bastille, situated in the vicinity of the January and November terrorist attacks, and it raises the issue of religious fanaticism, as well as being a voice in the discussion of refugees from the states of Northern Africa. The author also recalls Castellucci's controversies: a bull enclosed in a plexiglass cage appears on stage, provoking criticism.
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A review of Halka directed by Paweł Passini (Stanisław Moniuszko Wielki Theater in Poznań, premiere: 26.06.2015). He mentions that the artists were inspired by Werner Herzog's film Fitzcarraldo; they allude to the international aspirations of Moniuszko's work, and the problematic label of a “national treasure.” Bogucki recalls a documentary film on the staging of Halka in a Haitian village, calling attention to its anthropological origins. This Poznań production also notes the motif of the female victim being sacrificed for the good of the community and the male/female conflict in general. Bogucki takes a critical approach to these strategies, seeing them as too leveling and superficial. He suggests the director has not carefully considered the historicity of the issues and too easily forgoes the class conflict in favor of the sexual aspect
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Kazimierz Bardzik analyzes the opera The Magic Mountain based on Thomas Mann's novel and directed by Andrzej Chyra (Malta Festival in Poznań, premiere: 26.06.2015). He points out the mechanistic quality of Paweł Mykietyn's music, examining its precise form for symbols of limited time and destiny. The author also notes that the musical layer makes reference to various styles: from Renaissance madrigal polyphony and belcanto arias to swing, rock, and pop. Bardzik enthuses about the wide field of set design interpretation by Mirosław Bałka, making his debut in this capacity, and also the singers, who perform difficult vocal parts. He problematizes the issue of the libretto text itself, which, despite its layering of philosophical themes, allows the performers to seem natural.
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Reviewing Iza Szostak's Digger Ballet (Center for the Documentation of the Art of Tadeusz Kantor, premiere: 8.11.2015), Karolina Wycisk evokes the ideas of Oskar Schlemmer, patron of the Choreographic Machine project (within which the premiere was held) and describes how his views on dance and the actor's body in dance were translated into the concept and choreography of the ballet written for two digging machines. Wycisk describes how the dancers operating the machines used the space of the factory hall that served as a venue, and stresses their virtuosity in operating the diggers.
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Teresa Fazan divides her text on the 14th International Body/Mind Festival in Warsaw (26.09 – 1.10.2015) into three parts. The first, titled Body Politics, covers the plays SexyMF and Tonight, Lights Out, which are linked by their strategy of aiming to tear down the existing actor/viewer relationship. In Part Two, Unbearable Present Bodies, the author reviews Tordre byRachid Ouramdane, Collective Jumps byIsabelle Schad, and Digger Ballet by Iza Szostak and Anka Herbut. Fazan opines that all these plays have content that is seemingly not present within them. The final part, What You Don't See,is devoted to a canceled play,This Is a Musical byKarol Tymiński, and the controversies it sparked.
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Stanisław Godlewski reviews the Frog's-Eye View interdisciplinary program, carried out in spring and fall of 2015 at the Castle Culture Center in Poznań. The author covers three performances: Iza Szostak's Feed Him, Angela Schubot and Jered Gradinger's What They Are Instead of?, and Antonia Baehr's Abecedarium Bestiarium. The key to Godlewski's text is the show of various human/animal relationship strategies. The author suggests that through choreographic dramaturgy, the artists have shown the meaning of the words “animal” and “animalistic” using characteristic forms of movement, thus avoiding the trap of anthropomorphization and animalization.
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The author states that this year's Sirenos Festival in Vilnius (24.09-4.10.2015) was among the most remarkably successful, despite the extremely pessimistic tone of most of the plays, which were more or less direct responses to the present political situation in Europe. Burzyńska analyzes what she saw as the festival's three best stagings: Heroes' Squaredirected by Krystian Lupa, Boris Godunov directed by Eimuntas Nekrošius, and Cleansed directed by Oskaras Koršunovas, which joined the motifs of madness and dabbling with evil.
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Anna Bajek describes the Orpheus: An Exercise in Dying installation directed by Susanne Kennedy and prepared for this year's edition of Ruhrtriennale (14.08-26.09.2015). The author reports on the event in detail, calling attention to the unusual positioning of the viewers, who, despite their strong interaction with the performers, have no real impact on the course of events. Bajek appreciates the artists' inventiveness in their approach to the mythological subject, and analyzes the diverse staging tactics, marking their manipulative aspect. She also mentions the context of the Buddhist philosophy of “rebirth” as an element of Eurydice's transitory state of existence, oscillating between life and death.
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Olga Katafiasz reports on the plays performed during the 8th International Dialog Theater Festival in Wrocław (17-24.10.2015). She devotes the text to two productions by Ivo van Hove based on Ingmar Bergman scripts: Cries and Whispers and After the Rehearsal/Persona.In juxtaposing the staging solutions and the issues in the performances withBergman's works, she turns her eye to the difference in media: film and theater. She sums up her investigations as follows: “In Cries and Whispers van Hove reevaluates the vision of the Swedish director so profoundly that we have before us a performance, we forget about the film. In Persona he appears to follow Bergman with such fidelity that he fails to find his own subject to free the viewer from the trap of comparison.”
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A review of Faust 1 directed by Linus Tunström (Staatsschauspiel in Dresden, premiere: 29.11.2014) Irmer begins with the statement that every staging of this drama by Goethe in Germany is put in the context of previous productions, which are important from the point of view of German theater history. In this production the setting is a hospital. The author points out the unusual splitting of the Faust and Mephistopheles roles between many actors and the interesting course of the Gretchen plot. The concept is not, however, capable of supporting all the details of the plays, he believes. Irmer does acknowledge the play to be an important example of the collapse of pathos in the German theater.
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Zbigniew Taranienko reports on the 5th Gardzienice Festival of Wandering Theaters (Gardzienice European Centre for Theatre Practices, 15-18.10.2015). The author lists three groups of plays: the graduation projects of the Theatre Practices Academy, Polish plays mainly created by Academy graduates, and four foreign performances (one Ukrainian and three Iranian). Taranienko describes each of the festival productions in formal terms (they include dance theater, monodramas, musicals) and observes how they rework the Gardzienice legacy or use it as the basis for work of new quality. Summing up, the author indicates a few clear tendencies that joined the festival plays.
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Joanna Braun begins her description of the 10th International “A Puppet Is a Person Too” Festival (Warsaw 12-20.10.2015) by quoting a statement by festival director Marek Chodaczyński: because of the diversity of the plays presented, this year there was be no Grand Prix awarded. In describing the festival the author follows this verdict. She outlines the performances awarded in the Puppet Expression category, including: Count to One by Zahra Sabri, Gobo, A Digital Dictionary by Maksim Isayev and Pavel Semchenko, The Cinnamon Shops by Robert Drobniuch (awarded for set design), The Love of P and the Desire of B by Monika Kováčova, and the Audience-Award winners, Silver Hooves by Svetlana Doroshko and Saint Alexy's Puppet – winner of the “Marvelous Moment” Award and the Honorary Diploma of the Polish POLUNIMA Puppeteers' Center. In conclusion, she states: “The standard of the festival can be measured by the attendance and the temperature of the spontaneous disputes which, it turned out, were matched by the jurors' disputes.”
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Piotr Dobrowolski's article covers a book published in 2015 by the Malta Foundation and Ha!Art Corporation: Like Nothing Ever Happened: Forced Entertainment Theater. The author begins by covering the work of groups who experimented to go beyond the well-worn paths. Then Dobrowolski describes the composition of the volume, composed of a foreword and essays by Tim Etchells, two interviews with the artist, photographs from the play, two theoretical articles by Hans-Thies Lehmann, a selection of placards from the Vacuum Days series, and representative texts from the performances. Summing up, he does claim, however, that this valuable book has appeared in Poland somewhat too late.
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Śpiewający obywatel – pod warunkiem, że śpiewał na ekranie coś „słusznego” – cieszył się w kinie socrealistycznym niepisaną licentia vocalica, udzieloną na zasadzie bezumownej koncesji przez władzę. Myśl przewodnią tekstu Hendrykowskiego stanowi hipoteza dwoistości estetycznych źródeł piosenki w polskim filmie socrealistycznym. Z jednej strony źródłem tym jest wzorzec radzieckiej pieśni i piosenki, z drugiej – model rodzimy, oparty na tradycjach piosenki okresu międzywojennego. Pod względem ideologicznym (poetyka założona) oba modele stoją z sobą w sprzeczności. Pod względem estetycznym (poetyka zrealizowana) – poddane socrealistycznej obróbce okazują się zbliżone. Melanż, do jakiego wówczas doszło, jest osobliwym paradoksem poetyki nie tylko piosenki filmowej, ale również pewnych aspektów poetyki kina socrealistycznego. Od czasów podszytej zachodnią kulturą popularną komedii „Świat się śmieje” istniało krytykowane przez ortodoksów politycznych przyzwolenie na formalne odstępstwo od sztywnych wymogów socrealistycznej sztampy. Liczyła się generalna zasada, a ta pozostawała niezmienna i prosta. O tym, czy dana piosenka znajdzie się „na wyposażeniu” bohaterów, decydowała nie jej melodia, lecz retoryka tekstu. Jego ideowej wymowy czynniki decyzyjne pilnowały z niestrudzoną czujnością. Wszystko inne mogło być w widowisku filmowym mniej lub bardziej dowolne i umowne.
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In today’s society for the Visual Arts and Design it is need now more than ever for acces to public and resources but also for a stronger position within the flow of global creativity. This text investigates the contemporary visual art work’s investigation context concieved as artistic product issued from artistic research activity. Hipotesis, methodologies and problematics at the intersection with the protocols and scientific methodologies of scientific research. Differences and compatibilities in relation to scientific meanings of research on the way of establishing distinctive identity for artistic research.
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