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Performatywność i jej funkcje w wybranych modelach performatywnych w muzyce

Author(s): Małgorzata Kądziela / Language(s): Polish Publication Year: 0

According to some researchers performative models that are a basis for realization or are formed in course of artistic practices in a field of music are a kind of response to an excessive concentration of theoretical discourse on musical piece that is identified with a formalized music transcription. This article contains a critical examination of the narrative model connected to the so called absolute music. Through analysing two modern music compositions there will be introduced two further models: “participatory” and ”of the perceptive turn” that are a respond to the processes of experimenting with sound’s audibility transgression and that require the reorganization of perception process into non-audial (amyryngal) perception. Another subject that would also be considered is a role of somatic dimension at the whole process and an aesthetic consequences arising from aforementioned models. There will be furnished a role of performativity in aforementioned models and their aesthetic consequences.

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Nowe rozumienie „materialności” działań aktora/performera w kontekście zwrotu performatywnego

Author(s): Lilianna Bieszczad / Language(s): Polish Publication Year: 0

According to Erika Fischer-Lichte the linguistic turn initiated a new approach to cultural creations seen in terms of the text, which “means something”. In aesthetics, in relation to performing arts, this approach gave rise to the analyses attempting to translate the performer’s gestures and body movements into “the codes” to be interpreted. Thus the body’s significance was reduced to conveying the message while its materiality was pushed into the background. Several decades later the performative turn (sometimes connected with the materiality turn) shifted the focus of attention from the body regarded as a sign to the body’s movement and the way it affected the viewer. In aesthetics the question of the performer’s “physical presence” arose. The main objective of this article is to examine the different meanings of the “materiality” as the reaction to the linguistic turn. The paper is constructed around Erika Fischer-Lichte’s and Marvin Carlson’s conceptions.

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Zakryte, nieobecne, niejednoznaczne: uwagi na temat cielesności śpiewu i instrumentalnego rozumienia ciała w tradycjach wokalnych

Author(s): Małgorzata A. Szyszkowska / Language(s): Polish Publication Year: 0

Author begins by asserting that there a dynamic and difficult to outline relation between the vocalist and his body. She suggests that the differences between treating (naming, describing and showing) the role of the body came from cultural habit but also the very conceptual grasping of the body. Referring to three different vocal traditions (operatic singing, vocal games and improvisation), author points towards difficult or easy way of showing the significant bodily aspect of expression, production and grounding of vocal artistic experience. From treating body as an instrument, bodily grounding of the emission of sound in body posture, to hand gestures and more in operatic singing it is clear that body is the nexus of the vocal experience. What makes the difference is the visibility imparted to the body.

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Poza ramą. Wizerunki kobiet i mężczyzn w Jeziorze łabędzim i Giselle Matsa Eka

Author(s): Anastasia Nabokina / Language(s): Polish Publication Year: 0

The aim of this study is to analyze the possibilities and strategies for constructing images of the body in the art of dance, as well as to describe the discourse of carnality created by dance. The author uses a methodology based on critical theory. Research material, i.e. thechoreography by Mats Ek, allow to applied to the study categories „the scene” and „the obscene” created by Lynda Nead. Through the analysis of movements, gestures and postures used in the different styles of Western dance, the author approaches to describe images of femininity and masculinity created by the art of dance.

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Antropolog czyta taniec Alfred Gell i rytuał ida

Author(s): Anna Kawalec / Language(s): Polish Publication Year: 0

My paper Antropologist reads dance. Alfred Gell and ida ritual discusses the conception of dance elaborated by one of the world’s most famous but controversial social anthropologists of the present time. His conception of dance is the initial stage of his research on the issue of art within the domain of anthropology, which was finalized in his last monograph Art and Agency. Gell’s idea of dance is consistently semantic and communicative, although unrealized in the initial context of his work, namely structuralism. The researcher uses the phenomenological tradition (esp. Husserl), developed by him and modified in order to adapt it to the theory of art, which was helpful in answering the basic and maximalist questions, as e.g.: Why do Umeda (people) dance? The context of understanding the problem, as well as the outline of the answer, constitute the content of the presented statements.

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Doświadczenie estetyczne w ekstremalnych środowiskach audiowizualnych

Author(s): Jakub Petri / Language(s): Polish Publication Year: 0

In result of radical development of modern cities infrastructure, citizens are forced into confrontation with spaces generating sensual stimulation that exceeds their perceptual thresholds. The second part of the XXth century brings a significant change concerning the understanding of such processes. They become source of inspiration for musicians and performers and the traditional point of view, defining them as contamination of perception is being reworked. It appears important for an aesthetician then, to apply the category of an aesthetic experience to the new conditions.

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Sonowizualne strategie Ryoji Ikedy Ciało jako wielofunkcyjny instrument polisensoryczny

Author(s): Piotr Zawojski / Language(s): Polish Publication Year: 0

Ryoji Ikeda is one of the most important artist of data in this moment. It is the art of contemporary infosphere which explores the world of invisible data that makes up our technocultural habitat. It is represented in the form of art of data (resp. data of art). In this article – among others – I present the most important thematic series of Ikeda works, such as datamatics, test pattern and a sort of culmination of previous research and artistic strategies which is an exhibition called the planck universe [micro|macro] organized in 2015 in the ZKM in Karlsruhe. Drawing inspiration from physics, mathematics, working with scientists (from CERN for example) Ikeda creates high-tech projects in the area of art@science. At the heart of its activities it is to practice what I call “logical emotions”. The paradox of “the logical emotions” lies in the fact that the artist is referring to scientific procedures and the use of hidden data that visualizes and sonificated at the same time appeals to the viewer of the body treated as a multifunctional and polysensory instrument. The context for my considerations is the Richard Shusterman’s concept of somaesthetics. Ikeda’s sonovisual experiments activate somatic or psychosomatic acceptance, which once David Bohm called “the principle of soma-significance”.

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Cyrk – ciało – muzyka – performans

Author(s): Grzegorz Kondrasiuk / Language(s): Polish Publication Year: 0

Circus has made alliance with other kinds of shows repeatedly, and in spite of it – it preserves its autonomy, it’s still a distinct, expressive field. It is determined as such by the phenomenon of the circus body, which is created by the craft, formed by daily, long-term training of one or several of the whole range of techniques. The physical, intense presence of the circus body is a sine qua non of a circus show. It is what predestines about the performance’s effectiveness – through extraordinary skills, the element of risk, numerous surprises, abeyance of momentariness, the necessity of being both the author and the performer. In this article I look at one example, chosen from the whole spectrum of circus disciplines: jugglery. The circus of jugglers updates itself through parallel development on two levels: craft and stylistics. On the first level the personal conveying and individual cultivating of the technique takes place, in this kingdom of autonomy the knowledge of ways of juggling, the knowledge of tricks, of the number and variety of props is being handed down from generation to generation. This work is practically independent from the “stage solutions” (include music), independent from the development of performing arts’ aesthetics, it is a work of its own inner dynamics. The second level is where it comes to the equipment of the mastered technique in quality, to a stylistic enhancement of its “spectacularity”, (include “musicality”) it’s where the technique is being accorded a context, a regularity, a recognizable character.

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Muzyk rockowy (jako performer) – wpływ „świata dizajnu” na kreację artysty

Author(s): Alicja Głutkowska-Polniak / Language(s): Polish Publication Year: 0

Performance as a tool – model shows us how an individual and societies, embody symbolic structures by their attitudes, how important is a function of decoration, role-play, rituals. The actions which rock musicians as performers take, not only lead to defined aims, but also their forms include culture codes thanks to which these actions take on new additional meanings, often not associated with their primary function. On the other hand design is a powerful machine which involves in its modes almost all human reality, so some culture researchers think that today “design culture” defines us (G. Julier). Performance and design have a lot common qualities. An artist who appears on a stage and gives a concert plays a role making of themselves an individualistic creation resulting from different typesof design – ‘design world’ ranging from fashion designers, graphic designers who create record jackets and concert posters to designers who make a visual identification and create an artist as a ‘brand’.

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Impuls muzyczny w aktorstwie cielesno-performatywnym

Author(s): Artur Duda / Language(s): Polish Publication Year: 0

This article is devoted to the newest convention of role playing in the postdramatic theatre (das performancenahe Theater, performative theatre or theatre of reality) called corporeal-performative acting. This corporeal-perfomative acting is presented here as a kind of aesthetic objection or re-creating of traditional realistic acting, which normally subjects to the rules of representation, psychological probability and draws its patterns from everyday life. On the contrary, in the corporeal-performative acting are in force completely different rules of exposing corporeality and performativity by using conventions of multiple spectacle types: opera, operetta, musical, different rock music styles, circus, burlesque, cinema genres, television formats, etc. The author of Musical impulse in corporeal-performative acting is focused first of all on musical impact in modern Polish and European theatre, which creates different types of corporeal-performative acting by using different musical elements: introducing rock groups, instrumental or vocal solos into the theatre performance structure, recreating acting styles by constructing sensual impact on actor’s motoric and energetic body (according to well-known Erika Fischer-Lichte’s terms). The article shows possibly widest panorama of artistic attempts of using musical impulse to create new forms of acting – from Polish masters of postwar period (Tadeusz Kantor, Jerzy Grotowski) to the newest theatre after 1989 (Piotr Cieplak, Paweł Wodziński, Maja Kleczewska, Jan Klata), not forgetting some absolutely original concepts of acting in German and Lithuanian theatre (Frank Castorf and Eimuntas Nekrošius.

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Bogusławski tańczy Tworzenie ciała muzycznego

Author(s): Piotr Morawski / Language(s): Polish Publication Year: 0

How to describe an acting body? Wojciech Bogusławski as depicted by Zbigniew Raszewski in his monumental book Bogusławski seems to be static, even when he dances. Historical descriptions are in fact quite conventional and do not allow us to capture the essence of acting. As I argue the body of the eighteen-century actor resembles the body of soldier. It is trained in a similar way, and, basically, strongly rhythmical. As I believe rhythm and musicality allows us to capture the phenomenon of acting in the best possible way. In thisarticle I refer to the works of researchers such as Jean-Marie Pradier, Marcel Mauss or Edward T. Hall.

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Muzyka a gest performatywny w przedstawieniach Krzysztofa Warlikowskiego

Author(s): Magdalena Figzał / Language(s): Polish Publication Year: 0

The article considers the function of music and rhythm in Krzysztof Warlikowski’s dramatic performances. The author describes the role of music in relation to the actor’s body, his corporeality and his placement in the theatre space. The starting point for this analysis is a comparison between the conception of “the work of living art” by Adolphe Appia and the performative aesthetics by Erika Fischer-Lichte. In the context of these two theories the author analyses selected performances by Krzysztof Warlikowski including The Taming of the Shrew, The Tempest, (A)pollonia, and The African Tales by Shakespeare. In all of theseperformances music is the dominant element of the mise-en-scene – it defines the proxemic relations and shapes the performative space of the performance whilst simultaneously exposes the actor’s materiality and self-reference.

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Lucyfer wcielony – kreacja Mariusza Bonaszewskiego w „Sprawie” Jerzego Jarockiego

Author(s): Małgorzata Andrzejak-Nowara / Language(s): Polish Publication Year: 0

In the article I present the last staging of Jerzy Jarocki, presented in The National Theatre in Warsaw. It is The Case based on Samuel Zborowski of Juliusz Słowacki. The text, in the opinion of critiques, became the most mature interpretation of the fascinating piece of art in which the director follows Słowacki’s text and builds an exciting story about Polish collective madness: along with the prophet and his visions, Lucifer, Jesus Christ, corps of Samuel Zborowski and the chancellor Jan Zamoyski, the marshal Josef Pilsudski and Smolensk air disaster in a background. In the interpretation of Jarocki, Lucifer becomes a protagonist and a master of the most important moments in the drama. He changes constantly and strives for changes. All embodiments of the evil spirit were created by an excellent actor of the National Theatre – Mariusz Bonaszewski. Numerous metamorphosis of Lucifer show great creativity of an acting craft of the actor. Bonaszewski does not hesitate to chose the most risky stunts from a bold range of means of his artistic expression. While using versatilityof his acting skills he transforms his body, a move and a gesture. From the first scene he draws the attention of spectators. They follow charisma of such a demonic personality of the Luciferic character.

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,,Umrzeć to byłaby wielka przygoda” Piotruś Pan w reżyserii Roberta Wilsona

Author(s): Katarzyna Peplinska / Language(s): Polish Publication Year: 0

As a teenager, Robert Wilson suffered from a speech disorder. When a traditional therapy did not work, dance and working with the body turned out to be effective. Inspired by the experience, Wilson invented a system based on dance and physical activities which allowed him to work with disabled children as well as those who, for whatever reason, were excluded socially. He deviced individual movements for every actor and the whole system’s aim was psychologically-therapeutic. Wilson was inspired by the body moving in slow motion which created an oeniric effect. Wilson’s experience with the body is clearly visible in his shows created in institutional theatres. Actors with heavy make-up move according to a particular sequence inside a closed aesthetic form. The author looks at Wilson’s Berlin piece „Peter Pan” to analyse the way the performer’s body and voice work in his theatre.

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Ciała obecne – ciała znaczące – „Ciała obce”

Author(s): Beata Popczyk-Szczęsna / Language(s): Polish Publication Year: 0

Modern Polish drama texts seem to be „dramas of the body”; the body appears in them as a valid problem of the world depicted (along with various aspects of the man’s bodily existence, e.g. procreation, illness and agony). These drama works could be analyzed with reference to Erika Fischer-Lichte’s aesthetics of performativity and the assumptions of somatic criticism. The deliberations presented in this article are a case study: they concern Julia Holewińska’s drama entitled Foreign bodies and a theatrical performance based on this drama work at Teatr Wybrzeże in Gdańsk in 2012. Difficult bodily and sensual experience, as well as social and cultural, were portrayed in the text and the theatrical performance; it is a story of the man who underwent a sex change operation. In the drama, which was inspired by the biography of Marek Hołuszko, a “Solidarity” member, the author highlighted the carnalityof the hero/heroine. The theme of an individual being entangled in history and the norms of the cultural sex becomes extremely crucial in the world depicted here. Kuba Kowalski, director of this theatrical play, has created an allegoric message of exclusion. In the play, being a vivid stage performance in its character, what is essential is the precise mechanics of the theater group. An intensified performative aspect of the play stems from two predominant principles of the actors’ mechanics: it is highlighting individual performers and their bodies as well as the technique of cross-casting. Foreign bodies by Julia Holewińska and Kuba Kowalski belongs to a group of theatrical performances which are centered around the myth of an outsider, social weirdo or victim. The play showing the hero entangled in a conflict of the biological and cultural sex clearly exhibits the power of the culture as being disciplining and restrictive for an individual.

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Ciało i głos Teatr chórowy Marty Górnickiej

Author(s): Aneta Głowacka / Language(s): Polish Publication Year: 0

The article is devoted to the works of Marta Górnicka, one of the most interesting young theater artists in Poland. Górnicka is the author of the original project – the chorus theater, which combines the ancient traditions of the choir (in its restored and subversive version) with contemporary political commitment. The only means of expression in her performances are the body and the voice of performers, who represent the voice of the community. The choir claims about the interests of groups excluded and discriminated for various reasons: women in a patriarchal system, immigrants, Roma, employees used by corporations. Perhaps this perspective makes the Choir perfectly received in different parts of the world.

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„Chopin bez fortepianu” – muzyka we władzy spojrzenia

Author(s): Weronika Łucyk / Language(s): Polish Publication Year: 0

Chopin without piano produced by CENTRALA and directed by Michał Zadara (premiere 23 March 2013) is based on the idea of performing two of Chopin’s concertos without the solo instrument part. The grand piano was ridden of its function as a musical instrument, and was used as an element of stage installation. Instead of playing the instrument Barbara Wysocka, starring as a soloist, monologues about the score and its various interpretations, as well as about stereotypes built around the composer’s work. The course of the monologue is strictly subordinated to musical rhythm, phrasing of the score, tempo of the orchestra. Thus the producers achieved a radical shift – the actress’s body replaces the grand piano as the instrument proper, and it is seen in interaction with the grand piano or the onductor. This deconstruction exposes the ambivalence of the listener’s gaze inscribed into a concert performance of a piece, and at the same time it imposes a reflexion on the soloist’s condition, remaining under the authority of the gaze. As a counterpoint to the actress’s appearance, Chopin’s letters are quoted in which the composer’s disease-degraded corporeality is described. As an additional element the paper compares three performances (Festiwal Prapremier in Bydgoszcz, the Gdansk Shakespeare Theatre and Festiwal R@Port in Gdynia) in various performative configurations, thus including incidental marginalia.

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Głos, muzyka, ciało w teatrze radiowym

Author(s): Ewa Wąchocka / Language(s): Polish Publication Year: 0

Radio plays in the subjective drama genre are one of the most interesting forms of contemporary radio theatre. The fragmentation of a character’s internal space and the cast of their internal drama serve to present that character’s story and are versatile tools for showing the workings of memory and man’s internal life. The non-visual quality of the radio, which eliminates the substantiality of the body and endows it with virtual existence, does not in fact obliterate the carnal factor completely – it can still be found in the actors’ vocal expression when the libretto comes alive in sound production. Carnality in a radio play can be thematic on the story level and manifest itself in the voice qualities of the actors together with sound effects and music. A polyphonic torrent of voices, which in subjective drama has replaced thetraditional one-track monologue, is often employed to illustrate the severing of ties between mind and body and, consequently, a split personality. The decomposition of psychosomatic integrity shown using multiple voices is more than just a radio play technique – it is also a powerful metaphor of human condition. The article presents diametrically opposed approaches to this phenomenon in Kwadrofonia by Ireneusz Iredyński and Samuel Beckett’s Cascando, analysed within the frameworks of phenomenology and psychoanalysis. The two plays explore contrasting portrayals of subjects in radio plays – a mind overpowered by others versus a fragile unity of alternative identities and a body with a marked presence in the story versus carnality that is both told and expressed in voice and sound.

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Kobiety, które budzą niepokój – kategoria fantastyki w działaniach kreatywnych Alexandra McQueena

Author(s): Michał Wójciak / Language(s): Polish Publication Year: 0

Michał Wójciak’s chapter is devoted to Alexander McQueen, considered one of the most important designers of the twentieth and early twenty-first centuries. Thanks to his consistency in his work, McQueen gained a reputation as a visionary. His genius ability to break boundaries and to propel fashion closer to the category of art was validated in his exhibition, "Savage Beauty", organized in 2015 at the Victoria & Albert Museum in London. This was to be the first and largest European retrospective of McQueen’s work. BBC journalist Lindsay Baker once examined the work of British designer in the context of fairy tales written by the Brothers Grimm, which was the source of inspiration for McQueen. He designs silhouettes of warrior princesses and shapeshifters in his creative collections. Alexanders’ collections also make references to the past utilizing the aesthetics of the Victorian era horror. He envisioned the future through what he called the prism of the mythical Atlantis. This was to be Alexander McQueen’s final and complete collection which he named, “Plato’s Atlantis”. The untimely death and suicide of Alexander McQueen in 2010 ushered-in the end of an era in the fashion industry where many designers willingly created uncompromising, fantastical theatrical shows devoid of his creative vision and fashion genius.

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"Koralina" Neila Gaimana w realizacjach teatru lalek w Polsce

Author(s): Maria Janus / Language(s): Polish Publication Year: 0

Maria Janus focuses on theatrical adaptations of Neil Gaiman’s "Coraline" in Polish puppet theatre. The analysed performances were directed by Włodzimierz Fełenczak in Teatr Miniatura in Gdańsk with a stage design by Mikołaj Malesza (opening 2009) and in the Białostocki Teatr Lalek with a stage design by Joanna Braun (opening 2011) and directed by Karolina Maciejaszek in Teatr Pinokio in Łódź with a stage design by Anna Chadaj (opening 2013). In addition, the Author discusses the performance of Rozalinda, written and directed by Krystyna Jakóbczyk in the Teatr Dzieci Zagłębia in Będzin (opening 2012), which was inspired by Gaiman’s novel. Janus presents this performance in the context of copyrights and difficulties of obtaining licenses for use of texts written by popular authors (especially from the Anglo-Saxon region). The author compares the adaptations of Neil Gaiman’s novel written by Fełenczak, Maciejaszek and the translation of the novel’s narration by Jakóbczyk (theatrical situations and visual narration vs. the narration performed live on-stage). Maria Janus also highlights theatrical references from the novel considering meta-theatrical elements that enhance the performance. Janus compares theatrical media used in performances from Gdańsk, Białystok and Łódź with special consideration to the stage design and puppetry techniques. In the second part, the author focuses on the popularity of Neil Gaiman’s Coraline among theatrical directors despite little interest in horror fiction. Puppet theatres in Poland do not produce performances based on modern epic literature, especially those nbased on fantasy. Classical fairy-tales and modern dramaturgy containing fairy-tale motives are still more popular. Furthermore, Janus reflects on the possibility of a change of the herein discussed situation. She further refers to the arguments of Bruno Bettelheim, Stanisław Grzelecki and Katarzyna Slany considering young spectator benefits from the contact with theatrical representation of youth horror literature.

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