Overview

This book is a compendium of texts by international authors which reflect on Tadeusz Kantor’s art in a broad range of contexts. The studies include works of prominent art historians, theatrologists and artists. The present revisiting of Kantor’s artistic œuvre reflects a contemporary historiographic approach. The authors place value on individual memory and consider contemporary art outside the traditional boundaries of particular artistic genres. The studies employ the latest strategies for researching theatrical performance as autonomous statements, without a literary anchor. Thanks to this approach, the eschatological and historical issues, crucial to the sphere of reference of Kantor’s Theatre of Death, have acquired a new presence – as art that liberates thinking in the here-and-now.

Full Product Details

Author:   Jaroslaw Fazan ,  Katarzyna Fazan ,  Anna R. Burzynska ,  Marta Brys
Publisher:   Peter Lang AG
Imprint:   Peter Lang AG
Edition:   New edition
Volume:   7
Weight:   0.710kg
ISBN:  

9783631633601

ISBN 10:   3631633602
Pages:   426
Publication Date:   26 May 2014
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Contents: Katarzyna Fazan: Tadeusz Kantor - Yesterday and Today – Renato Palazzi: Kantor’s Greatness: An Inconvenient Heritage – Loriano Della Rocca: Tadeusz Kantor, Krakow, 8th December 1990 - 8th December 2010 – Krzysztof Miklaszewski: The Actor in Kantor’s Theatre: A Visionary’s Questions, a Practitioner’s Answers and a Contemporary Post Script – Andrzej Wełmiński: Function and Significance of the Theatre Company in the Development of Cricot 2 Productions – Lech Stangret: The Role of Drawing in the Creation of Tadeusz Kantor’s Self-mythology – Dominika Łarionow: Tadeusz Kantor’s Mannequin and Edward G. Craig’s Über-Marionette: An Outline of an Idea – Anna R. Burzyńska: Returns of the Rhinoceros – Katarzyna Osińska: Don Quixote according to Kantor: Between Reality and Fiction – Małgorzata Paluch-Cybulska: Tadeusz Kantor: ... Velázquez’s Infantas as Sacred Relics or Madonnas – Josep Maria de Sagarra Àngel: Tadeusz Kantor’s Theatre of Emotions: Apropos the Spanish Reception of the Artist – Amos Fergombe: The Door, Frame or Transcendental Threshold in the Work of Tadeusz Kantor – Klaudiusz Święcicki: Anthropology of History and Memory in the Theatrical Work of Tadeusz Kantor – Grzegorz Niziołek: Anxiety and What Next … – Wojciech Owczarski: The Theatre of Dreams in The Theatre of Death – Cécile Coutin: La Machine de l’Amour et de la Mort de Tadeusz Kantor – Mateusz Chaberski: What Can Tadeusz Słobodzianek’s Our Class Tell Us about The Dead Class? The Political Dimension of Memory in the Work of Tadeusz Kantor – Marek Pieniążek: Kantor - Reactivating One’s Own Reality: Late Productions by Cricot 2 – Michal Kobialka: Epilogue. Tadeusz Kantor’s Theatre of Personal Confessions: Notes on Late Style – Jan Kłossowicz: The Anatomy Lesson: Kantor’s Plots – Paweł Stangret: Reading Tadeusz Kantor 2 – Katarzyna Tokarska-Stangret: «Non omnis moriar» of the Theatre Artist – Jean-Pierre Thibaudat: Autour de la photographie de Wielopole – Anna Halczak: CRICOTEKA - «The Necessity of Transmission» – Marie-Thérèse Vido-Rzewuska: Kantor, Schulz, Malczewski, Wyspiański: Some Paradoxes – Andrzej Turowski: Dazzling Afterimages – Jaromir Jedliński: Kantor and Beuys: Parallel Processes? – Rafał Solewski: Heritage and Identity in Tadeusz Kantor’s Œuvre and Postmodernism – Zbigniew Osiński: Tadeusz Kantor – Jerzy Grotowski: Two Concepts of Theatre and Art – Ruggero Bianchi: Minor Notes on a Borderline Artist – Klaus Dermutz: «The Horror of War and/of The World, with the Circus Mixed.» Reflections by Anselm Kiefer on Tadeusz Kantor’s Theatre – Katarzyna Fazan: Shadows of the Polish Odysseus: Wyspiański - Kantor – Grzegorzewski – Uta Schorlemmer: Present Absence in Tadeusz Kantor’s and Christoph Schlingensief’s Late Performances.

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Author Information

Katarzyna Fazan is Assistant Professor at the Jagiellonian University and the L. Solski State Drama School in Krakow. Anna R. Burzyńska, PhD, is a lecturer in Theatre Studies at the Jagiellonian University in Krakow. Marta Bryś is a postgraduate in Theatre Studies at the Jagiellonian University in Krakow.

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