Wyniki wyszukiwania - Biblioteka Nauki

1

Literatura jako wehikuł tajemnicy. O pisarstwie Jerzego Grotowskiego

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Kosiński D.

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nr 38

59-74

EN

Jerzy Grotowski (1933–1999), considered to be one of the greatest theatre artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he had been creating and publishing text. The volume collecting them all in print has 1131 pages. Researchers interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators like Ludwik Flaszen many times underlined the importance of Grotowski’s writings, stressing a special function the literature played in the artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theatre appears to be also an aware creator of a literature paradoxically close related and working for a mystery beyond the words.

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Teatr w XXI wieku - ku nowym definicjom

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Kosiński D.

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nr 3-4

215-225

EN

The article Theatre in 27” Century - Towards New Definitions deals with the problem of narrow understanding of theatre art that dominates not only common thought but also the scientific practise of Polish theatrologists. This traditional definition is based on five elements: theatrical illusion, close connection with drama, dramatic character, stage box and space/time community between actors and spectators. During the development of the theatre in 20,h century this distinctive features were disproved by the reformers and experimenters. At the same time such theatre categories as performance, role, stage etc. were widely used to describe "theatre of everyday life". In the last decades of the 20th century the new field of science - the performance studies - emerged. The reaction of the theatrology was one of defending the traditional borders and neglecting all that was different from the conventional theatre by calling it "paratheatrical" or "alternative". In the author's opinion this notion is false and causes real losses for the discipline, so he proposes to open the borders of theatrology by taking different activities into account. But it doesn't mean the full acceptation of performance studies' terminology and point of view, because there is a danger of substituting the term "theatre" by the wider term "performance". And the difference between one and the other seems to be important, because the theatre is a kind of consciously created performance which is marked as such. The ways and methods of this marking depend on the cultural and historical context, so they change in space and time. Only the exact act of marking is universal. It means, that in the scientific practise there is no universal group of definite "theatre factors". The definitions of theatre are always to be reached and that's why "towards" is the most important word in the article's title.

3

„Szli krzycząc: Polska, Polska!”

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Kosiński D.

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nr 1(292)

128-140

EN

The article expands a thesis formulated by the author of the book Teatra polskie. Historie, published in 2010 and maintaining that Poland, comprehended as an ideological-cultural construct, exists as, and continues to be a drama-spectacle. This thesis has been transferred and used for analysing two contemporary forms of experiencing and depicting the national community: a series of socio-political rites and ceremonies, comprising a reaction to, and a consequence of the crash of the airplane carrying the President of Republic of Poland Lech Kaczyński in April 2010, and the behaviour of fans of national sports teams. The first group is shown as a series of activities reviving the traditional national Romantic symbolic associating Polishness with sacrifice and death, with its simultaneous application as a tool for distinguishing “genuine” Polishness, loyal to traditional paradigms, and its radical separation from social groups rejecting that model. Consequently, collective experiences of mourning became an instrument of permanent division. The second group, discussed predominantly upon the example of the activity of fans of national netball and ski jumping teams, is a contradiction of the former and presents an inclusive and joyful experiencing of Poland not as a victim but as a power. The activities in question possess the features of fun, close to carnival festivities that reverse the order dominating in political-ceremonious solemnity. Thanks to the employment of the mechanisms of popular culture and mass communication they appear to exert a much larger impact on moulding stances and attitudes towards the national community than the centralised spectacles of the first variety.