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2 2015

2 Kosiński D.

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Polska! Biało-czerwoni!

100%

Kosiński D.

Załącznik Kulturoznawczy

2015

nr 2

164-177

Artykuł stanowi próbę analizy widowisk sportowych jako przestrzeni i narzędzia wytwarzania i ustanawiania tożsamości narodowej. Pod tym kątem analizowane i interpretowane są performanse kibiców polskiej reprezentacji w piłce siatkowej widziane jako skuteczne kreacje otwartego i radosnego patriotyzmu, zdecydowanie różniącego się od politycznych demonstracji poważnego, ofiarniczego i zabarwionego nacjonalizmem patriotyzmu wyrastającego z pararytualnych tradycji postromantycznych.

Nomina sunt odiosa, czyli performatyki i teatrologie

100%

Kosiński D.

Pamiętnik Teatralny

2015

tom 64

nr 1(253)

19-32

The article brings an attempt at taking stock of what performance studies has become in Po-land, what constitutes its area of research, and what its variants and alternative forms currently are. It provides a closer look at the two that, in the author’s opinion, seem to be the most important ones, i.e., the study of performances and the study of performativity. The first is the study of performances defined as being distinguished in numerous ways from the “flow of life” and constructed in reference to antecedent models out of sequences of more or less or-dered and staged actions which interactively and progressively produce new situations, novel ways of understanding what things are and how they feel, and new configurations of human relations. In reference to such study, the author maintains that researchers with knowledge and experience in the field of theatre have what it takes to fruitfully analyse and interpret events and processes that shape the reality outside art as well. The author proposes to distinguish such study of performances from the study of per-formativity understood as a philosophical category related to the progressive constitution of meanings and principal criteria that introduce order into the world of man. Such research does not have to, though it obviously may, deal with performance art, because it covers technology, science, text, media, popular culture as well as other areas where performativity plays an im-portant part. Its objective is to gain knowledge of a world progressively constructed, com-posed and performed with means, strategies, tactics and devices that we know better and grasp more easily in “fictitious” works of imagination. Finally, the author considers the possibilities of using performance studies in theatre research, sketching out a potential “performance-studies theatrology” that would focus on processes of spectacle’s self-constitution and on ways it impacts the audience and the reality outside theatre. The author is of the opinion that this kind of research would be a proper an-swer to the challenges of numerous contemporary artistic practices that theatrology now faces.