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3 Pamiętnik Teatralny

3 Wachowski J.

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Teatrologia i okolice

100%

Wachowski J.

Pamiętnik Teatralny

2015

tom 64

nr 1(253)

7-18

The article brings a diagnosis of the current state of Polish theatrology while mapping out its place within the humanities. It describes both the object of theatre studies and the theatre scholars’ tools of research: their old habits and new perspectives opening up for their field of research. The latter, related to the discourse on performance and the developing reflexion on spectacles, offer a fresh outlook on theatre and its surroundings – one in which theatre be-comes a lodgement of epistemic strategies that go beyond the immanence of the work of thea-tre and does not dominate over other kinds of spectacle. In this sense, theatrology seems to be at a critical juncture (turning point). On the one hand, it wants to maintain its status of a discipline integrating varied kinds of discourse while, on the other hand, it tries to form alliances, in a broad sense of the word, with other fields of the humanities, cognitive sciences or tech-nology, driven by the conviction that they might provide it with a fresh look at its object of study and lead to its redefinition.

Dzieło teatralne w refleksji historyków teatru. Od badania artefaktów do wyzwań performatywnych

100%

Wachowski J.

Pamiętnik Teatralny

2013

tom 62

nr 2(246)

38-48

The article is an attempt to view theatre history studies from a methodological stance, at the same time posing some key questions of this field of research: inwhat way do theatre historians describe their object of study and what instruments do they use to get their findings? It seems that there are several basic strategies,which have been adopted both in older and contemporary research. Some ofthem exhibit numerous connexions with the newest methodological views, which constitute a challenge for the humanities and give a chance to renew the discourse.An important impulse in this respect comes from the most outstanding theatre historians, like Prof. Julian Lewański, whose works read anew may be a source of numerous methodological inspirations.

Dyscyplina po przejściach. O strategiach badań teatrologicznych

100%

Wachowski J.

Pamiętnik Teatralny

2014

tom 63

nr 1-2(249-250)

65-76

New challenges that theatre studies had to face in the last decades inspire one to ponder on some basic questions: What is the contemporary theatre? And in what directions is today’s acting heading? But also: How has the status of the theatre performance changed under the influence of new technologies (most notably by the means of its recording and transmission, and their presence within the performances themselves)? The answers to these (and other) questions provided by theatre scholars lead to the conclusion that we can talk about at least four distinct ways – epistemic paradigms, as it were – of tackling such issues within the discourse of theatre studies. The first may be called inclusive theatrology. Its source is the belief that everything is theatre and theatre is everywhere. The second position may be called exclusive theatrology. It originates in understanding theatre in a narrow sense, which enables one to discriminate between theatre and other spectacles (and exclude theatre from the discourse about them). The third way is of interdisciplinary character (it means constructing a discourse that is a confluence of disciplines, or to be more exact, methodological positions; there can, obviously, be several of them). The fourth, trans-disciplinary, stance seeks out narratives summaries breaking away from the customary theatrocentrism of the scholars (and readers). It is aimed at supporting independent methods of inquiry, i.e. those devoid of any methodological (often dogmatic and a priori) assumptions. Its aim is not to produce methodological-and-epistemic contaminations, but to broaden the scope of research by shedding multi-disciplinary bands of light to see the things “caughtin-between” that would otherwise go unnoticed. It seems that it is this trans-disciplinary approach that holds the most promise for theatre studies not only because it is a breeze of fresh air that broadens the scope of theatrological research and renews the discourse, but also because it brings about a change in what is meant by criteria for academic scholarship. It redefines old concepts and customary notions (relating to the scope of research and its tools), replacing them with new methodological categories. It aims at a discourse open to cognitive inspiration and responding to challenges resulting from the developments in the humanities of today.