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“IDZIE O TO, ŻEBY SZŁO. MIAŁO WZIĘCIE. DZIAŁAŁO. ŻYŁO”. IMPROWIZOWANIE FILOMATÓW

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ŻAGLEWSKA A.

pl.it / rassegna italiana di argomenti polacchi

2022

tom 13

132-151

The article discusses improvisational performances of the Philomaths in the context of the advent of a so-called modernity which correlated with a rapid change in people’s lifestyles. My starting point in examining the most characteristic phenomena of the literary life in Vilnius is the newly emerged economic environment: the enormous popularity of improvised poems (performed or written impromptu) and the development of the printed press. The analysis of the Philomaths’ performances, letters and poems focuses on various aspects of improvising, and not only on poetry presentations but also on a spontaneous way of living and the process of literary production. I argue that the improvisational activity of the Philomaths can be considered as an act of experimenting with and adapting various (traditional as well as innovative) literary patterns, and therefore as a poetic laboratory of the new romantic era.

TELO JAKO VÝRAZ. TVŮRČÍ GESTO PODLE MERLEAU-PONTYHO A JEHO REVISE NA ZÁKLADE ZKUŠENOSTI IMPROVIZACE

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Puc J.

nr 5

367 – 375

The paper compares the notion of bodily expression as used in Merleau-Ponty’s Phenomenology of perception with the notion gained from the analysis of The Acting with the Inner Partner. It is a kind of dramatic improvised performance, developed at the Department of Authorial Creativity and Education at the Theatre Faculty of the Performing Arts in Prague. Whereas Merleau-Ponty grasps the experience of non-certainty, so typical for the creative state of mind, by the schema empty intention/fulfilment. The Acting with the Inner Partner is based on the ability of a body’s expression to create its own meaning. Thus the body’s expressivity is liberated from the meaning given in advance, no matter if fulfilled (as it is in the case of imitation) or just empty or intended (as when realizing an idea). The improvisation thus offers a new means how to get to the “very birth” of our experience (Merleau-Ponty’s understanding of the proper goal of phenomenology), and to understand the intrinsic creativity of our own body.