Fakt teatralny

Theatrical fact The article is an analysis of Tadeusz Różewicz’s Birth Rate (“the biography of a play”) as an “unhappy” performative act that cannot establish a new paradigm of textual performance (as in Ryszard Nycz’s reading of Różewicz’s text) or epitomize the postmodern breakthrough in the theatre (as in Halina Filipowicz’s interpretation). In this case “unhapinness” refers to the singularity of the catastrophe (inability to write and complete a particular play in a particular moment of history for a particular institutional form of theatre) and to the relationship between the poet and the theatre conditioned by the experience of ressentiment. Such an interpretation requires as a context not the “wholeness” of Różewicz’s literary output but historical and cultural occurrences accompanying the fact of publishing Birth Rate. Różewicz undermines the institution of Polish theatre in the late 60s as a vehicle of collective mourning that enabled the audience to oversee the facts which were uneasy for collective memory and hard to work through

Błoński o Swinarskim: od Wyzwolenia do uwolnienia

Błoński on Swinarski. From Liberation to releaseJan Błoński had the opportunity to co-operate with Konrad Swinarski by working as a literary director of the Old Theatre in the 1960s and 70s. He repeatedly expressed his fascination with the artist, but he did not dedicate him any separate text. However, he spoke about it many times, both in interviews and in various commemorative texts. The author of the text analyses the various strategies of these statements: first of all love discourse within which Swinarski-artist in the process of creating functions as an object of fascination described in hot emotional tone. He shows how emotions allow Błoński avoid or even obscure the political theatre of Swinarski. He also puts the thesis that the reading of Błoński’s comments being full of doubt, misleading clues and vivid emotions allow you to re-start a discussion about Konrad Swinarski’s theatre

Shamelessness : Jan Peszek's gay performance

Artykuł na przykładzie analizy gejowskiego performansu Jana Peszka w scenicznej realizacji Trans-Atlantyku Witolda Gombrowicza z 1981 roku konstruuje teoretyczne pojęcie mikrozdarzenia sfery publicznej, definiowanego jako afektywna interwencja naruszająca powłokę akceptowanych społecznych dyskursów na temat homoseksualności w warunkach kultury przedemancypacyjnej. Tego rodzaju mikrozdarzenia dekonstruują zakładany w przypadku teatru publicznego, instytucji ukształtowanej na gruncie projektu oświeceniowego, izomorfizm scenicznych reprezentacji i dyskursu publicznego. Afektywna siła performansu jawi się jako zagrażająca podstawom komunikacji utrata kontroli nad konstruowanymi znaczeniami spektaklu i procesem odbioru.The article, based on the analysis of Jan Peszek's gay performance in Witold Gombrowicz's Trans-Atlantyk, constructs the theoretical notion of a micro-event in the public sphere, defined as an affective intervention that violates the shell of accepted social discourses on homosexuality in the conditions of pre-emancipatory culture. Such micro-events deconstruct the isomorphism of stage representations and public discourse assumed in the case of public theater, an institution shaped on the basis of the Enlightenment project. The affective power of the performance appears to threaten the foundations of communication with the loss of control over the constructed meanings of the performance and the process of reception