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A glance at medieval maps tells us that cartographers of the Middle
Ages divided space differently than we do today. In the great
mappae mundi, for instance, Jerusalem takes center stage, with an
image of the crucified Christ separating one place from another.
The architects of medieval cathedrals manipulated space to clarify
the roles and status of anyone who crossed the threshold. Even in
the most everyday context, space was allotted according to gender
and class and was freighted with infinitely subtle and various
meanings. The contributors to this volume cross disciplinary and
theoretical boundaries to read the words, metaphors, images, signs,
poetic illusions, and identities with which medieval men and women
used space or place to add meaning to the world.
Theatermachine: Tadeusz Kantor in Context is an in-depth,
multidisciplinary compendium of essays about one of the most
influential theater artists of the twentieth century. Hans-Thies
Lehmann's theory of postdramatic theater and developments in
critical theory-particularly Bill Brown's thing theory, Bruno
Latour's actor-network theory, and posthumanism-serve to provide a
previously unavailable vocabulary for discussion of Kantor's
theater. Drawing on diverse approaches, the contributors write
about Kantor from both global and local perspectives: as an
exemplar of "postdramatic tragedy"; in relationship to Jewish
culture and Yiddish theater; through the prism of postmemory and
trauma theory; and in relation to Japanese, German, French, Polish,
and American avant-garde theater. This comprehensive anthology
arrives at a time when we grapple with the materiality of our
modern lives-AI, technobjects, and algorithms-and might thus also
be better poised to understand the materiality that permeates
Kantor's theater. Theatermachine argues that while confronting the
twentieth century's most pressing, but least comfortable,
questions-those of a human's worth, dignity, essence, and
purpose-Kantor might also have been, unwittingly, a harbinger of
the twenty-first century's political, ethical, aesthetic, and
critical discourse.
Tadeusz Kantor (1915-1990) was a Polish visual artist, writer, and
theatre director, who can be placed among a select group of the
twentieth century's most influential performance practitioners. The
breadth and diversity of his artistic endeavours align Kantor with
such varied figures as Stanislaw Ignacy Witkiewicz (Witkacy),
Marcel Duchamp, Vsevolod Meyerhold, Oskar Schlemmer, Antonin
Artaud, Jackson Pollock, Jerzy Grotowski, Allan Kaprow, Peter
Brook, Pina Bausch, and Robert Wilson. In significant ways,
Kantor's work with the Cricot 2 company and his theories of theatre
consistently challenged and expanded the boundaries of traditional
and non-traditional theatre forms. Tadeusz Kantor's Memory: Other
pasts, other futures -- published following Kantor's centenary year
and the 60th anniversary of the founding of Cricot 2, as well as
anniversaries of the group's key productions The Dead Class (1975),
Wielopole, Wielopole (1980), and Let the Artists Die (1985) --
gathers international perspectives from across academia and the
arts to offer a major critical reappraisal of Kantor's work. The
book includes scholarly contributions by researchers from around
the world, alongside reflections by leading collaborators and
colleagues, and a selection of rarely seen images. Together, these
materials offer an invaluable, contemporary insight into Kantor's
theoretical and artistic practice and an unprecedented view of its
global sphere of influence. Michal Kobialka is Professor of Theatre
Arts at the Department of Theatre Arts and Dance, University of
Minnesota. He has published over 75 articles, essays, and reviews
in academic journals in the US and Europe. He is the author of A
Journey Through Other Spaces: Essays and Manifestos, 1944-1990
(University of California Press, 1993), This Is My Body:
Representational Practices in the Early Middle Ages (University of
Michigan Press, 1999), and Further on, Nothing: Tadeusz Kantor's
Theatre (University of Minnesota Press, 2009); editor of Of Borders
and Thresholds: Theatre History, Practice, and Theory (University
of Minnesota Press, 1999); and co-editor (with Barbara Hanawalt) of
Medieval Practices of Space (University of Minnesota Press, 2000)
as well as (with Rosemarie K. Bank) of Theatre/Performance
Historiography: Time, Space, Matter (Palgrave, 2015). Natalia
Zarzecka is Director of Cricoteka: The Centre for the Documentation
of the Art of Tadeusz Kantor, in Krakow, where she has led
development of the centre's new building and museum space on the
Vistula river. She has co-curated several Polish and international
exhibitions, including within the Kantor Centenary programme at
Cricoteka (2015) and 'An Impossible Journey: The Art and Theatre of
Tadeusz Kantor' at the Sainsbury Centre for Visual Arts in Norwich,
UK, within the Polska! Year (2009). She is co-editor of Italian and
Polish editions of the Wielopole, Wielopole Dossier (Titivillus,
2006; Cricoteka, 2007) and Kantor Was Here (Black Dog Publishing,
2011), co-translator (with Silvia Parlagreco) of Podroz Tadeusza
Kantora kompendium biograficzne (2002), and author of various texts
on Tadeusz Kantor and Cricoteka. For more information about Polish
Theatre Perspectives, and to view Open Access editions of this and
other PTP titles, please visit www.ptp.press.
Theatermachine: Tadeusz Kantor in Context is an in-depth,
multidisciplinary compendium of essays about one of the most
influential theater artists of the twentieth century. Hans-Thies
Lehmann's theory of postdramatic theater and developments in
critical theory-particularly Bill Brown's thing theory, Bruno
Latour's actor-network theory, and posthumanism-serve to provide a
previously unavailable vocabulary for discussion of Kantor's
theater. Drawing on diverse approaches, the contributors write
about Kantor from both global and local perspectives: as an
exemplar of "postdramatic tragedy"; in relationship to Jewish
culture and Yiddish theater; through the prism of postmemory and
trauma theory; and in relation to Japanese, German, French, Polish,
and American avant-garde theater. This comprehensive anthology
arrives at a time when we grapple with the materiality of our
modern lives-AI, technobjects, and algorithms-and might thus also
be better poised to understand the materiality that permeates
Kantor's theater. Theatermachine argues that while confronting the
twentieth century's most pressing, but least comfortable,
questions-those of a human's worth, dignity, essence, and
purpose-Kantor might also have been, unwittingly, a harbinger of
the twenty-first century's political, ethical, aesthetic, and
critical discourse.
Tadeusz Kantor (1915-1990) was one of the twentieth century's most
innovative visual artists, stage directors, and theoreticians. His
theatre productions and manifestos challenged the conventions of
creating art in post-World War II culture and expanded the
boundaries of Dada, surrealist, Constructivist, and happening
theatre forms. Kantor's most widely known productions-The Dead
Class (1975), Wielopole, Wielopole (1980), Let the Artists Die
(1985), and Today Is My Birthday (1990)-have had a profound impact
on playwrights and artists who continue today to engage with his
radical theatre. In Further on, Nothing, Michal Kobialka explores
Kantor's theatre practice from the critical perspective of current
debates about representation, memory, and history. He pursues the
intriguing proposition that Kantor gave material form to a theatre
practice that defined the very mode of postmodern operation and
that many of its theoretical notions are still in circulation.
According to Kobialka, Kantor's theatre still offers an answer to
reality rather than a portrayal of a utopian alternative. Further
on, Nothing includes new translations of Kantor's work, presented
in conversation with Kobialka's own theoretical analyses, to show
us a Kantor who continues to offer-and deliver on-the promise of
the avant-garde
The recipient of the annual Award for Outstanding Book in Theatre
Practice and Pedagogy from the Association for Theatre in Higher
Education, This Is My Body realigns representational practices in
the early Middle Ages with current debates on the nature of
representation. Michal Kobialkai's study views the medieval concept
of representation as having been in flux and crossed by different
modes of seeing, until it was stabilized by the constitutions of
the Fourth Lateran Council in 1215. Kobialka argues that the
concept of representation in the early Middle Ages had little to do
with the tradition that considers representation in terms of
Aristotle or Plato; rather, it was enshrined in the interpretation
of Hoc est corpus meum [This is my body] -- the words spoken by
Christ to the apostles at the Last Supper -- and in establishing
the visibility of the body of Christ that had disappeared from
view. Michal Kobialka is Professor in the Department of Theatre
Arts and Dance at the University of Minnesota.
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