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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 Kraków, 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 Podróż 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.
A compendium of texts by international authors which reflect on Tadeusz Kantor's art in a broad range of contexts. It includes works of prominent art historians, theatrologists and artists. It revisits Kantor's artistic oeuvre that reflects a contemporary historiographic approach.
To date, important work on memory has been done across many disciplines, but less in the field of theatre studies. This study attempts to redress this bias, and to expand the field by offering new texts and contexts for study, and new methods to approach them. My thesis examines the many ways in which memory functions within the texts and performances of Harold Pinter, Tadeusz Kantor, and Heiner Muller, as well as the ways in which their works reflect and respond to various aspects of contemporary memory discourse. Their memory-theatres explore the relation between individual and collective memory, between real and imaginary, event and fantasy, history and myth. In representing the complex and heterogeneous ways in which memories are constructed, their works reach out toward the individual and collective sites of memory, history, and loss, while at the same time explicitly negotiating meaning with their audiences. I argue that their memory-theatres are symbolic sites not only of memory but of intervention, showing how the transmission of memories includes negation, contestation, exclusion, repression and their return in disfigured ways. Often positioned within a specific memory discourse in which they intervene, these memory-theatres draw their effectiveness from the irreparable wounds of trauma, to which they appeal. Embracing not only the past, but also the future, they open spaces for a cultural convalescence to be achieved through the performance of mourning. While they stand for a network of concerns, a range of responses to the complex overlapping between the present and the past, the individual and the collective, the psychic and the social, and the aesthetic and the political, these three representatives of a memory-theatre show that how we think about the culture of the past cannot be separated from how we act in the present.
A critical study of the work of Polish theatre director Tadeusz Kantor, which includes an analysis of the corpus of Kantor's work plus a collection of the director's essays. These essays comment on work then in progress, describing how Kantor challenged traditional theatrical forms.
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 Fur.
Tadeusz Kantor – a theoretician, director, innovator and painter famed for his very visual theatre style – was a key figure in European avant-garde theatre. He was also known for his challenging theatrical innovations, such as extending stages and the combination of mannequins with living actors. The book combines: a detailed study of the historical context of Kantor’s work an exploration of Kantor’s own writings on his theatrical craft a stylistic analysis of the key works, including The Dead Class and Let the Artists Die, and their critical reception an examination of the practical exercises devised by Kantor. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today’s student.
An invaluable collection of documents and discussions of the work of one of the most significant theatre practitioners of the last fifty years. This unique set of reminiscences, written by one of the actors who worked closely with Kantor over a long period of time, ranges from the anecdotal to the theoretical. Kantor's work offers some of the most disconcerting allegories of Modernism and a quintessential expression of the unconscious during a bitter period of human history. Kantor's stern but affectionate guardianship of his troupe of travelling players comes off Miklaszewski's pages with warmth, humanity and humour.
Kantor was Here is the ultimate volume on the Polish avant-garde artist Tadeusz Kantor and the impact of his work on the British art scene between the 1970s and 1980s through to the present day. Kantor's exceptional versatility translated into him successfully establishing his multiple guises as painter, stage director and designer, draughtsman, actor, poet and happening artist. Renowned for his revolutionary theatrical performances in Poland and abroad, it has been said that Kantor is to Polish art what Joseph Beuys is to German art and Andy Warhol is to American art. Recently there has been a rise in interest in Kantor's work. This has been linked to the success of recent publications on his famous contributions to theatre, which, nonetheless engage with a restricted facet of this enigmatic artist's work. Focusing on his comprehensive artistic oeuvre, from his visual artwork, to installation pieces, and graphic works to his celebrated innovations in theatre practice, this major monograph is the most ambitious book on Tadeusz Kantor to be published in the English language to date. Co-edited by Katarzyna Murawska-Muthesius and Natalia Zarzecka, Kantor Was Here profiles substantial critical debate surrounding Kantor's work through a collection of essays. These essays, by exponents of the British art scene who personally cooperated with Kantor during his stay in the UK, as well as reviews by eminent British curators and critics, address the wider perspective on Kantor's artistic career. All of these essays are published here for the first time. The book is lavishly illustrated and includes previously unpublished photographs documenting Kantor's performances at the Edinburgh Festival and Riverside Studios, his exhibition at the Whitechapel Gallery in 1976, as well as the artist's drawings from private collections. Contributors include Wieslaw Borowski, Krzysztof Cieszkowski, Richard Demarco, David Gothard, Jonathan Holloway, Klara Kemp-Welch, Jo Melvin, Sandy Nairne, Veronika Sekules, Nicholas Serota, Sarah Wilson, Noel Witts, and Natalia Zarzecka. The scope of Kantor's engagement with a variety of practices, as well as this volume's contribution to the studies of relations between Britain and Eastern Europe, makes Kantor was Here an essential reference for art students, professionals engaged in this field of study and anyone interested in contemporary British and Eastern European artistic practice. AUTHOR: Katarzyna Murawska-Muthesius is Deputy Director of the National Museum in Warsaw and Reader in the History of Art at the University of London's Birkbeck College. Natalia Zarzecka is Director of the Center for the Documentation of the Art of Tadeusz Kantor: Cricoteka. SELLING POINTS: * Kantor was Here: Tadeusz Kantor in Great Britain is the ultimate volume on the Polish avant-garde artist Tadeusz Kantor and the impact of his work on the British art scene during the 1970s and 1980s through to the present day. * Renowned for his revolutionary theatrical performances, and his work as director, stage designer, painter, actor, draughtsman and poet, this is the first major monograph to chart Tadeusz Kantor's practice. * Includes many illustrations and previously unpublished photographs, as well as archival material made available by private collectors. * The book provides wider perspectives on Kantor's artistic career in essays by a variety of curators, colleagues, critics and experts, including Sarah Wilson, Sandy Nairne, Nicholas Serota and Richard Demarco. * A must-have for students of Art History as well as Performance, Theatre and Eastern European studies. ILLUSTRATIONS 200 colour & b/w illustrations *
Tadeusz Kantor (1915-90) was renowned for his revolutionary theater performances in both his native Poland and abroad. Despite nominally being a Catholic, Kantor had a unique relationship with Jewish culture and incorporated many elements of Jewish theater into his works. In Kaddish, Jan Kott, an equally important figure in twentieth-century theater criticism, presents one of the most poignant descriptions of what might be called "the experience of Kantor." At the core of the book is a fundamental philosophical question: What can save the memory of Kantor's "Theatre of Death"--the Image, or the Word/Logos? Kott's biblical answer in Kaddish is that Kantor's theatre can be saved in its essence only by the Word, the Logos. This slim volume, Kott's final work, is a distilled meditation that casts light on how two of the most prominent figures in Western theater reflected on the philosophy of the stage.
Vol. 1- includes section "Biblia, devoted to the interests of the Friends of the Princeton Library," v. 11-
To see through the eyes of essayist and dramaturge Jan Kott is to gain in knowledge not just of the theater but also of human culture. Since his Shakespeare Our Contemporary appeared in English in 1964, Kott's work has altered—and strengthened—the way critics and the public approach the theater as a whole. The Memory of the Body highlights a number of dramatic personalities and personages: authors and directors Witkiewicz, Brecht, Kantor, Grotoswki, Ingmar Bergman, Wedekind; Tilly Newes on the stage in turn-of-the-century Vienna; the all-too-mortal, two-thirds divine Gilgamesh; and a shaman in rural Korea. In a style flecked with passion, poignancy, and wit, Kott moves beyond a mere discussion of theater to speak of eroticism, painting, love, and death.
""This book should be impressive to aspiring theater arts students as well as to those who simply love theater. Highly recommended for most collections." Library Journal

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