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Die Praxis der/des Echo

Zum Theater des Widerhalls

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Edited By Veronika Darian, Micha Braun, Jeanne Bindernagel and Miroslaw Kocur

Der Band versammelt Lektüren gegenwärtiger und historischer Konstellationen in Theater, Text und Kunst, die Echo als Figur und Phänomen nachspüren. Im antiken Mythos ist die Nymphe Echo zur ohnmächtigen Wiederholung fremder Rede verdammt. Sie wird zum Sinnbild eines defizitären, vom Anderen abhängigen Wesens. Doch birgt der Widerhall mehr in sich, verweist er doch auf das widerständige Moment einer Zergliederung jedes «eigentlichen» Ausdrucks. Echos körperlose Stimme gemahnt an die Medialität der Kommunikation, das Entgleiten des Sinns, die Grenzen der Mitteilbarkeit und die Ambivalenzen einer Aneignung der Vergangenheit. Damit aber wohnt ihr ein entschieden theatrales Element inne. Echo wird als eigene Praxis wirksam.
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(Polish) Theatre as a Rhizome of Echoes: The Case of Acropolis

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Acropolis, the central fortress, national archive, and main sanctuary of ancient Athens, became in the 19th century an epitome of the Western civilization for Polish people deprived of their own country. At the beginning of 20th century, the Polish painter and playwright Stanisław Wyspiański identified in his famous drama Akropolis the Athenian Acropolis with the principal Polish sanctuary and national necropolis, the Wawel Cathedral in Kraków.

Dreaming of liberated Poland, Wyspiański placed the action of his drama inside the Royal Cathedral. During the night to Easter Sunday all the Homeric and biblical heroes portrayed on the tapestries, as well as many tomb monuments come to life and form a symbolic resurrection procession towards the main altar. In the poetical climax of the play, Apollo/Christ comes down in his chariot of fire and crushes the cathedral. Ancient echoes were to remind homelandless Poles that they still belong to the Western culture and that resurrection—also in the sense of a national rebirth—will not be given to them but must be achieved through hard work.

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