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Tadeusz Kantor Today

Metamorphoses of Death, Memory and Presence- Translated by Anda MacBride


Edited By Katarzyna Fazan, Anna R. Burzynska and Marta Brys

This book is a compendium of texts by international authors which reflect on Tadeusz Kantor’s art in a broad range of contexts. The studies include works of prominent art historians, theatrologists and artists. The present revisiting of Kantor’s artistic œuvre reflects a contemporary historiographic approach. The authors place value on individual memory and consider contemporary art outside the traditional boundaries of particular artistic genres. The studies employ the latest strategies for researching theatrical performance as autonomous statements, without a literary anchor. Thanks to this approach, the eschatological and historical issues, crucial to the sphere of reference of Kantor’s Theatre of Death, have acquired a new presence – as art that liberates thinking in the here-and-now.
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Andrzej Wełmiński – Function and Significance of the Theatre Company in the Development of Cricot 2 Productions


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Function and Significance of the Theatre Company in the Development of Cricot 2 Productions

Andrzej Wełmiński

1. The structure and modus operandi of the company, or the unique theatrical concept

Tadeusz Kantor’s theatre has generally been considered his greatest work of art. Today, after more than two decades that have passed since the artist’s death, the question continues to arise whether his theatre was merely ephemeral, now no more than a museum curiosity, a specimen that can be investigated, analysed and interpreted but can no longer function; or whether it is the case that there are some aspects of it that remain topical and inspirational and that could be of use to contemporary artists. What does Cricot 2 represent for the contemporary creative community or what could it become? What has remained of it? To what extent does it continue to be a contemporary concept, or an impossible one? What conclusions can we draw today from its achievements?

There still remain many unknown and unexplored aspects and areas in the opus of Tadeusz Kantor. Although books, articles and academic essays about the artist proliferate, the rising tide of academia has also washed up much nonsense, multiplying both futile speculation and commonly held opinions (often repeated by theatre experts who have never seen the performances and, above all, have not witnessed the process of their production). And the more researchers concentrate on theoretical analyses, the more they ignore...

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