Metamorphoses of Death, Memory and Presence- Translated by Anda MacBride
Edited By Katarzyna Fazan, Anna R. Burzynska and Marta Brys
Marie-Thérèse Vido-Rzewuska – Kantor, Schulz, Malczewski, Wyspiański: Some Paradoxes
| 313 →
Kantor, Schulz, Malczewski, Wyspiański: Some Paradoxes
It is not my intention to make any new discoveries; I would like, however, to delve more deeply into the relationships between Kantor and the works of Stanisław Wyspiański, Jacek Malczewski and Bruno Schulz, relationships that the artist himself acknowledged. I would like to analyse the manner in which he appropriated and refashioned certain works, as well as attempting an elucidation of why he avoided, or obscured, their characteristic vibrancy, dwelling, instead, in his own theatrical and artistic creativity on the death element. Let me start with Bruno Schulz and the concept of ‘reality of the lowest rank’. Kantor’s borrowings from Schulz bring to mind that author’s Treatise on Tailors’ Dummies and the desire which appears there, expressed through the character of the Father ‘to create man a second time – in the shape and semblance of a tailors’ dummy’.1 When one hears the words ‘shoddy, poor quality, rubbish’, and when watching the Theatre of Death and its players, one can easily see the links between the worlds of Schultz’s and Kantor’s productions, which have been very amply discussed by numerous researchers. When, however, one gets closer to the description of objects and the environment of the famed reality of the lowest rank, profound differences between the two artists are revealed.
For Schulz, the newly-created reality ‘in its own, lower rank’ is ‘creations resembling, in appearance only, living creatures...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.