Show Less
Restricted access

Tadeusz Kantor Today

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

Series:

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.
Show Summary Details
Restricted access

Andrzej Turowski – Dazzling Afterimages

Extract

| 323 →

Dazzling Afterimages

Andrzej Turowski

Strzemiński is an exceptional figure in the history of our painting, due to his extraordinary consistency, his intransigence and radicalism. One has to be incredibly courageous in order to arrive – in one’s artistic activity, capricious and unpredictable, through all the stages of devilish logic – at the last, ultimate statement, even if it were to appear absurd. Personally, I am opposed to his theory of perception…

Tadeusz Kantor, O Władysławie Strzemińskim

The reflections that I would like to present are a fragment of my wider analysis of the role of after-images in the art of the 20th century, which in turn goes together with the concept of the eye and perception in avant-garde circles. On the one hand, I refer to certain ideologies of perception according to which the concept of a spectacle is crucial, on the other, to technologies of perception, at that time determined by the use of the stereoscope and photographic camera. And it is in this light that I would like to enact a, probably daring, confrontation between Strzemiński and Kantor.

I would like to introduce a key concept in my ruminations – that of a ‘spectacle’, (as distinct from a theatrical performance). The term implies an intensity of visual perception and physical engagement and it is commonly employed in the context of mass and popular entertainment. A spectacle takes place in public space and tends...

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.