Dorota Sosnowska
Assistant Professor at the Institute of Polish Culture (Department of Theater and Performance) at University of Warsaw. Working on conceptualizations of the body in the art and theater of the Polish long 1990s.
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https://www.dialog-pismo.pl/w-numerach/brzydkie-uczucia-o-nudzie-w-sztuce-i-teatrze-lat-dziewiecdziesiatych
https://www.dialog-pismo.pl/w-numerach/brzydkie-uczucia-o-nudzie-w-sztuce-i-teatrze-lat-dziewiecdziesiatych
Analyzing the project and its contexts I address the issue of the relation between performance and repetition. The whole project can be interpreted as a kind of reenactment of Polish and Haitian history. But in fact in the archive we can find another version of events. Polish Napoleonic soldiers in majority were fighting against Haitians. Few of them – and none of the officers – changed sides. I ask what is performed in Cazale? What is enacted and reenacted when Polish opera signers in Polish traditional costumes sing Polish opera in the Haitian village, for the Haitian villagers and with their small input? The theoretical background is Rebecca Schneider’s conceptions of reenactment and repetition.
At the end I address another issue: how the relation between the history, repetition and performance can be analyzed when it is seen in the colonial and post-colonial context? What is the relation between this artwork, the story held in the archives, the document it produces and the notions of blackness and whiteness it uses? How the document reenacted by the body changes itself depending on the skin color? I refer to the concepts of blackness provided by Fred Moten in his writings.
The starting point of my speech will be the column titled "Attempt to Record" in the magazine “Dialogue" initiated by Konstanty Puzyna in the 70s. Its aim was to deal with the reality of the theatre, which was no longer just the staging of the drama. The place of the text - literature - in relation to the theatre has been radically changed. What are those "Attempt to Record"? In my opinion, they are not transparent documents of the works that they try to capture, but a part of the theatre medium, revealing the tension between performance and text which is the key to the theatricality itself. So I would like to offer the intermedia perspective and read the records as a boundary species that at the same time undermines the border; as texts that violate liveness of the theatre and the performances that contradict the stability of the text. I would also like to put a question about the video recording, which was by the creators of the column in the "Dialogue" considered ideal record (text). It is also a major field of research in the context of performance studies. Using the diagnosis of Amelia Jones, Philip Auslander and Rebecca Schneider I would like to see the elusiveness in the saving of theatre performance and in the elusiveness of the theatre - archive and use this paradox to build a new definition of the relation between the theatre and the text.
W ten sposób powstaje wielostronna, a zarazem fragmentaryczna i rozproszona perspektywa, która pozwala spod dokumentów, narracji i wizualnych przedstawień wyjrzeć wciąż problematycznej i nie dość rozpoznanej w kulturze polskiej figurze robotnika. Zamieszczone w tomie teksty same stają się swoistymi performansami pamięci, w ramach których autorzy starają się odtworzyć historię, której podstawowym medium pozostają ciało i gesty – uchwycone we fragmentarycznych relacjach, migawkowych obrazach, pojedynczych scenach.
Podążając więc za myślą Tavianiego, trzeba założyć, że komedia dell'arte nie powinna być rozumiana jako ściśle określony gatunek teatru europejskiego, a przynajmniej nie tylko w ten sposób. W swym źródłowym kulturowym kontekście komedia jest po prostu synonimem teatru, a arte oznacza kunszt w najrozmaitszych dziedzinach publicznej ekspresji, poczynając od poezji, przez muzykę, taniec, aż do popisów akrobatycznych, które ją powołały do życia, zapowiada heterogeniczność form teatru europejskiego.
Siro Ferrone, przyglądając się metodom kompozycyjnym w teatrze dell'arte, także wskazuje na heterogeniczny i złożony charakter zjawiska, postulując w związku z tym nowe podejście metodologiczne.
Robert Henke widzi w teatrze dell'arte historyczne napięcie między oralnością a piśmiennością, które odciska piętno nie tylko na samym spektaklu ale także na formalnym kontekście jego funkcjonowania w społeczeństwie.
Anne MacNeil, śledząc muzyczne aspekty przedstawień dell'arte, ukazuje ścisły związek zachodzący między sztuką śpiewających i komponujących aktorek a narodzinami opery.
Enrico Fulchignoni zaś, przyglądając się raz jeszcze historycznym źródłom komedii dell'arte, każe zakwestionować jej mityczne włoskie korzenie. Teatr dell'arte rodzi się nie tylko na przecięciu oralności i piśmienności, muzyki i teatralnej gry, rodzi się także w przecięciu kultur, wzajemnym przenikaniu wschodu i zachodu, w miejscu, gdzie różnorodność, dialog i wymiana stają się źródłem nowych form kulturowych.
When in postwar Poland a new political reality developed gradually squeezing the loop of totalitarianism, and the culture began to apply the doctrine of socialist realism, the figure of the queen - the incarnation of anomalies, loosening the limits of gender and introducing a cognitive dissonance, the image of power and a symbol of hierarchy - paradoxically, has become the dominant model of femininity in the theater. The collective of workers, "new women" who were given the right to work by the system, were not able to create an alternative model and take away the throne from Mary Stuart, Mary Tudor, Phaedra, Cleopatra, Szimena or Lilla Weneda.
At the theater Queen of Actresses, Queen of Polish Stage, Queen of Polish Hearts still prevailed. The three actresses: Irena Eichlerowna, Nina Andrycz and Elżbieta Barszczewska were not only great at playing the royal roles, but they also embodied the royal acting. As queens they prevailed on the theatrical stages till late sixties, than they were still present although not so popular. In the communist times the queen shimmered with different meanings and constituted an alibi for the content, which could not exist outside the theater - here in historical costume and corset of convention images of femininity full of sensuality, sexuality, power, nobility, madness and freedom could be implemented.
In this work, using the methodology of the new historicism, the author examines selected roles of those three great actresses painting a broad background of social, political and cultural life. Each role is put in the right context: of art, historical events and social change. Main source were reviews that are used not only to reconstruct historical spectacles and roles but also to analyze the language with which the women actresses are described. The interest is in metaphors, images, contexts that the reviewers use to describe royal femininity of those three artists.