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The icon in contemporary times. Marina Abramović’s art from performance art to video
No full textWydział Filologii Polskiej i Klasycznej: Instytut Filologii PolskiejRozprawa stanowi próbę opisania mechanizmu, który Marina Abramović (artystki-performerki) wykorzystuje w swoich pracach z ostatnich dwudziestu lat. Mechanizm ten związany jest percepcyjną figurą loopu (pętli), odsyłającą do tożsamości ikony, traktowanej jako obraz, którego funkcją jest „portalowość“. Wehikularność dzieła – ikony w przypadku prac Abramović dotyczy zarówno wymiaru religijnej transcendencji, kontekstów kulturowych, jak też technologicznych. Od początku lat 90. Abramović konsekwentnie rozszerza i rozbudowuje przestrzeń wizualną mechanizmu ikony. Coraz więcej wizerunków zaczyna podlegać tej samej funkcji – istnienia w układzie sprzężenia zwrotnego. Dzieła-ikony, które tworzy Abramović, nie operują linearnym czasem historycznym, otwierają się raczej na mentalne, zapętlające się przestrzenie percepcyjne. Istnieją więc, czy też „wcielają się” w ramach prostego układu cybernetycznego, relacji pomiędzy inputem i outputem. Jest to próba nawiązania percepcyjnej pętli z odbiorcą, odesłania go do sfery mentalnej, związanej przede wszystkim z biografią artystki, strukturami jej pamięci, sprzężonymi z historią sztuki, polityki, społeczeństwa, duchowości i religijności. Ikona w tym sensie wykorzystuje swą dawną, tradycyjną strukturę, która zostaje wpisana w nowoczesne strategie komunikacyjne.The thesis is an attempt to describe the mechanism that Abramović (artist-performer) has used in her works for the past twenty years. This mechanism is connected with the perceptual loop referring to identity of the icon treated as an image being characterized by the notion of “portality”. Wehicularity of the work – the icon in Marina Abramović work can refer to the dimension of religious transcendence, cultural as well as technological contexts. Works-icons created by Abramović do not make use of the linear historical time but rather open up to the mental, looping perceptive spaces. They exist, therefore, or “incarnate” through a simple cybernetic system, a relation between the input and the output. They are kind of the attempt to establish a perceptive loop with the receiver, to refer him or her to the mental realm that is above all connected with the artist’s biography, to the structures of her memory that are linked with the history of art, politics, society, spirituality and religiousness. The notion of the icon can be perceived as one of the significant culture-producing categories of the contemporary times, filling the space between the tradition and the present. In this sense, the icon makes use of its former, traditional structure, that enters the modern communicative strategies
Chór w dramaturgii polskiej dwudziestego wieku
Full text linkWydział Filologii Polskiej i Klasycznej: Katedra Dramatu, Teatru i Widowis
Theatre and institutional critique in Poland. From institutional critique to instituent practice
Full text linkWydział Antropologii i KulturoznawstwaRozprawa poświęcona jest krytycznej refleksji nad polskim teatrem jako instytucją. Analizuję w niej, w jaki sposób polskie środowisko teatralne problematyzuje kwestię instytucji teatru (poprzez przedstawienia, projekty kuratorskie, rozważania teoretyczne, aktywizm) oraz jaki odzew znajdują w nim rozważania dotyczące instytucji sztuki sformułowane w obrębie krytyki instytucjonalnej.
W pierwszym rozdziale pracy zbieram najważniejsze wypowiedzi odnoszące się do krytyki instytucji sztuki z tych obszarów, w których od lat 60. pojawiały się najczęściej: sztuk wizualnych i krytycznych studiów muzealnych. Rozdział drugi poświęcony został krytyce instytucjonalnej w Polsce w sztukach wizualnych i performansie, począwszy od lat 70. XX wieku. Jak pokazuję w rozprawie, artystki i artyści poddali krytyce zarówno system kształtowany przez PZPR, jak i dominującą, opozycyjną narrację narodowo-katolicką. W dalszej części zajmuję się krytyką instytucjonalną w Polsce po przemianie ustrojowej. W rozdziale trzecim przechodzę do krytyki instytucjonalnej w polskim teatrze. Poszukuję śladów myślenia krytyczno-instytucjonalnego w teatrze PRL-u, następnie opisuję najważniejsze wydarzenia kształtujące politykę kulturalną Polski po 1989 roku i ich wpływ na funkcjonowanie systemu teatralnego. W kolejnej części szczegółowo przedstawiam tematykę poruszaną w ramach krytyki instytucjonalnej w latach 2014-2021. Wskazuję na związek krytyki instytucjonalnej teatru z krajobrazem społeczno-politycznym po 2015 roku i krytyką feministyczną.The dissertation refers to critical reflection on Polish theatre understood as an instutution. I analize how Polish theatre community problematizes a topic of theatre institution and in what way it uses considerations regarding art institution formulated within institutional critique. In the first chapter I introduce the most important voices regarding a critique of art institution from these areas, where they occured most often: visual arts and critical museum studies. The second chapter refers to institutional critique in Polish visual arts and performance art. In this chapter I show that artists of that time criticised both the system shaped by Polish United Workers' Party and the dominant, national-Catholic narrative popular in the opposition. Next, I analize Polish institutional critique after the system transformation in 1989. In the last, third chapter I refer to institutional critique in Polish theatre. I begin with looking for traces of critical-institutional thinking in the theatre of the Polish People's Republic. I describe the most important events shaping Polish cultural policies after 1989 and its influence on theatre system’s functioning. Lastly, I present the catalogue of topics and theoretical approaches appearing in theatrical institutional critique in Poland in the years 2014-2021. I am pointing to the relation between trend of institutional critique in Polish theatre and feminist criticism and movement
O illokucyjnych właściwościach dialogu dramatycznego
No full textThis article evokes the main arguments put forth by Polish theater scholars with regard to dramatic dialogue and its distinctive features. The author foregrounds the value of Sławomir Świontek’s research: although dating from thirty years ago and rarely discussed, today his findings invite us to resume theoretical considerations on dialogue and to seek new methodological tools. Drawing on Świontek’s observations, the author proposes to look at dramatic dialogue from the perspective of speech acts: locutionary, illocutionary, and perlocutionary. He focuses on the illocutionary potential of dialogue, which is linked to how the text is to be performed and helps to bring out meanings and emotions that are not revealed in silent reading. He emphasizes that a multifaceted analysis of the illocutionary potential of dialogue can lead to determining the felicity conditions for drama performance. The author postulates the interdisciplinarity of this kind of research, as the synergy of multiple perspectives – cultural, anthropological, linguistic, theatrological, and philosophical – can help deepen and systematize knowledge about genre transformations in drama and their link to the changing communication principles and techniques
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Europejskie performanse Ive Tabara – od dyskursu politycznego do metanarracji
Full text linkThe article is an attempt to analyze the works of Ive Tabar – one of the most interesting Slovenian artists (relatively little known) working on the borderline of body art and performance art. On the one hand, Tabar’s works refer to loud experiments – undertaken on the basis of body art in 60’s, 70’s and 80’s. On the other hand, they are seeking their own language and new communication strategies with the viewers. Tabar’s works are both personal acts and political declarations (regarding the future of Slovenia). In this sense, they can be understood as a return to the concept (that had been developed in Europe and America in the second half of the twentieth century) of engaging art for public activity. Tabar uses this tradition in its own and unique way. He creates metanarratives works that combine the poetics of political and social protest with a radical body art-style experiment. He shows the way how art can contribute a political life.Key words: Slovenian performance, Ive Tabar, body art, performing arts
KOR I TEATR
Full text linkThe article is an attempt at characterizing the connections between KOR (the Workers’ Defense Committee, established by a group of Polish oppositionists in June 1976) and theatrical practice. Theatrical references are mentioned together with the prevailing literary –regerences in two areas: biographical (the founders of the movement were writers, poets, songwriters, and actors) and ideological. The biographical area also serves as an introduction to the other perspective which can be referred to as ideological. The theatre became a breeding ground for thoughts defying the communist reality. It was a meeting place for the broadly defined opposition, a cradle of ideas hostile to the system based on “workers and peasants” and the alliance with the Soviet Union. The resulting works included politicized performances of the classics as well as performances presented by alterative groups: Teatr Ósmego Dnia: Teatr 77, Jedynka, Provisorium and Teatr Stu. KOR’s activity from 1976 to the beginning of martial law introduced on 13 December 1981 clearly shows that the links between the revolutionary movement and the theater were an important feature of dissident activity and helped to reinforce and popularize its ideological values.The article is an attempt at characterizing the connections between KOR (the Workers’ Defense Committee, established by a group of Polish oppositionists in June 1976) and theatrical practice. Theatrical references are mentioned together with the prevailing literary –regerences in two areas: biographical (the founders of the movement were writers, poets, songwriters, and actors) and ideological. The biographical area also serves as an introduction to the other perspective which can be referred to as ideological. The theatre became a breeding ground for thoughts defying the communist reality. It was a meeting place for the broadly defined opposition, a cradle of ideas hostile to the system based on “workers and peasants” and the alliance with the Soviet Union. The resulting works included politicized performances of the classics as well as performances presented by alterative groups: Teatr Ósmego Dnia: Teatr 77, Jedynka, Provisorium and Teatr Stu. KOR’s activity from 1976 to the beginning of martial law introduced on 13 December 1981 clearly shows that the links between the revolutionary movement and the theater were an important feature of dissident activity and helped to reinforce and popularize its ideological values
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