Día 1

Día 1

Día 2

Día 3

The conference

The topic of the conference Theatricality – Antitheatricality: Transdisciplinary and Scenological Studies on Contemporary Theater leads us this year to the problem: The body of the spectator (Jean-Marie Pradier). The topic of the conference we want to explore serves a purpose of investigating different realities and thoughts of the spectator from various scenological and theatrical points of view. The orientation appears to be generally set from the perspective of the stage. But what has happened to the other parts of the spectacle – the zone which seems to be in the shadow subsumed in absolute silence? We refer to the body of the spectator or the subject that promptly fades into antipresence or even more – in the existence of antitheatricality. What relations and differences are established in the dynamics among the spectators living in convivio, in technovivio or between the two (Dubatti)? If this spectator, the body, is absent or, at least, cannot be perceptible, does the cultural model of representation make any sense?

The theater is in essence the representation in conviviality, at least in the history of our cultural tradition. But in this new culture that is coming, in this new era, will the framework of the representation and its observer be the game of realities that are envisaged for the theater? And vice versa, if the spectator wants to regain the ground lost in their field, because eventually they would want to enter a spectral zone where anonymity prevents them from behaving as that stage presence, what must they submit to in order to achieve this goal. Should they regain their physical status? Who is the spectator? Is the body? On maybe the one who is watching? Or merely an entity of meaning forged in the experience of modernity? Obviously, there are much more questions pertinent in such a context of inquiry, but here we will take only one more as an effect to leave the rest to the imagination, that is: Are we actually facing the end of the social and therefore the one who is watching is an entity that is no longer necessary?

Those are the major problems we hope to consider during these three days of presentations. Since it is not possible to attend (as the expression says) in „body and soul” we want to invite you to share this universe of theoretical irregularities and increasingly diffuse fields of research to analyze the ancestral figure of the one who endorses the representation: the spectator, who – together with their material quality carried in the body – challenges and contests contemporary society. Does the figure become more and more ephemeral and leave its place of presence? Or does it try to regain its status, the one that has been granted by modernity, that of being a body loaded with critical and epistemic knowledge.

Conference working languages:
English, Spanish

Important note: Other proposals that are cross-cutting to the central theme of the conference – set within the framework of Scenological Studies, theatricality, and the original themes of our theatricality-antitheatricality conference – will be accepted.

Proposals for papers with abstracts (ca. 250-300 words) and a brief bio with institutional affiliation (if any) and an email address should be submitted electronically by the end of 7 December 2020 to the following subscription form.

Scientific Committee

  • Prof. Patrice Pavis (Université Paris 8)
  • Prof. Anna Węgrzyniak (University of Bielsko-Biała)
  • Dr. Lucas Margarit (University of Buenos Aires)
  • Prof. Jorge Dubatti (University of Buenos Aires)
  • Prof. Marek Bernacki (University of Bielsko-Biała)
  • Prof. Maria Machnik-Korusiewicz (University of Bielsko-Biała)
  • Prof. Carlos Dimeo Álvarez (University of Bielsko-Biała)
  • Prof. Michał Kopczyk (University of Bielsko-Biała)
  • Prof. Dorota Fox (University of Silesia)

Organizing Committee

  • Prof. Carlos Dimeo Álvarez (chair)

  • Prof. Jorge Dubatti

  • Dr. Agnieszka Palion-Musioł 

  • Dr. Tomasz Jerzy Brenet 

  • Alekasandra Hasior, MA

  • Artur Biela, MSc

Keynote speakers

Carlos Dimeo Álvarez

La Plata – Argentina, 1967. Posdoctoral degree en Ciencias de la Literatura (Mención Literatura Hispanoamericana) otorgado por la Universidad de Łódź en el año 2015 con la publicación del libro Marco Antonio Ettedgui: Poéticas Teatrales Pos(t)modernas. (Sacralización y Carnavalización / Dialogismo y Polifonía), Lublin 2013. Es también Doctor en Ciencias Sociales Mención Estudios Culturales (Universidad de Carabobo – Venezuela). Máster «Gestión de la Comunicación y la Cultura» Facultad Latinoamericana de Ciencias Sociales (FLACSO-Argentina) y Máster en Literatura Venezolana (Universidad de Carabobo). Tiene estudios en el Máster de CENDES-UCV (Venezuela) en “Estudios del desarrollo y Políticas Públicas”. Ha impartido clases en: Universidad Marie Curie-Skłodowska Lublin, Polonia desempeñándose además como director de la unidad de investigación de: Teatru i Dramatu Krajów Romanskich. Ha dictado clases en la Universidad de Łódż (Łódż, Polonia), Universidad Central de Venezuela en el Postgrado de Teatro Latinoamericano, Universidad Pedagógica Experimental Libertador, Universidad Católica Andrés Bello (Caracas – Venezuela). Profesor de postgrado y grado en la Universidad de Carabobo en la Maestría de Literatura venezolana impartiendo el seminario de teatro venezolano. Ha realizado estancias de investigación en la Universidad de Estrasburgo (Francia), Universidad de Valladolid (España), Universidad de Tartu (Estonia) y Universidad Complutense de Madrid (España). Director, editor y fundador del sello editorial «La Campana Sumergida». Director-Editor de la revista digital «Dramateatro». Actualmente imparte clases en la Universidad de Bielsko-Biała el Instituto de Neofilología. Entre sus últimas publicaciones están Viajantes de la modernidad, (Aracne Editrice, Roma – Italia, 2015), Reflexiones sobre la literatura venezolana: Estudio Monográfico. (con Anna Wendorff, Naukowe Akademii Techniczno-Humanistycznej Bielsko-Biała 2015) Otras Geografías / Otros mapas teatrales: Nuevas perspectivas escénicas latinoamericanas (Con Jorge Dubatti, Universidad de Bielsko-Biala y Universidad de Buenos Aires, 2016).

Cécile Chantraine Braillon

Is a tenured Full Professor in Hispanic Studies at La Rochelle University since 2018 and her research aims at Hispanic-American Theater and Performing Arts.

After leading a research line in the ANR Project Chispa (2014-2017 / Project leader: Fatiha Idmhand) on the scientific exploitation of writers' archives through digital technology, she’s now in charge of three complementary programs about the computerization of the research in Performing Arts: first, the North of France regional program VISUAL STAGING (2019-2022 with Carole Viñals), second, the E-Spectateur project in La Rochelle Université (2019-20) and third, the research programm ESNA (Ecole du Spectateur de Nouvelle Aquitaine – 2021-24). She is also leading a workpackage in the Erasmus + DiMPAh project (Digital Methods Platform for Arts and Humanities / 2020-2023).

Her research interests aim at contributing in theorizing the live show’s analysis: for this purpose, she also focuses her work at designing digital tools offering specific functionalities for the research in this field, about not only preservation (conservation of the creative process and the performance) but also analysis of live shows’ data (genetic criticism, semiology, cultural analytics). Cécile Chantraine Braillon holds a PhD in Hispanic studies at l’Université de Lille Nord de France since 2007 and a French Research supervision habilitation (HDR) since 2017.

Przemysław Błaszczak

Actor with a degree in philosophy who has been associated with the Grotowski Institute since 1995. From 1996 to 1999, he worked with the Song of the Goat Theatre, where he performed in Song of the Goat – Dithyramb. In 2002–2003 Przemek created the solo performance Ecco Homo and in 2004 he joined Studio KOKYU, a resident company of the Grotowski Institute, with whom he performed in the Gospels of Childhood: Overture and Anhelli: The Calling, and Armine, Sister. Przemek also performed in Heiner Müller’s Mauser, directed by Theodoros Terzopoulos (Greece), which had its Polish premiere in 2012.

He studied the original actor training method developed by Theodoros Terzopoulos at Attis Theatre, Greece, and is its certified teacher. Przemek is the founder and leader of Kokyu Studio, established in 2016, which works under the auspices of the Grotowski Institute. Since 2005 Przemek has studied the Japanese martial art of aikido under Sensei Piotr Masztalerz (6th dan). In 2011, he studied with Juba Nour Shihan (6th dan) in Mexico. Przemek is a founding member of Na Grobli Aikikai Dojo, where he teaches regular sessions. Dojo works under the auspices of the Birankai Poland. In 2005, at the invitation of Toshi Tushitori, he went to Japan where he practiced ‘shintaido’, a Japanese system that integrates voice and body through training based on traditional karate. From 2013 to 2016, Przemek was one of the leaders of the Two Paths Studio, which was part of the Grotowski Institute’s BodyConstitution research programme. In 2016 Przemek formed Kokyu Studio. He is also a co-founder of Wrocław Theatre Offensive (WrOT). He has run workshops in Poland and abroad.

Jorge Dubatti

Buenos Aires, 1963 es crítico, historiador y docente universitario especializado en teatro y artes. Doctor (Área de Historia y Teoría de las Artes) por la Universidad de Buenos Aires. Premio Academia Argentina de Letras al mejor egresado 1989 de la Universidad de Buenos Aires. Es Catedrático Titular Regular de Historia del Teatro Universal / Historia del Teatro II (Carrera de Artes, UBA). Es Director por concurso público del Instituto de Artes del Espectáculo “Dr. Raúl H. Castagnino” de la Facultad de Filosofía y Letras de la UBA. Dirige el Proyecto de Investigación Filo:CyT (2019-2021) “Hacia una cartografía bibliográfica de las relaciones teatro / educación artística en la Argentina”. Coordina el Área de Investigaciones en Ciencias del Arte (AICA) en el Centro Cultural de la Cooperación Floreal Gorini.

Fundó y dirige desde 2001 la Escuela de Espectadores de Buenos Aires, que cuenta con 340 alumnos. Es Director General del Aula de Espectadores de Teatro de la Universidad Nacional Autónoma de México (UNAM). Ha contribuido a abrir 46 escuelas de espectadores en Argentina, Bolivia, Brasil, Colombia, Costa Rica, España, Francia, México, Panamá, Perú, Santo Domingo, Uruguay, Venezuela. Participa en el Projet ESNA – École du Spectateur de Nouvelle Aquitaine (Francia) para la creación de la primera escuela de espectadores digital. Ha dictado materias y seminarios sobre historia y teoría teatral, de grado, posgrado, doctorado y postítulo, en diversas universidades nacionales y extranjeras como profesor visitante / invitado (Bolivia, Brasil, Colombia, Costa Rica, Chile, Ecuador, España, Estados Unidos, Francia, México, Perú, Uruguay). Integra la Cátedra Itinerante de Teatro Latinoamericano (CIELA). Integró entre 2015-2018 el Consejo Académico de la Cátedra Ingmar Bergman de Cine y Teatro de la Universidad Nacional Autónoma de México (UNAM). 

Ha publicado más de cien volúmenes (libros de ensayos, antologías, ediciones, compilaciones de estudios, etc.) sobre teatro argentino y universal y artes. Es responsable de la edición del teatro de Eduardo Pavlovsky, Mauricio Kartun, Ricardo Bartís, Rafael Spregelburd, Daniel Veronese, Alejandro Urdapilleta, Alberto Vacarezza, entre otros. Entre sus libros figuran Filosofía del Teatro I, II y III, Concepciones de teatro. Poéticas teatrales y bases epistemológicas, Del Centenario al Bicentenario: Dramaturgia. Metáforas de la Argentina en veinte piezas teatrales 1910-2010 (encargo del Fondo Nacional de las Artes), Cien años de teatro argentino, Teatro-matriz, teatro liminal. Estudios de Filosofía del Teatro y Poética Comparada, Poéticas de liminalidad en el teatro I y II, Teatro y territorialidad, Estudios de teatro argentino, europeo y comparado. Ha recibido numerosas distinciones, entre ellas Premio Shakespeare 2014 (Festival Shakespeare de Buenos Aires y Embajada de Inglaterra) y Premio María Guerrero 2014 (otorgado por la Asociación Amigos del Teatro Nacional Cervantes). Recibió Mención Especial del Premio Nacional en el rubro Ensayo Artístico (que otorga el Ministerio de Cultura de la Nación) por su libro Introducción a los estudios teatrales. Propedéutica de 2012. En 2015 y en 2018 el Rectorado de la Universidad de Buenos Aires le otorgó el Premio a la Excelencia Académica. En 2015 la Honorable Cámara de Diputados declaró de Interés “la obra del crítico cultural y cientista del arte Dr. Jorge Dubatti”. En 2007 y 2017 recibió el Premio Konex Periodismo-Comunicación (Premio Diploma al Mérito) en las Categorías Crítica Literaria y Crítica de Espectáculos Teatro-Danza-Cine. Es presidente de la Asociación Argentina de Espectadores de Teatro y Artes Escénicas (AETAE, período 2019-2021) y Secretario de Relaciones Internacionales de la Asociación Argentina de Investigación y Crítica Teatral (AINCRIT, período 2018-2020). En 2020 la Asociación Argentina de Actores lo nombró “padrino honorable” de la Biblioteca Teatral “Verónica Bucci” de la Delegación Santa Fe. Conduce el Programa “El Tiempo y el Teatro” en Radio Nacional AM870.  

Special guests

Percy Encinas

Especialista en Cultura, Teatro, Literatura y Neuroeducación. Doctorando por la Universidad de Buenos Aires en Teoría e Historia de las Artes. Magíster en Gerencia Social por la Pontificia Universidad Católica del Perú (PUCP). Licenciado en Literatura por Universidad Nacional Mayor de San Marcos con tesis calificada Sobresaliente. Diseñó la Carrera de Artes Escénicas de la Universidad Científica del Sur, de la que fue su primer director. Ha fundado y dirigido el Festival UCSUR de Teatro Internacional durante 7 años consecutivos, actualmente dirige el Festival Internacional de Saberes Escénicos (FISABES).

Ha sido director de Investigación de la ENSAD. Conferencista en Congresos, eventos y universidades de Estados Unidos, Europa y Latinoamérica. Preside el Congreso Internacional de Estudios Teatrales que  coorganiza con UNMSM, PUCP y ENSAD. Docente de Dramaturgia en la Maestría de Escritura Creativa de la Universidad Nacional de San Marcos, del Taller de guiones de la misma universidad y de Creación Literaria en el Posgrado de la Universidad Ricardo Palma. Actualmente, dirige los proyectos de la Asociación Iberoamericana de Artes y Letras (AIBAL) desde donde dirige investigaciones interdisciplinarias, programas como Escuela de Espectadores (ganador del concurso de proyectos 2018 del Ministerio de Cultura) o Literaturas peruanas del Bicentenario, primer estudio orgánico de la producción literaria peruana del siglo XXI en cuatro géneros. Es consultor senior del Ministerio de Educación. Su proyecto Introducción a la Cultura Comunitaria (INCULCO) ganó, entre 225 concursantes, el premio Hagamos Historia en julio 2020.

Lucas Margarit

(University of Buenos Aires, Argentina) Lucas Margarit (Buenos Aires, 1966), PhD in Philosophy and Letters by the Universidad de Buenos Aires. He is a poet, professor and researcher at the Universidad de Buenos Aires. His PhD thesis has focused on Samuel Beckett’s poetic work and has accomplished his post-PhD on translation and self-translation upon this same author’s work. He has collaborated in numerous publications either in Argentina as abroad. (Hablar de poesíaSITEINTIBeckettiana, Beckett Today/Aujourd’hui, Quaderns de Versàlia, Función lenguaje, Hablar de poesía, Buenos Aires Poetry, etc).

He published the following poetry books: Círculos y piedrasLazlo y AlvisEl libro de los elementos and Bernat Metge; the essay ones Samuel Beckett. Las huellas en el vacío [Samuel BeckettThe Traces in the Void], Leer a Shakespeare: notas sobre la ambigüedad [Reading Shakespeare: notes on ambiguity. Among his translations Enrique VIII[Henry VIII] by William Shakespeare, Poemas atómicos[Atomic Poems] by Margaret Cavendih (1653) and La isla de los Pines [The Isle of the Pines] by Henry Neville (1668), La defensa de la poesía [A defense of Poesy] de Sir Philip Sidney, among other English authors, stand out. He has likewise published with the research team that he runs: Utopías Inglesas del siglo XVII(2 vols.), Utopías Inglesas del siglo XVIIIShakespeare lector; lectores de Shakespeareand Sueños y visiones en la literatura inglesa. He has two unpublished sets of poetry: Acerca de la distanciaH&H, and also an unpublished essay book: La poesía de Samuel Beckett: silencio y fracaso de una poética and a book of essays on poetry. He is member of the academic committee of the reviews, BeckettianaInter Litteras(Universidad de Buenos Aires), Buenos Aires PoetryEstudio Teatro(Lima), Escenológicas (Universidad de Bielsko-Biała, Polonia) among others. His poems have been translated into English, French and Italian.

Katarzyna Kalwat

Director, author of theatrical spaces and installations. Graduate in psychology at the Jagiellonian University in Cracow and the Directing Department of the Aleksander Zelwerowicz Theatre Academy in Warsaw. Scholarship holder of the French Government and the Foundation Cite internationale des arts in Paris. Winner of many awards, including Grand Prix of the 22nd  National Competition for the Exhibition of Polish Contemporary Art. She shaped her skills by participating in numerous workshops, including Thalia Theater in Hamburg and in Berlin’s Volksbuhne.

In her work, using different artistic practices: opera, performance and visual arts, she explores the range and possibilities of using the medium of theater. She made, among others: „Holzwege” (TR Warsaw, 2016), „Reykjavik ’74” (W. Horzyca Theater in Toruń, 2017), „Landszaft. Anatomy Lesson ”(Łaźnia Nowa Theater, Juliusz Słowacki Theater in Krakow, 2017). During the Festival of Contemporary Music, Warsaw Autumn 2018, she presented the opera „Rechnitz. Anioł Zagłady ”(TR Warsaw, 2018), and during the last edition of the Biennale Warsaw festival (Biennale Warsaw, TR Warsaw, 2019), the project „Staff Only,” realized together with the playwright Beniamin Bukowski. She is the author of many performative installations, including: “Robert Walser. I would prefer not to”(Center for Contemporary Art Ujazdowski Castle, 2018), „Ecstasy. Maria Klassenberg” (Center for Contemporary Art Ujazdowski Castle, TR Warsaw, 2019), or „Grotowski non fiction,” which she realized together with the visual artist Zbigniew Libera (Współczesny Theater in Wrocław, 2019). Currently, together with the Volksbuhne Theater and TR Warsaw, she is preparing another installment of the project based on the work of Maria Klassenberg. In her recent works, reflection on the relationship between language and reality prevails, with particular emphasis on the possibility of studying language, its internal limitations and performative power.​

Daniel Vázquez Touriño

Doctor en Literatura Española e Hispanoamericana por la Universidad Autónoma de Madrid. Profesor de literatura hispanoamericana y responsable académico del Grado en Lengua y Literatura Españolas en el Departamento de Lenguas y Literaturas Románicas de la Universidad Masaryk (Brno, República Checa).

Miembro del grupo de investigación del proyecto „Análisis de la dramaturgia actual en español” (ADAE), financiado por el Ministerio de Economía y Competitividad de España bajo la dirección de José Luis García Barrientos. Participación en los volúmenes dedicados a México (estudio de la dramaturgia de LEGOM) y Chile (dramaturgia de Luis Barrales).

Autor de Insignificantes en diálogo con el público. El teatro de la generación Fonca (Verbum, 2020) y El teatro de Emilio Carballido. La teatralización de la realidad como enfoque ético (Peter Lang, 2012).

Colaborador en los libros El exilio teatral republicano de 1939 en Europa (Renacimiento, 2015),  Métissages de la création théâtrale. Amérique latine. Espagne. France (L’Harmatann, 2018) y Experiencias límite en la ficción latinoamericana (Literatura, cine y teatro) (Vervuert/Iberoamericana, 2019). Sus artículos sobre teatro hispanoamericano han sido publicados en las revistas Latin American Theatre Review o Inti. Revista de Literatura Hispánica, entre otras.

Mauricio Tossi

Doctor en Letras (orientación Literatura), Magíster y Licenciado en Teatro egresado de la Universidad Nacional de Tucumán. Diplomado en Metodología de la Investigación en Humanidades por la Facultad de Filosofía y Letras de la UBA. Ha realizado estudios posdoctorales y pasantías de perfeccionamiento en el Ministerio de Cultura de Colombia, en la Universidad Austral de Chile, en la Universidad de Alcalá y en el Consejo Superior de Investigaciones Científicas de Madrid.

Actualmente es Investigador Adjunto del CONICET con lugar de trabajo en el Instituto de Artes del Espectáculo de la UBA y, a su vez, Profesor Titular Ordinario en la Facultad de Comunicación de la Universidad Argentina de la Empresa.
Ha ejercido como Profesor Regular de grado y/o posgrado en la Universidad Nacional de Río Negro (2010-2016) y Universidad Nacional de Tucumán (2006-2010) y, paralelamente, como Profesor Invitado en la Universidad de Concepción de Chile (2013), Universidad Alcalá de Henares (2011, 2015, 2019), Universidad Nacional de Cuyo (2018) y Universidad Nacional del Litoral (2019).

Sus trabajos de investigación abordan los problemas historiográficos y poéticos del teatro en la Patagonia y el Noroeste argentinos. Sobre estos temas ha publicado diversos artículos en revistas especializadas y en capítulos de libros editados en el país y en el extranjero. Asimismo, es autor de los libros Poéticas y formaciones teatrales en el Noroeste Argentino: Tucumán, 1954-1976 (Buenos Aires, 2011); Escenas australes, soportes identitarios. Notas sobre el teatro patagónico (Neuquén, 2018) y –junto con Griselda Barale– De estéticas y teatralidades. Un estudio sobre le NOA (Tucumán/Buenos Aires, 2017). Es compilador de la colección La Quila. Cuaderno de Historia del Teatro (Tomo nº 1, Tucumán, 2009; Tomo nº 2, Viedma, 2012) y de la Antología de teatro rionegrino en la posdictadura (Viedma, 2015).

Special events

Programa Titulos

Miércoles, 16 de diciembre / Wednesday 16 December

Hora Varsovia (Cet) / HORA BUENOS AIRES

EVENTO/EVENT

12.30-13.00 / 8.30-9.00 Apertura institucional / Conference Opening

CONFERENCIA MAGISTRAL DE APERTURA / OPENING LECTURE

13.00-15.00 / 9.00-11.00
Jorge Dubatti (Universidad de Buenos Aires, IAE): “Espectadoras/es de teatro y artes escénicas: poder expectatorial, cuestión ética y derechos”

 

MESA DE PONENCIAS 1 / SESSION 1

15.00-15.15 / 11.00-11.15 Gabriela Basauri Pilowsky y Sebastián Carez Lorca (Departamento de Teatro, Facultad de Artes, Universidad de Chile): “El rol de la universidad en la generación de conocimiento artístico: una revisión a partir de las de experiencias de la Unidad de Extensión y Educación Continua del Departamento de Teatro de la Universidad de Chile”
15.15-15.30 / 11.15-11.30 Laura Cilento (UBA, IAE): “Casi como una broma: expectaciones de la violencia humorística en el happening en la Argentina”
15.30-15.45 / 11.30-11.45 Proyecto FILO:CyT (UBA, IAE) “Hacia una cartografía bibliográfica de las relaciones entre teatro y educación artística en la Argentina”. Integrantes: Jorge Dubatti (dir.), Natacha Delgado, Diana Melamet, Nora Lía Sormani, Mariano Scovenna y Lucila Tolcachier.
15.45-16.00 / 11.45-12.00 Samantha Hernández Pérez (UNAM, México): “El espectador penitenciario: cuerpos en presidio”
16.00-16.15 / 12.00-12.15 Tomasz Stefanowicz (UP): “¿Una comunión de cuerpos entre el performer y su lector? El caso de la poesía de Jaime Gil de Biedma”
16.15-16.30 / 12.15-12.30 Ariel Gutiérrez Torres (Arthaus Berlin, Alemania): “Mirar de lejos. Teatro y pedagogía en tiempos de pandemia”
15.45-16.00 / 11.45-12.00 Claudio Santana Bórquez (Universidad Playa Ancha de Valparaíso): “Soy lo que hago. Nociones sobre el hacer del actuante, su proceso en acción y algunas perspectivas sobre una simple práctica performativa, en el contexto de los 10 años del ensemble Performer Persona Project”
16.45-17.00 / 12.45-13.00

SESIÓN DE PREGUNTAS / DISCUSSION

CONFERENCIAS ESPECIALES / SPECIAL LECTURES

17.00-17.30 / 13.00-13.30 Percy Encinas (Universidad de San Marcos, Perú): “Consecuencias ontológicas y políticas del teatro tecnomediado”
17.30-18.00 / 13.30-14.00 Mauricio Tossi (CONICET, Universidad Argentina de la Empresa): “Bases para una dramaturgia argentina con ‘voluntad de otredad’: categorías nodales y poético-regionales”
18.00-19.00 / 14.00-15.00 Przemysław Błaszczak: “Pytanie o widza w pracy Studia Kokyu” (Teatr Zar, Instytut Grotowskiego), asistencia lingüística Eugenia Viktoria Pokutta

MESA DE PONENCIAS 2 / SESSION 2

19.00-19.15 / 15.00-15.15 Paula Ansaldo (CONICET, UBA, IAE): “El IFT y la experiencia de un teatro judío en español”
19.15-19.30 / 15.15-15.30 Belén Landini (CONICET, UBA, IAE): “Cuerpo y territorio en el teatro de Luis Ambrosio Morante (1780-1837)”
19.30-19.45 / 15.30-15.45 Catalina Julia Artesi (UBA, IAE): “Contra la violencia de género”
19.45-20.00 / 15.45-16.00 Jimena Cecilia Trombetta (UBA, IAE): ”Los componentes liminales en el cruce entre el teatro, la historia y la memoria: a propósito de la representación de héroes y heroínas históricos/as y el impacto afectivo en los espectadores”
20.00-20.15 / 16.00-16.15 Cora Fairstein (UBA, IAE): ”De espectadores a espectactores: el cuerpo del espectador en el Teatro del Oprimido”
20.15-20.30 / 16.15-16.30 Guillermina Bevacqua (CONICET, UBA, IHAAL): “Activismo artístico y torsiones desobedientes de Lukas Avendaño”
20.30-20.45 / 16.30-16.45

Pau Freixa (Universidad de Barcelona): ”Traduciendo el teatro de Dorota Maslowska al castellano: problemas”

20.45-21.00 / 16.45-17.00

SESIÓN DE PREGUNTAS / DISCUSSION

CONFERENCIAS ESPECIALES / SPECIAL LECTURES

21.00-21.30 / 17.00-17.30 Lucas Margarit: “Público y públicos en tiempos de Shakespeare”
21.30-22.00 / 17.30-18.00 Carlos Canales, Marioantonio Rosa, Carlos Dimeo, Conversatorio con Carlos Canales de la dramaturgia puertorriqueña

 

Jueves, 17 de diciembre / Thursday 17 December

Hora Varsovia (Cet) / HORA BUENOS AIRES

CONFERENCIA MAGISTRAL / PLENARY LECTURE

11.00-11.45 / 7.00-7.45 Carlos Dimeo, “El cuerpo del espectador representado en la escena”
11.45-12.00 / 7.45-8.00
Eva Reichwalderova, Jiří Chalupa (Matej Bel University): “Traducción de obras teatrales en Eslovaquia hasta el año 1989″
12.00-12.15 / 8.00-8.15
Marioantonio Rosa, “Carlos Canales: Teatro y Memoria (encuentros y apariciones)”
12.15-12.30 / 8.15-8.30
Angela Viora (Monash University): “The Audience-Audience Relationship: the Bodies of the Spectators as a Collective Performing Body with Agency and Power
12.30-13.00 / 8.30-9.00

SESIÓN DE PREGUNTAS / DISCUSSION

MESA DE PONENCIAS 3 / SESSION 3

13.00-13.15 / 9.00-9.15 Marita Foix (UBA, IAE): “Una marca profunda en la matriz liminal: el festejo del Bicentenario en el 2010”
13.15-13.30 / 9.15-9.30 Nora Lía Sormani (UBA, IAE): “La poética de Alejandro Finzi: análisis de sus obras para el espectador infantil y juvenil”
13.30-13.45 / 9.30-9.45 Andrés Lifschitz (UBA, IAE): “Norestada, Asociación de Grupos, Trabajadores y Trabajadoras del Teatro Independiente de la Región Metropolitana Norte de la Provincia de Buenos Aires. Sus primeros 10 años de historia”
13.45-14.00 / 9.45-10.00 Proyecto UBACYT (UBA, IAE): “Imaginarios y humor grotesco. Teatralidades europeas y Primera Guerra Mundial”. Integrantes: Laura Cilento, Jorge Dubatti, Natacha Koss, Paula Ansaldo, Eugenio Schcolnicov, Bernardo Suárez, Mariana Avilano, Cecilia D´Altilia, Mauricio Méndez, Florencia Casanova, Florencia Carina Cinquemani, Liliana López, Martina Delgado, María Alejandra Botto Fiora, Nicolás Querzoli Donnet, Rubén Guerrero
14.00-14.15 / 10.00-10.15 Silvina Díaz (CONICET, UBA): “Subjetividades y creación colectiva: Fin de Un Mundo”
14.15-14.30 / 10.15-10.30 José Castillo (UNIOESTE-Brasil): “Cuerpos Sin Órganos, Cuerpos Fronteras. Notas epistemológicas sobre la relación artista/espectador”
14.30-15.00 / 10.30-11.00

SESIÓN DE PREGUNTAS / DISCUSSION

MESA DE PONENCIAS 4 / SESSION 4

15.00-15.15 / 11.00-11.15 Lydia Di Lello (UBA, IAE): “La piel de las máscaras”
15.15-15.30 / 11.15-11.30 Ricardo Dubatti (CONICET, UADER, Entre Ríos): “Ver la Guerra de Malvinas (1982): el espectador como productor de memoria”
15.30-15.45 / 11.30-11.45 Ludmila Barbero (CONICET): “Cuando nació apareció el lobo: intermedialidad / performance en Marosa di Giorgio”
15.45-16.00 / 11.45-12.00 Grisby Ogás Puga (CONICET, Universidad Nacional de San Juan): “El radioteatro ayer y hoy. Sus posibilidades de creación de nuevas teatralidades tecno-conviviales y la reconfiguración del espectador-escucha en el contexto pandémico”
16.00-16.15 / 12.00-12.15 María Natacha Koss (UBA, IAE): “Performance, ritual y el teatro. El cuerpo del espectador en la tragedia griega”
16.15-16.30 / 12.15-12.30 Nara Mansur (Centro Cultural de la Cooperación, AICA): “La escucha como diseño y performance en tiempos de pandemia”
16.30-16.45 / 12.30-12.45 Ewelina Topolska (Universidad Técnica de Silesia): “Angélica Liddell, rastreadora de las pulsiones reprimidas del/a espectador/a”
16.45-17.00 / 12.45-13.00

SESIÓN DE PREGUNTAS / DISCUSSION

CONFERENCIA MAGISTRAL / PLENARY LECTURE

17.00-18.00 / 13.00-14.00 Cécile Chantraine Braillon (U. La Rochelle): “L’Ecole du Spectateur de Nouvelle Aquitaine: from the Argentinean model to the computerisation of research in the performing arts”
18.00-18.30 / 14.00-14.30 Daniel Vázquez Touriño (Masaryk University): “La identidad posthumana del espectador en tres piezas intermediales de Luis Mario Moncada” 14.00-14.30
 18.30-19.00 / 14.30-15.00

SESIÓN DE PREGUNTAS / DISCUSSION

MESA DE PONENCIAS 5 / SESSION 5

19.00-19.15 / 15.00-15.15 Bettina Girotti (CONICET, UBA, IAE): “Entre el escenario y el baúl de los juguetes: el títere como artefacto cultural en los proyectos de modernización (1940-1960)”
19.15-19.30 / 15.15-15.30 Gisela Ogás Puga (Universidad Nacional de San Juan, INT): “La poesía hecha cuerpo en la intermedialidad postmoderna”
19.30-19.45 / 15.30-15.45 Suellen Brito (Universidad Federal do Rio Grande do Sul, Brasil): “En travesía en el teatro ritual: investigación en el trabajo de actor sobre uno mismo”
19.45-20.00 / 15.45-16.00 Natacha Delgado y Mariano Scovenna (UBA, IAE): “La enseñanza del teatro y las nuevas tecnologías. Diálogos y tensiones”
20.00-20.15 / 16.00-16.15 Beatriz Elena Piñeiro, Pablo Ignacio Rivera, Ricardo Vivas Duarte, Dayra Restrepo (Grupo de investigación en títeres y teatro de objetos, GITO, Corporación Tranvía Teatro / Instituto Departamental de Bellas Artes, Colombia): “Proyecciones de los títeres en Santiago de Cali, Colombia”
20.15-20.30 / 16.15-16.30 Marina García Barros (Universidad Nacional de Río Negro / Instituto Universitario Patagónico de las Artes, Río Negro): “¿Qué es lo contemporáneo en el teatro que transitamos? Apuntes para pensar una Poética Errante en Patagonia”
20.30-21.00 / 16.30-17.00

SESIÓN DE PREGUNTAS / DISCUSSION

 DIÁLOGO ABIERTO Y PRESENTACIÓN LIBRO / OPEN DEBATE
21.00-22.00 / 17.00-18.00 Presentación del libro de Daniel Vázquez Touriño “Insignificantes en diálogo con el público. El teatro de la generación Fonca”
22.00-23.00 / 19.00-19.00 Diálogo abierto y presentación del libro “Las mujeres de los nazis” (“Kobiety nazistów”, traducción Carlos Dimeo y Michał Kopczyk). Conversación con el dramaturgo argentino y autor Héctor Levy-Daniel, con la participación de Jorge Dubatti y Carlos Dimeo

 

Viernes, 18 de diciembre / Friday 18 December

Hora Varsovia (Cet) / HORA BUENOS AIRES

MESA DE PONENCIAS 6 / SESSION 6

11.00-11.45 / 7.00-7.45 Olga Chrzan (Universidad de Silesia): “Cielesność' bytu scenicznego w teatrze animacji”
11.15-11.30 / 7.15-7.30
Łukasz Kiełpiński (Universidad de Varsovia): “Ucieleśniony odbiór tańca, czyli ekstatyczny model cielesności widza teatralnego”
11.30-11.45 / 7.30-7.45
Monika Czajkowska (Film School in Lodz), „Teatr do Internetu – czy to możliwe?”
11.45-12.00 / 7.45-8.00
Beata Gaj (Cardinal Stefan Wyszynski University): “Tożsamość widza i potrzeba chorei (exemplum Amfitriona)”
12.00-12.15 / 8.00-8.15
Katarzyna Lisowska (UP, Cracovia): “Kiedy teatr staje się filmem sensacyjnym”
12.15-12.30 / 8.15-8.30

Aneta Głowacka, Dorota Fox (Universidad de Silesia): “Publiczność zaangażowana w działania teatru”

12.30-13.00 / 8.30-9.00

SESIÓN DE PREGUNTAS / DISCUSSION

MESA DE PONENCIAS 7 / SESSION 7

13.00-13.15 / 9.00-9.15 Liliana López (UBA, IAE): “Impacto de la pandemia en el cuerpo, en el lazo social y en el teatro”
13.15-13.30 / 9.15-9.30 María Inés Grimoldi (UBA): “La música como memoria. De la peste negra al COVID-19″
13.30-13.45 / 9.30-9.45 Dulcinea Segura Rattagan (UBA, IAE): “Danza liminal en la obra Todos contentos del grupo El Descueve”
13.45-14.00 / 9.45-10.00 Proyecto FILO: CyT (UBA, IAE): “Teatro Comparado: Europa y Argentina”. Integrantes: Natacha Koss (dir.), Catalina Julia Artesi, Mauricio Méndez, Ana María Rossi, Brenda Anabella Schmunck, Andrés Gallina, María Alejandra Botto Fiora, Liliana López
14.00-14.15 / 10.00-10.15 Agustina Trupia (CONICET, UBA, IAE): “Expectación festiva, un elemento constitutivo de las prácticas transformistas contemporáneas en Argentina”
14.15-14.30 / 10.15-10.30 Silvina Mañueco y Juan Rolón (Instituto Patagónico de las Artes, Río Negro): “La liminalidad en el lenguaje de la estatua viviente”
14.30-15.00 / 10.30-11.00

SESIÓN DE PREGUNTAS / DISCUSSION

MESA DE PONENCIAS 8 / SESSION 8

15.00-15.15 / 11.00-11.15 Carla Pessolano (UNA): “Concepciones de mundo y cuerpos de actuación: el lenguaje detrás de la materialidad escénica”
15.15-15.30 / 11.15-11.30 María Guillermina Andrade y Carolina Donnantuoni (Escuela de Teatro de La Plata, ETLP, Provincia de Buenos Aires): “La construcción escénica desde la dramaturgia de lxs actuantes. Interacciones técnico-poéticas como ponencia expresiva. Experiencias desde la Escuela de Teatro La Plata”
15.30-15.45 / 11.30-11.45 Patricia Aschieri (UBA, IAE): “Las contorsiones políticas de los cuerpos del Butoh”
15.45-16.00 / 11.45-12.00 Natacha Delgado (UBA, IAE): “Puesta en escena: objeto de derecho y objeto de estudio”
16.00-16.15 / 12.00-12.15 Eugenio Schcolnicov (CONICET, UBA, IAE): “Coordenadas teóricas para el estudio de la dirección teatral”
16.15-16.30 / 12.15-12.30 Pablo García Gámez (The Graduate Center, CUNY, EEUU): “Públicos hispanos en Nueva York: ¡Allá va la película!”
16.30-16.45 / 12.30-12.45 Natalia Szejko (Yale University, USA, Medical University of Warsaw, Poland): “La ilusión de normalidad es, con frecuencia, completa. La aproximación al discurso de la patología en la obra En la ardiente oscuridad de Antonio Buero Vallejo”
16.45-17.00 / 12.45-13.00

SESIÓN DE PREGUNTAS / DISCUSSION

MESA DE PONENCIAS 9 / SESSION 9

17.00-17.15 / 13.00-13.15 Paweł Stangret (Cardinal Stefan Wyszynski University): “Audience as Charakter in Drama – Metatextual or Performative Efect?”
17.15-17.30 / 13.15-13.30 Vit Zeman (Academy of Performing Art in Prague): “The Presence of the Spectator as a Crucial Aspect of Authorial Reading”
17.30-17.45 / 13.30-13.45 Magdalena Figzał-Janikowska (Universidad de Silesia): “Embodying Sound: The Spectator’s Experience in Music Performances of Wojtek Blecharz”
17.45-18.00 / 13.45-14.00 Tetiana Pavlinchuk: “The Theatrical Game in Wisława Szymborska’s Body Poems”
18.00-18.15 / 14.00-14.15 Ziani Manel (Lancaster University): “The Politics and Aesthetics of Engaged Theatre: Experiencing Dialectics and Staging Direct”
18.15-18.30 / 14.15-14.30 Eleni Kolliopoulou (Ulster University): “Waste-is-land: Arguing about the centrality of the body in performative installations”
18.30-18.45 / 14.30-14.45

Patrycja Korczago (Universidad de Silesia): “The Spectator in Ryszard Ostromęcki’s authorial theatre in Warsaw​”

18.45-19.00 / 14.45-15.00

SESIÓN DE PREGUNTAS / DISCUSSION

CONFERENCIA MAGISTRAL / PLENARY LECTURE

19.00-20.00 / 15.00-16.00 Conversatorio con Katarzyna Kalwat, directora de teatro, acerca del actor, el teatro y el espectador en Polonia (asistencia lingüística Eugenia Viktoria Pokutta, modera Pau Freixa)
20.00-21.00 / 16.00-17.00 Encuentro de la Red Internacional de Escuelas de Espectadores (REDIEE). Participan representantes de 47 espacios de formación de espectadores de la Argentina, Bolivia, Brasil, Colombia, Costa Rica, España, Francia, Estados Unidos, México, Panamá, Perú, Polonia, República Dominicana, Uruguay, Venezuela
21.00-22.30 / 17.00-18.30 Libro Artistas-investigadoras/es y producción de conocimiento desde la escena (ENSAD, Lima, Perú). Participan: Lucía Lora Cuentas (directora de la ENSAD, Perú), “La ENSAD, investigaciones y proyecto editorial”; y las/los autoras/es Carlos Araque Osorio (Universidad Distrital de Bogotá Francisco José de Caldas, Colombia), Juan Carlos Calderón Gómez (Universidad de Costa Rica), Mario Cantú Toscano (Universidad Autónoma de Baja California), Natacha Delgado (Universidad de Buenos Aires), Jorge Dubatti (Universidad de Buenos Aires), María Fukelman (Universidad Católica Argentina), Hernán Gené (España), Marcela Juárez Smith (Universidad Nacional del Centro), Didanwy Kent Trejo (Universidad Nacional Autónoma de México), Fwala-lo Marin (CONICET, Universidad Nacional de Córdoba), Flavia Montello (Universidad Nacional de Río Negro), Mariano Scovenna (Universidad de Buenos Aires).
Libro El eslabón perdido. Un recorrido por la vida de Elba Fábregas, de Leonor Vila (Ediciones del CCC). Participan: Leonor Vila, Juano Villafañe, Nora Lía Sormani, Bettina Girotti, Sergio Rower.”
22.30-23.30 / 18.30-19.30

Performance: “Yo soy Ustedes”. Conversatorio “Yo soy Ustedes. Reflexiones de Bajtin al espectador”. Muro de Espuma Circo Teatro.

Yo soy ustedes
Muro de Espuma Circo Teatro
Colombia

“El pueblo luchaba no solo con la risa, sino también y abiertamente con las armas: con garrotes, con los puños, etc. Y este pueblo, que es el leitmotiv de mi trabajo (…) es de igual modo, un pueblo que puede organizar revueltas”. Mijaíl Bajtin En la defensa de su tesis doctoral.

Cuando estamos en el escenario y nos encontramos con distintos públicos particularmente en Colombia, siempre ha girado en nuestra cabeza la idea que los avatares de nuestra historia de violencia, hacen que el público resignifique su percepción del hecho violento cuando quien recibe la consecuencia de la agresión es un payaso.

A partir de esta idea y tomando algunas de las afirmaciones de Bajtin en su texto “Yo también soy”, ponemos a consideración de este encuentro tres escenas de nuestro repertorio para crear reflexiones entorno al público que tiene un contacto más frecuente con la violencia.

Por lo pronto nos despedimos desde el trópico del café y la alegría de vivir, en espera de nuestro encuentro.

Andrea Ruiz (Directora Muro de Espuma Circo Teatro)

22.30 / 19.30

CIERRE DE LA CONFERENCIA / CONFERENCE CLOSING

 

Resúmenes en inglés de las ponencias en polaco / English abstracts of papers presented in Polish
Olga Chrzan

„Carnality’ of being on stage in animation theater”

I begin my considerations on stage beings in the theater of animation, which I am trying to examine in my doctoral dissertation, by explaining a few elementary issues related to the way the stage character exists and its ontological status, definitely different from the literary one. Theater, regardless of convention, remains personal and existential. The stage being is an illustrated concretization of the dramatic character whose status remains purely literary. The character in the drama determines language, time, space, movement and also sound. All this suggests that the actor has a special role in the theater. The dramatic figure, whose existence is purely linguistic, is a part of the future stage image. It will play the role of a experiencing subject, a partner in conflicts, an adversary in dialogues, and will be given the function of a carrier of meanings. It should not be forgotten that each dramatic character remains a role in the stage optics. In the special case of animation theater, the actor’s role is somewhat redefined. The actor is accompanied by a doll, an object, an animant. The main topic of my research is an attempt to answer the questions about the ontologies. Ontologies of a stage being that consists of both a dead object and a living subject. A being that is a hybrid of a human and a doll, a being created on the border between the object and the actor’s body. In my paper, I would like to present some preliminary considerations on the issue of being on stage in animation theater.

Łukasz Kiełpiński


„Ucieleśniony odbiór tańca, czyli ekstatyczny model cielesności widza teatralnego”

Diana Taylor claims that performance is „effecting somebody, something done to the observer and with the observer „, whereas Erika Fischer-Lichte writes in „The Transformative Power of Performance: A New Aesthethics” about the „autopoietic feedback loop”, emphasizing the interactive aspect of the perception of a live performance. These enigmatic terms developed in the field of performativity found their „hard” evidence in neurosciences, when the spectacular – and often overestimated – discovery of the mimetic mechanism of mirror neurons provoked formulating far-reaching conclusions that the boundary between observing an action and performing it had been abolished. Nevertheless, the somatic, pre-reflective and active involvement of observers' bodies in a theatrical performance is a phenomenon, to which we can apply the category of embodiment and the issue of transmitting affects between the stage and the audience. This situation is best considered on the example of dance performance, which – through the rhytmical synchronisation of body movement, music and light effects – creates excellent conditions for its embodied and precognitive reception. The spectator’s body is stimulated, infected with an affect and ecstatically thrown out of itself. Thus, it can even feel the phantom experience of dancing while sitting. Experience of the dance performance is transferred from the stage to the bodies of spectators. The bodies of the performer and the spectator, united in rhythmical and affective communion, are living examples of the existential phenomenology theory by Maurice Merleau-Ponty, who claims that „my body and the body of another are two sides of the same phenomenon”. However, the mediated feeling of dance can be as much a testimony to the panhumanistic community of human bodies as it can be simply an error of differentiation of experiences during rhythmic ecstasy. Jean-Luc Nancy opposed the annihilation of difference and saw it as a potential appropriation and a step towards an illusory identity with the Other. The trance that has been evoked can therefore be as much communal and empathic as it can be grasping and taking on the Other.

I will discuss the concept of the viewer’s ecstatic body and the embodied perception of dance on the example of Nowy Teatr’s production of „Nancy. Interview” (choreography & direction: Claude Bardouil).

Beata Gaj


„Tożsamość widza i potrzeba chorei (exemplum Amfitriona)”

The viewer’s body is an important issue of theatrical relations. It is never discussed as a self-contained phenomenon, because the viewer is a psychophysicist with singular features and behaviors. The psychological needs of individuals sometimes referred to as triple (the Sphinx effect) are also different. The issue will be discussed, inter alia, based on one Latin drama, which in different epochs had different versions (Greek version-Plautus-Shakespeare-Moliere-Kleist-contemporary arrangements). The touched menu also includes the functions of theater in teaching (from Latin school dramas to contemporary situations) and the timeless and cross-cultural need for the choreia.

Katarzyna Lisowska


„When theater becomes an action movie”

In my lecture, I will focus on how viewers are treated in contemporary theater, and I will base my research on Hamlet directed by Krzysztof Grabaczewski (it was staged intensively in 2016 at the Helena Modrzejewska National Old Theater). It was very popular among young people, such as high school and academic students. I will analyze what made this happen, taking into account the elements of the performance and evaluate fragments of the play and props that enriched the performance with a lot of elements engaging the viewers' attention in terms of the visual sense. I will refer to the utter methods used in the performance, not only what the actors had at their disposal in the theater space, but also to how they were subordinated to these material things, playing a „distorted” text by Shakespeare, or interpreted according to contemporary cultural challenges, which concerned aspects such as the phenomenon of sponsorship. The main research problem will be at the center of all considerations – the analysis of which leads to the conclusion that contemporary theater becomes a great show. It is based on the dynamics of the action and the measures used that emphasize the clarity of sensational effects. The theater aspires to consider it on the borderline not only of theatrical art, but a performance identical to the film script. There is a lot going on its set, including elements of the macabre, so popular and parodied in American cinema (the phenomenon of ridiculing death, because Hamlet under this director has a problem with the fragility of life). I will answer the problem whether theater has drowned out the timeless question in its authenticity –“To be or not to be”(for the theater)? Of course, all the selected strategies are intended to make the theater attract the attention of the youngest generation of viewers, but we are losing out because we are moving away from the identity and elitism of theater. Theater becomesmore available to everyone (but does it live up to the expectations?). So there is a lot problems to investigate and I will carefully consider them all. I will support my speech with the opinions of the students with whom I watched the performance, who felt very confused and touched after that event. The theater did a lot of work on consciousness, affected it, and people felt that everything was mixed up within them. The viewers watched the performance in silence, astonishment, shock, and were left to deal with the enormity of difficult issues, by hook or by crook.

The role of Hamlet was played by Bartosz Bielenia, but I believe that he was obscured by special effects and they were the main factors in evoking feelings in viewers on a major scale – mixing emotions like in an experimental cocktail. This experience was a challenge. However, it resulted in taking the subject of a mortal, momentary being that fights for a more intense moment of life and its duration. But the end does not justify the method… Nevertheless there was a method in this madness…

Monika Czajkowska


„Theatre to the Internet – is it possible?”

Video in theatre is not a new thing, but in the face of the pandemic and the growing number of theatrical productions on the Internet, it seems crucial to consider the actor-viewer relationship mediated by the screen, although to be precise it is worth pointing out that this is no longer about „video in theatre”, but about „video theatre”. 

Does it make sense to create theatre to the Internet? And is it still theatre or film? And is not a new form being born before our eyes? 

Based on my practical experience – both theatre and film – as well as conversations with students of the Film School in Łódź and the Theatre Academy in Warsaw, with whom I have classes, in my paper I would like to consider how to „make theatre” in a situation when it is impossible for actors to meet the audience (and audience to meeet the actors). In my speech I will use examples of the latest productions, including my own.

Aneta Głowacka, Dorota Fox

„Audiences involved in theatre activities”

The discussions about more modern way of thinking about the role of cultural institutions, their social responsibility, methods of organization and management continue to occasionally return in Poland. For almost thirty years, attempts have been made to reform and improve the organization and financing of culture inherited from the previous system, with varying degrees of success. More and more often, especially in the last few years, the need for democratization of cultural institutions  is discussed, which could effectively protect them, for example, against political appropriation by the politicians responsible for the organization of public culture in Poland. Such appropriation usually takes place in two ways: by instrumentalizing culture for ideological purposes (only those projects and institutions whose programmes are in line with the ruling party’s ideology are financed) or by introducing neoliberal market mechanisms into the system of financing culture, which turn culture into a product, a commodity and its recipient – into a client. Consequently, only such projects are implemented and only those institutions which can take care of their own financing stand a chance of surviving). In the former case, culture becomes a tool of political struggle, in the latter – it is reduced to a purely commercial dimension.

When talking about the democratization of cultural institutions, on the one hand we are thinking about a change in management methods, which democratization of the management process involves, above all,  the emancipation of art workers, including theatres, which means their self-organization, the need to be empowered and to develop new management practices, allowing for mutual criticism of the management and employees, participation of employees in creating the programme and their co-decision on working methods or decision mechanisms . On the other hand, we are thinking about ways of winning the favour of viewers, involving them in the life of the institution and creating alliances with them to protect them against attempts at power.

In the last decade, due to the growing influence of the ruling party’s policy on the shape of cultural life, there have been several significant changes in the positions of directors of important cultural institutions, including theatres. The „reshuffling” carried out by the organizers, that is the authorities, made with the full sanction of „legal arrangements”, as we have pointed out, offering many possibilities for interpretation and granting the organizer with a decisive voice, and under the slogan of „a good change”, was met with disapproval of the community of artists and theatre employees. The strong involvement of the theatre audience in the protests is also worth noting. Thus,  theatre found an ally in confronting and struggling with the authorities represented by the Organizer, in its struggle for the survival or preservation of its high status, built over the years as an artistic reputation.

The election of Cezary Morawski as director of the Polish Theatre in Wrocław in 2016 was the reason for one of the louder and more pronounced public protests. The nomination of the director chosen from the political key did not gain the approval of either the theatre team or the artistic community, or the people of Wrocław – the permanent audience of the theatre. Despite numerous protests, which took various forms: letters addressed to the organiser, i.e. the Marshal of the Lower Silesian Voivodeship, open letters with numerous signatures of people of the arts from Poland and abroad, press debates, or significant behaviour of artists who in the theatre, after the performances played, as a sign of being deprived of their voice, bowed to the audience with their lips taped (this gesture was repeated by actors in other Polish theatres in an act of solidarity), Morawski’s dismissal did not take place then. This did not happen until 2018, when – as Magdalena Piekarska wrote – the theatre had already managed to leave the audience, the repertoire was destroyed and the ensemble dispersed.

As the example from Wrocław shows, the initiative of the audience can take various forms, and it can also escalate. When there was a change in the management at Teatr Polski in Wrocław, the audience initially decided to set up a fanpage to keep themselves informed about the activities undertaken in relation to the theatre. When the previously announced premiere of F. Kafka’s The Trial directed by Krystian Lupa was cancelled, they went to the Marshal’s Office (the theater’s organizer) with the copies of The Trial tied with black ribbons and with a dedication to all members of the board. They also filed a petition in which they demanded Morawski’s dismissal from the position of the theatre’s director. They looked for support in the local and national media. They also made an appearance on the stage. After the performance of  Death and the Girl (prepared under the previous management) was resumed, they read an appeal to the current director to step down. Many subsequent performances were transformed into political demonstrations or protest happenings . Such hostile moods were fueled by the director himself, who, in response to repeated appeals, stated that if the audience is dissatisfied, they should not come to the theatre. Despite these offensive words, the activists who called themselves „the Audience of Polski Theater” did not stop fighting. They organized, among others, a debate under the slogan „Let’s not be persuaded that nothing can be done about it”, attended by representatives of various circles and bodies: officials, directors, directors of other theatres. They even invited representatives of the ministry and the president of ZASP to participate. And although it was not possible to change the director at that time, the audience’s initiative was noticed and resulted in the foundation of the Society of Public Theaters' Viewers, whose main aim was to promote and strengthen the mission of the theatre as a social laboratory, a place for social debate over topics that the community, and therefore also viewers, consider the most important . Public theatre is not an enterprise, but a venture, a significant part of public life, as was emphasized in 2017 by the then director of Zbigniew Raszewski Theater Institute, Dariusz Kosiński, in connection with the celebration of the 250th anniversary of public theatre. And he added: „public theatre is a space of experience and reflection, the essence of which is the confrontation with the ways of thinking adopted and implemented by viewers in life” . Such confrontation should take place under conditions of freedom and respect for the rights of the public as well. The audience itself begins to increasingly call for this privilege of certifying the importance of a specific institutional theatre. The example of the viewers from Wrocław is not a one-off.

It is worth describing a few such actions. Most of them involve the appointment of a new theatre director, but not only that. We should start with Kraków and Stary Theatre, which is a national cultural institution financed by the Minister of Culture and National Heritage, being its organizer. In 2017, a competition commission appointed by the Minister selected Marek Mikos, a person little known in the theatre’s community, with dubious artistic achievement, who was not accepted by the theatre’s staff, for the position of the director. The protests of the actors were joined not only by famous Polish theatre directors, but also by the audience of the theatre, associated in the group operating under the name of Audience of Stary Theatre. On the audience’s initiative, eight protests had taken place before Mikos took over the theatre’s management. Since June 2nd, 2017, for the following few days, the audience kept coming one hour before the performance of Wesele, directed by the previous director of Teatr Stary, Jan Klata, to Plac Szczepański, wearing special clothes. Women had wreaths on their heads, and men had wild flowers in the pockets of their shirts. In this way, the audience of Stary Theatre in Kraków expressed solidarity with the actors of the theatre in a gesture of protest against the appointment of the new director. And although they did not participate actively in the negotiations between the actors and the organizer, they declared in a non-aggressive manner whose side their sympathy was on .

Protests of the audience of Gliwicki Teatr Muzyczny, who expressed their objection to the theatre’s liquidation ordered by the local authorities, turned out to be equally ineffective. And it should be added that it was a theatre with a 60-year long tradition, especially important to the local audience, who was passionate about music. As an operetta theatre, it was one of the few institutions of this type in Poland, so when the layoffs of its employees started, the theatre artists began protesting. They were, for example, picketing in the Market Square in Gliwice under the slogan „Do not liquidate the GMS, since it is a beautiful and magical place”, to draw the attention of not only the local authorities, but also of the public to the emerging problem. Soon after, a petition was prepared to the Minister of Culture and National Heritage and the mayor of the city, which was signed by over 10,000 people .

The effectiveness of this type of support is not very high, as shown by the examples above. Nevertheless, they confirm that institutional theatres and public theatres have built a faithful audience for themselves in many places which is willing to undertake joint initiatives. After all, only theatre that is not alienated from its social environment has a chance to implement values essential for the community. Such theatre will not be a product unless the viewers are mere consumers, instead of partners in a dialogue.

 

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