Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120414
C. Lavery
This essay proposes a new way of reading the Situationist notion of derive (drift) in the Anthropocene by thinking of it as an operation that is geological in impetus, a sense of movement caused by an agentic earth. Equally, it looks to offer an alternative and expanded theory of theatricality in which the theatrical is no longer associated with theatre per se. On the contrary, it is now seen as a mode of representation that deterritorializes spectators by placing them in the midst of groundless flows and anonymous processes. In the same way that the earth in the Anthropocene is figured as a dynamic and unstable planet, so drifting and theatricality, when brought together, radicalise our extant understandings of the stage by allowing it to become motile, a terrestrial force. Here, the ecological potential of theatre is not found in staging plays about climate change or insisting on site-specificity, but in thinking through the geological power of theatricality, its capacity to exist as a type of plate tectonics. Such an expanded understanding of theatricality explains why instead of paying attention to a specific theatre production or even to the medium of theatre in a restricted sense, I examine how, in their 1958 text and image collaboration Memoires, the Danish artist Asger Jorn and his friend Guy Debord were able to transform the page into a stage – to theatricalize and geologize reading. In an attempt, simultaneously, to expand and undo itself, the article is not content to conceptualize its argument, it looks to theatricalize itself, to become a kind of drift, a geology of writing.
{"title":"Theatricality and Drifting in the Anthropocene","authors":"C. Lavery","doi":"10.7146/nts.v32i1.120414","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120414","url":null,"abstract":"This essay proposes a new way of reading the Situationist notion of derive (drift) in the Anthropocene by thinking of it as an operation that is geological in impetus, a sense of movement caused by an agentic earth. Equally, it looks to offer an alternative and expanded theory of theatricality in which the theatrical is no longer associated with theatre per se. On the contrary, it is now seen as a mode of representation that deterritorializes spectators by placing them in the midst of groundless flows and anonymous processes. In the same way that the earth in the Anthropocene is figured as a dynamic and unstable planet, so drifting and theatricality, when brought together, radicalise our extant understandings of the stage by allowing it to become motile, a terrestrial force. Here, the ecological potential of theatre is not found in staging plays about climate change or insisting on site-specificity, but in thinking through the geological power of theatricality, its capacity to exist as a type of plate tectonics. Such an expanded understanding of theatricality explains why instead of paying attention to a specific theatre production or even to the medium of theatre in a restricted sense, I examine how, in their 1958 text and image collaboration Memoires, the Danish artist Asger Jorn and his friend Guy Debord were able to transform the page into a stage – to theatricalize and geologize reading. In an attempt, simultaneously, to expand and undo itself, the article is not content to conceptualize its argument, it looks to theatricalize itself, to become a kind of drift, a geology of writing.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"7 1","pages":"159-178"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87931857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120400
S. Wilmer, K. Vedel
{"title":"Theatre and the Anthropocene","authors":"S. Wilmer, K. Vedel","doi":"10.7146/nts.v32i1.120400","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120400","url":null,"abstract":"","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"26 1","pages":"1-5"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75616113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120406
A. Žukauskaitė
The article discusses the notion of the Anthropocene as a kind of anthropological machine, closely related to the regime of visuality. Giorgio Agamben points out that the anthropological machine is always an optical machine, which helps to induce visibility as an essential element of power. Similarly, Nicholas Mirzoeff discusses Anthropocene visuality as a technique which is always hierarchical and autocratic, helping to maintain the visualizer’s material power. Mirzoeff suggests that the biopolitical effects of visuality can be confronted by “countervisuality”, a strategy, which abandons visuality in order to achieve political equality. However, in this article I will argue that Anthropocene visuality should not be abandoned but rather reversed or redirected. In this regard, reversed visuality would mean not the replacement of the aesthetic with the political, but, on the contrary, the replacement of anthropocentric aesthetics with a different kind of aesthetics, which includes a non-human or not-quitehuman gaze. If Anthropocene visuality silently presumes that the place from which it represents will remain forever intact, then post-Anthropocene visuality demonstrates that the mechanisms of exclusion and subjection are easily interchangeable and that every living being can potentially bec ome “bare life”.
{"title":"Producing Bare Life in the Anthropo-scene","authors":"A. Žukauskaitė","doi":"10.7146/nts.v32i1.120406","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120406","url":null,"abstract":"The article discusses the notion of the Anthropocene as a kind of anthropological machine, closely related to the regime of visuality. Giorgio Agamben points out that the anthropological machine is always an optical machine, which helps to induce visibility as an essential element of power. Similarly, Nicholas Mirzoeff discusses Anthropocene visuality as a technique which is always hierarchical and autocratic, helping to maintain the visualizer’s material power. Mirzoeff suggests that the biopolitical effects of visuality can be confronted by “countervisuality”, a strategy, which abandons visuality in order to achieve political equality. However, in this article I will argue that Anthropocene visuality should not be abandoned but rather reversed or redirected. In this regard, reversed visuality would mean not the replacement of the aesthetic with the political, but, on the contrary, the replacement of anthropocentric aesthetics with a different kind of aesthetics, which includes a non-human or not-quitehuman gaze. If Anthropocene visuality silently presumes that the place from which it represents will remain forever intact, then post-Anthropocene visuality demonstrates that the mechanisms of exclusion and subjection are easily interchangeable and that every living being can potentially bec ome “bare life”.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"49 1","pages":"27-43"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90290507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120408
N. Balestrini
Quebec-born playwright Chantal Bilodeau has been responding to the challenges of dramatizing anthropogenic climate change by developing an eight-part Arctic Cycle, each play of which is set in one of the nations that claims Arctic territory. Sila (2014) immerses audiences into a complex network of humans, animals, and mythical beings crisscrossing the Canadian Arctic. These movements circle around the Inuit concept of sila, which is the life-giving force of breath and voice. Thus, the sonic world of Sila focuses on voices speaking words, on performance poetry, and on the sounds of breath and wind. Bilodeau’ s second Arctic Cycle play, Forward (2016), addresses the long-term impact of Fridtjof Nansen’s polar exploration of the 1890s on Norway’s economy and society. In terms of sound, Forward features multiple musical performances rangingfrom traditional songs to European opera arias and Lieder to contemporary Norwegian electro-pop. The sonic features of both plays stress interdependence across time, space, as well as (non-)human, earthly, and metaphysical realms. Sila and Forward address climate change in a non-universalizing manner which promotes a heterarchical (rather than hierarchical) aesthetic fit for a growing awareness of planetary relationality.
{"title":"Sounding the Arctic in Chantal Bilodeau’s Climate Change Plays","authors":"N. Balestrini","doi":"10.7146/nts.v32i1.120408","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120408","url":null,"abstract":"Quebec-born playwright Chantal Bilodeau has been responding to the challenges of dramatizing anthropogenic climate change by developing an eight-part Arctic Cycle, each play of which is set in one of the nations that claims Arctic territory. Sila (2014) immerses audiences into a complex network of humans, animals, and mythical beings crisscrossing the Canadian Arctic. These movements circle around the Inuit concept of sila, which is the life-giving force of breath and voice. Thus, the sonic world of Sila focuses on voices speaking words, on performance poetry, and on the sounds of breath and wind. Bilodeau’ s second Arctic Cycle play, Forward (2016), addresses the long-term impact of Fridtjof Nansen’s polar exploration of the 1890s on Norway’s economy and society. In terms of sound, Forward features multiple musical performances rangingfrom traditional songs to European opera arias and Lieder to contemporary Norwegian electro-pop. The sonic features of both plays stress interdependence across time, space, as well as (non-)human, earthly, and metaphysical realms. Sila and Forward address climate change in a non-universalizing manner which promotes a heterarchical (rather than hierarchical) aesthetic fit for a growing awareness of planetary relationality.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"92 1","pages":"66-81"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80345633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120121
Jurgita Staniškytė
In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a creative laboratory, where audience ability to recognize and/or resist historical manipulations as well as to embrace plural and polyphonic nature of memory are tested. In some cases, however, Lithuanian theatre creators are interested in “truthful” or “authentic” representations of personal memories, rather than a performative investigation ofmechanisms of production of the “reality effect” in historiography and their impact on audience perception. This article examines the ways in which historical events are represented on the contemporary Lithuanian theatre stage and, at the same time, addresses the larger issues around the implications of particular theatricalstagings of the past on the current understanding of the subject of history.
{"title":"Inventing the Past, Re-Writing the Present","authors":"Jurgita Staniškytė","doi":"10.7146/nts.v31i2.120121","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120121","url":null,"abstract":"In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a creative laboratory, where audience ability to recognize and/or resist historical manipulations as well as to embrace plural and polyphonic nature of memory are tested. In some cases, however, Lithuanian theatre creators are interested in “truthful” or “authentic” representations of personal memories, rather than a performative investigation ofmechanisms of production of the “reality effect” in historiography and their impact on audience perception. This article examines the ways in which historical events are represented on the contemporary Lithuanian theatre stage and, at the same time, addresses the larger issues around the implications of particular theatricalstagings of the past on the current understanding of the subject of history.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"74 1","pages":"61-72"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73266835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120119
Ina Pukelytė
The article discusses the question of the memory of Jewish history and culture in Lithuania in regard to the cultural and political debates that are actually taking place in Lithuanian society. Historical facts, concerning Jewish cultural life in Lithuania before the Second World War, were eliminated from the research field conducted by historiographers during the Soviet and the early post Soviet times. The article argues that this was due to political aspirations of the country; they play the crucial role in defining what type of memories the society would carry on and defend. In regard to the research done by sociologists Maurice Halbwachs, Jan and Aleida Assmanns notions of collective memory, functional and stored memory are discussed. Examples of the recent media persecutions of cultural personas such as Rūta Vanagaitė and Marius Ivaskevicius are discussed in order to illustrate the memory war that is still taking place in the actual Lithuanian society.
{"title":"Political Influence on Theatre Historiography","authors":"Ina Pukelytė","doi":"10.7146/nts.v31i2.120119","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120119","url":null,"abstract":"The article discusses the question of the memory of Jewish history and culture in Lithuania in regard to the cultural and political debates that are actually taking place in Lithuanian society. Historical facts, concerning Jewish cultural life in Lithuania before the Second World War, were eliminated from the research field conducted by historiographers during the Soviet and the early post Soviet times. The article argues that this was due to political aspirations of the country; they play the crucial role in defining what type of memories the society would carry on and defend. In regard to the research done by sociologists Maurice Halbwachs, Jan and Aleida Assmanns notions of collective memory, functional and stored memory are discussed. Examples of the recent media persecutions of cultural personas such as Rūta Vanagaitė and Marius Ivaskevicius are discussed in order to illustrate the memory war that is still taking place in the actual Lithuanian society.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"15 1","pages":"37-48"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84580932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120185
A. Kuhlmann
Vicki Ann Cremona’s Carnival and Power offers a vibrant account of the development of carnival under British rule in Malta, exploring the country’s long transition to independence through the lens of carnival performance. Cremona pursues a broad-ranging analysis of Maltese street performance and masquerade, presenting carnival as a dialectic between the spectacular enforcement of regimes of representation under colonial rule, and — conversely — as a locus of resistive renegotiation of Maltese identity. Cremona’s analysis of the function of carnival as a subaltern social text caught up in the European construction of the Other, and as an affirmation of identity and collectivity, forms a valuable contribution to the field of performance studies and postcolonial scholarship. She enriches a growing body of research (e.g., Turner 1983; Roach 1996; Riggio 2004; Irobi 2007) that attends to carnival as a site of tension between cultural resistance and social assimilation in the context of a complex colonial and postcolonial history.
{"title":"The Five Continents of Theatre: Facts and Legends About the Material Culture of the Actor","authors":"A. Kuhlmann","doi":"10.7146/nts.v31i2.120185","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120185","url":null,"abstract":"Vicki Ann Cremona’s Carnival and Power offers a vibrant account of the development of carnival under British rule in Malta, exploring the country’s long transition to independence through the lens of carnival performance. Cremona pursues a broad-ranging analysis of Maltese street performance and masquerade, presenting carnival as a dialectic between the spectacular enforcement of regimes of representation under colonial rule, and — conversely — as a locus of resistive renegotiation of Maltese identity. Cremona’s analysis of the function of carnival as a subaltern social text caught up in the European construction of the Other, and as an affirmation of identity and collectivity, forms a valuable contribution to the field of performance studies and postcolonial scholarship. She enriches a growing body of research (e.g., Turner 1983; Roach 1996; Riggio 2004; Irobi 2007) that attends to carnival as a site of tension between cultural resistance and social assimilation in the context of a complex colonial and postcolonial history.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"54 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85744717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120122
A. V. Rosen
In 1942 Vilhelm Moberg’s (1898–1973) highly successful historical novel Ride This Night! (1941) was adapted for the theatre and premiered at several Swedish theatres as well as being distributed as a film. While Sweden maintained what was termed a neutral position during World War II, Moberg’s novel, together with its various performances, facilitated a mood of resistance against Nazism. In recognition of this, the focus of my article is the much-celebrated first performance of Ride This Night at the City Theatre (Stadsteatern) in Gothenburg on 14 October 1942. To explore this performance as theatrical memory of World War II, I draw on recent scenography theory emphasizing the holistic role of material and affective relations between bodies, objects and environments. By doing so, the article contributes an historical case study to the international field of critical scenography, and challenges the ways in which previous Swedish art and theatre historiography has theoretically understood and explored the powers of scenographic traits of past performance.
{"title":"Scenographing Resistance","authors":"A. V. Rosen","doi":"10.7146/nts.v31i2.120122","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120122","url":null,"abstract":"In 1942 Vilhelm Moberg’s (1898–1973) highly successful historical novel Ride This Night! (1941) was adapted for the theatre and premiered at several Swedish theatres as well as being distributed as a film. While Sweden maintained what was termed a neutral position during World War II, Moberg’s novel, together with its various performances, facilitated a mood of resistance against Nazism. In recognition of this, the focus of my article is the much-celebrated first performance of Ride This Night at the City Theatre (Stadsteatern) in Gothenburg on 14 October 1942. To explore this performance as theatrical memory of World War II, I draw on recent scenography theory emphasizing the holistic role of material and affective relations between bodies, objects and environments. By doing so, the article contributes an historical case study to the international field of critical scenography, and challenges the ways in which previous Swedish art and theatre historiography has theoretically understood and explored the powers of scenographic traits of past performance.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"1 1","pages":"73-88"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78625793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120183
P. Paavolainen
The Centennial of one of the cruelest of European civil wars fought in Finland between the Reds and the Whites from January to May 1918 has evoked a spectrum of theatre productions illustrating variations of styles and approaches on the events. The turn in the treatment of this cultural trauma occurred with the interpretations and narrative perspectives that were fixed in the 1960s, when an understanding for the defeated Red side was expressed in historiography, literature and theatre. Since that, the last six decades the Finnish theatre and public discourse on the Civil War have been dominated by the Red narrative as the memory of the 1918 Civil War provided an important part in the new identity politics for the 1969 generation. Since the 1980’s the topic was mostly put aside so that before the 2018 revivals of the Civil War topic, the productions seem to have been reactions by the artists confronting the developments at the end of the Cold War. Some theatrical events can even be tied to the cultural trauma of the 1969 left evoked by the collapse of the socialist block. The Centennial productions repeated the Red narrative but they also provided more balanced interpretationson the tragic events.
{"title":"Cultural Trauma of the Civil War of 1918 Staged and Commemorated in Finland","authors":"P. Paavolainen","doi":"10.7146/nts.v31i2.120183","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120183","url":null,"abstract":"The Centennial of one of the cruelest of European civil wars fought in Finland between the Reds and the Whites from January to May 1918 has evoked a spectrum of theatre productions illustrating variations of styles and approaches on the events. The turn in the treatment of this cultural trauma occurred with the interpretations and narrative perspectives that were fixed in the 1960s, when an understanding for the defeated Red side was expressed in historiography, literature and theatre. Since that, the last six decades the Finnish theatre and public discourse on the Civil War have been dominated by the Red narrative as the memory of the 1918 Civil War provided an important part in the new identity politics for the 1969 generation. Since the 1980’s the topic was mostly put aside so that before the 2018 revivals of the Civil War topic, the productions seem to have been reactions by the artists confronting the developments at the end of the Cold War. Some theatrical events can even be tied to the cultural trauma of the 1969 left evoked by the collapse of the socialist block. The Centennial productions repeated the Red narrative but they also provided more balanced interpretationson the tragic events.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"8 1","pages":"102-131"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87845092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-18DOI: 10.7146/nts.v31i2.120120
Niklas Füllner
The paper discusses Oliver Frljic’s production of Klątwa(Engl.: “The Curse”) which is based on the play with the same title by Stanislaw Wyspianski. Klątwapremiered in Teatr Powszechny in Warsaw on 18 February 2017 and created the biggest theatre scandal in the early theatre history in Poland as both the right-wing government and the right-wing movement in Poland regarded it as blasphemous and – unsuccessfully – tried to prevent further performances. In KlątwaOliver Frljic questions the understanding of historiography promoted by the Polish government that prefers to focus only on stories about heroes and he criticises both the abuse of power in the church and in the institutionalized theatre. The strategies of Oliver Frljic’s political theatre are analyzed in the light of Jacques Ranciere’s thoughts about critical theatre. In Klątwa Frljic develops a theatre of dissensus in the sense of Ranciere. He undertakes a “dissensual re-configuration”[1]of political theatre by changing the frames, by playing around and by questioning the means used in theatre. But Frljic also deviates from this strategy when he creates images on stage that convey meanings directly and simply. Yet, these images fit into Frljic’s strategy of questioning the official Polish historiography by deconstructing the symbols it is based on. Oliver Frljic’s theatre of emancipation, a theatre that believes in the potential of the spectator to emancipate him- or herself as suggested by Ranciere in The Emancipated Spectator (Ranciere 2009), manages to make visible authoritarian and undemocratic developments in Polish politics and to offer a critical approach to history in contrast to the one-sided view the Polish government tries to establish. [1]Ranciere 2010, p. 140.
{"title":"Making Your Own Story of It","authors":"Niklas Füllner","doi":"10.7146/nts.v31i2.120120","DOIUrl":"https://doi.org/10.7146/nts.v31i2.120120","url":null,"abstract":"The paper discusses Oliver Frljic’s production of Klątwa(Engl.: “The Curse”) which is based on the play with the same title by Stanislaw Wyspianski. Klątwapremiered in Teatr Powszechny in Warsaw on 18 February 2017 and created the biggest theatre scandal in the early theatre history in Poland as both the right-wing government and the right-wing movement in Poland regarded it as blasphemous and – unsuccessfully – tried to prevent further performances. In KlątwaOliver Frljic questions the understanding of historiography promoted by the Polish government that prefers to focus only on stories about heroes and he criticises both the abuse of power in the church and in the institutionalized theatre. The strategies of Oliver Frljic’s political theatre are analyzed in the light of Jacques Ranciere’s thoughts about critical theatre. In Klątwa Frljic develops a theatre of dissensus in the sense of Ranciere. He undertakes a “dissensual re-configuration”[1]of political theatre by changing the frames, by playing around and by questioning the means used in theatre. But Frljic also deviates from this strategy when he creates images on stage that convey meanings directly and simply. Yet, these images fit into Frljic’s strategy of questioning the official Polish historiography by deconstructing the symbols it is based on. Oliver Frljic’s theatre of emancipation, a theatre that believes in the potential of the spectator to emancipate him- or herself as suggested by Ranciere in The Emancipated Spectator (Ranciere 2009), manages to make visible authoritarian and undemocratic developments in Polish politics and to offer a critical approach to history in contrast to the one-sided view the Polish government tries to establish. \u0000[1]Ranciere 2010, p. 140.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"47 1","pages":"49-60"},"PeriodicalIF":0.3,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86024842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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