https://doi.org/10.21697/cl.2009.2.02
A Theatrical Quotation in Tadeusz Kantor’s Oeuvre
In my text I focus on the problem of a theatrical quotation. Such form of referring to previous statements is traced at the example of Tadeusz Kantor’s Wedding in a Constructivist and Surrealistic Manner. This spectacle, carried out by a group of students from Scuola d’Arte Drammatica in Milan perfectly presents the subject in question. Its core lies in a practical realization of theoretical concepts which have been expounded within a month’s lectures. Kantor demonstrated how to quote a poetics of historical theatrical movements in a theatrical play. The first phase of a theatrical quotation has to be the fulfilment of a quoting element – in the case of Tadeusz Kantor’s Milan project the idea is to create one’s own contemporary constructivism and surrealism. The Cracow artist achieves it by using his artistic oeuvre and also his theoretical rumination on the influence of these trends on the whole art of the past century (during his lectures which culminated in The Wedding... Kantor used to say that in Scuola d’Arte Drammatica he made a summary of the 20th century). The second phase of the quoting process in the theatre is becoming an inherent part of a formerly created tradition, reconstructed according to its own theoretical concepts. Kantor, while preparing a spectacle “in a constructivist and surrealistic manner” and showing it as cricotage – that is his own works of art, not merely a didactic workshop performance, describes himself as an artist. He shows that these literary trends are the most important for his artistic output. Moreover, he uses these two movements since in his view they dominated 20th century thinking of art and aesthetics. Hence, while quoting constructivism and surrealism, Kantor shows that artists’ concepts taken from these trends are still significant because they work in a stage experience, the evidence of which is the spectacle staged in Milan school in 1986.
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