Do We Need Transcultural Perspective in Polish Theatre Studies?
Artur Duda
dudaart@umk.plNicolaus Copernicus University (Poland)
https://orcid.org/0000-0002-2522-6888
Abstract
This article seeks to offer a deeper reflection on the benefits of adopting a transcultural perspective, which goes beyond the limitations of what is known as intercultural theatre. With reference to Rustom Bharucha’s revisionist approach to the research of Jerzy Grotowski and other European representatives of intercultural theatre, and to Achille Mbembe’s critique of European democracy as the delegation of violence to non-European zones of lawlessness, spaces for non-humans, the author attempts to outline the advantages of the transcultural perspective for Polish research. Using the example of the theatrical reception of Adam Mickiewicz’s Forefathers’ Eve (Dziady), the article presents the fundamental rift between the phenomenon of the play in literature and theatre (where it has served as a critical reflection on the condition of the Polish nation and society) and the indigenous ritual of the same name, whose peasant depositaries no longer have custody over it and which is extracted and exploited for purposes incompatible with its original purpose by artists from the intelligentsia—as by colonial settlers.
Keywords:
intercultural theatre, transcultural perspective, Adam Mickiewicz, Forefathers’ Eve, 21st-century theatre, ritual in theatreReferences
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Authors
Artur Dudadudaart@umk.pl
Nicolaus Copernicus University Poland
https://orcid.org/0000-0002-2522-6888
Artur Duda - theatre scholar, performer, university professor at the Institute of Cultural Studies of the Nicolaus Copernicus University in Toruń, Head of the Department of Cultural Studies. He works on issues of drama and theatre theory: the relationship between the text of a drama and its staging, the aesthetics of contemporary theatre, in particular Polish, Lithuanian and German theatre, the history of Polish and German theatre in Toruń, and performance studies, which include live performance as a human medium and hypermedia. He is a permanent associate of the Centre for the Study of Eastern European Theatre established at the Shanghai Theatre Academy in 2018.
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