Anarchival Impulse
Iga Gańczarczyk
ganczarczyk@ha.art.plAST National Academy of Theatre Arts in Krakow (Poland)
https://orcid.org/0000-0001-9849-0615
Abstract
The author discusses Magdalena Rewerenda’s approach to the relationship between the theater and the archive, as proposed in her book Performatywne archiwum teatru: Konsekwencje Nie-Boskiej komedii. Szczątków Olivera Frljicia [The Performative Archive of Theater: The Consequences of Theater of The Un-Divine Comedy. Remains by Oliver Frljić] (Toruń 2020). The reviewer focuses on the strategies used by artists and researchers to redefine the notion of the archive and reveal its revolutionary potential. She is interested in Rewerenda’s analyses of theater projects by Oliver Frljić and Weronika Szczawińska / Agnieszka Jakimiak, and of social and media performances provoked by them that foreground categories such as trauma, decorum, canon, and national institutions. The review also follows Rewerenda’s search for a new definition of the theater archive as a performative archive, highlighting its role in the clash between theater archons and archive anarchists (“anarchivists”) who challenge existing hierarchies.
Keywords:
performative archive, Oliver Frljić, «Un-Divine Comedy», archive thinkers, censorshipReferences
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Authors
Iga Gańczarczykganczarczyk@ha.art.pl
AST National Academy of Theatre Arts in Krakow Poland
https://orcid.org/0000-0001-9849-0615
Dramatist, stage producer and editor. She graduated from Theatre studies and Dramaturgy at the Drama School in Cracow. She has collaborated with Krystian Lupa, Paweł Miśkiewicz, Bruno Lajara, Agnieszka Holland and Anna Smolar, Maciej Podstawny. Her own theatre productions include "The Final Fire” by Dea Loher and "Country House” by Witkacy. Her last production, titled "Winter Stories", was an adaptation of stories by Hans Christian Andersen and won the 2012 Hans Christian Andersen Award. She works in Ludwik Solski Academy for the Dramatic Arts in Cracow. She is editor of the "Theatrical line" at Ha!art.
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