Tadeusz Kantor. Sztuka, biografia, pamięć cz. I
&#;Wszystko, co robiłem w sztuce,/było odbiciem mojej postawy/wobec wypadków, które działy się wokół mnie,/sytuacji, w której żyłem,/moich lęków,/mojej wiary w to, a nie co innego,/mojej niewiary w to, co do wierzenia było podawane,/mojego sceptycyzmu,/nadziei&#;[1]. W twórczości Tadeusza Kantora awangardowe koncepcje współistnieją z ideą powrotu do motywów znanych z kultury, w jakiej funkcjonował, artystów, którzy go fascynowali, a także do zmarłych członków rodziny i miejsc z przeszłości. Artysta udowodnił, że dzięki działaniom malarskim i teatralnym możliwe jest wskrzeszenie ducha tego, co minione.
PAMIĘĆ SZTUKI
Pierwszym ważnym dla Kantora obrazem były Pochodnie Nerona Henryka Siemiradzkiego, które zobaczył w r.
Kurtynę jego autorstwa w teatrze im. Słowackiego traktował jako żywy obraz. Już ona była dla niego teatrem.
Henryk Siemiradzki, projekt kurtyny dla Teatru im. Słowackiego w Krakowie, r., źródło |
Przyznawał, że pamiętał ją bardziej niż przedstawienia, które odsłaniała[2]. W swojej twórczości będzie żył w stałej komitywie z malarstwem i tea
&#;Que Revienten Los Artistas&#;, de Tadeusz Kantor. Foto: Carlos Furlan
Tadeusz Kantor nasceu na Polônia, em , e tornou-se bastante conhecido por atuar na encenação, happening, performance, pintura, cenografia, desenho, escultura e objeto com o objetivo de expressar os duros tempos que viveu na segunda metade do século XX. Tendo no palco de sua juventude a primeira e segunda guerras mundiais e, ao fim da vida, a queda do muro de Berlin, “Kantor é o século XX”, como afirmou Lech Stangret, sobrinho e ator nas suas principais peças.
Diante deste retrospecto, a obra de Kantor foi fortemente influenciada pelo Construtivismo, Dadaísmo, Tachismo, Surrealismo e outros inúmeros movimentos artísticos que permearam o século passado. Derivaram desses contatos elementos chave como: a recusa do psicologismo, o lado infernal, o catastrofismo, a extrapolação das concessões tradicionais de tempo e espaço, além de tomar a &#;destruição&#; e a &#;negação&#; como métodos artísticos.
The Water Hen [A Galinha D&#;Água], , colagem composta por personagens de Tadeusz Kantor. Foto de Jacek Maria Stoklosa.
Kantor nas artes visuais e no teatro
Estudando na Academia
Polish theatre artist and fine artist. Tadeusz Kantor&#;s “Theatre of Death” is based on a singluar reversal of traditional values: in this work, which indirectly relates to the world of puppetry, death is seen as a positive counter to the values of a consumer society. Thus, in accordance with this perspective, the actor was to appear to the viewer with the same strangeness and the same distance as though surrounding a corpse. Influenced by the plastic experiments of Constructivism and the Bauhaus, by Dada and Surrealism, Kantor removed all utilitarian function from an object and even reclaimed waste material. With his Teatr Cricot 2, he achieved several international successes: Umarła klasa (The Dead Class, ); Wielopole Wielopole (); Niech sczezną artyści (Let the Artists Die, ); Dzisiaj są moje urodziny (Today is My Birthday, ), in which the live actor and the inanimate object were placed on the same dramatic level, and where actors mixed with mannequins. Kantor theorized the “bio-object”, that is to say the symbiosis of live and artificial elements in order to create a plastic form that eliminated the distinctions and t
Tadeusz Kantor () was a Polish visual artist and theatre director. He can be placed among a select group of the twentieth century’s most influential theatre practitioners. The stages of his artistic career, including his work with the Cricot 2 Theatre, his presence on stage during each production, and his theories of theatre not only challenged, but also expanded the boundaries of traditional and non-traditional theatre and performance forms. Kantor was a painter, theatre director, stage designer, actor, writer, and theoretician. He continued his experiments with painterly techniques on stage and vice versa, as his stage designs from the s and his theatre productions from the s and s contained many ideas about the attributes of space and matter which he had explored on his canvases. His notes, the so-called “partyturas,” not only provided a record of the events on stage, but also a theoretical background for understanding the shifts in his theories of visual arts and theatre. The breadth and diversity of his artistic endeavour position Kantor within the avant-garde movements of the twentieth century. He started to paint and stage plays during the mod
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World Encyclopaedia of Puppetry Arts
Brief orientation
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