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TADEUSZ KANTORâS PRACTICE A Postmodern Notebook Michal Kobialka hen I was invited to contribute an essay for one of the thirtieth-year anniversary issues of PAJ, there was no question in my mind what the topic of the essay should be. Even though medieval theatre and theatre historiography are the primary focus of my scholarship, the obsessive nature of my encounters with Tadeusz Kantor and his theatre over the last 20 years has unequivocally proven to me that I could never fully abandon his theatre. âForget Kantor,â an essay which I wrote in 1994 [PAJ 47], was my attempt to close that chapter of my academic life. But then, by the end of that essay, it became clear to me that forgetting, like Kantorâs Emballage, would shelter, protect, preserve, and restore his shape trying to escape the passage of time.1 Now, in 2005, I am thinking about Kantorâs theatre practice again. This year, 2005, marks the ï¬ftieth anniversary of the founding of Cricot 2 Theatre, the thirtieth anniversary of The Dead Class, the twenty-ï¬fth anniversary of Wielopole, Wielopole, the twentieth anniversary of Let the Artists Die, and the ï¬fteenth anniversary of Tadeusz Kantorâs death. To celebrate them, the Cricoteka
PAJ: A Journal of Performance and Art – MIT Press
Published: Jan 1, 2006
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