FREE delivery to all EXCLUSIVE BOOKS stores nationwide. FREE delivery to your door on all orders over R450. Excludes all international deliveries.
|
This product is either out of print or out of stock. Add it to your wishlist and we will automatically let you know if it comes back into stock. Add to Wishlist
This product is either out of print or out of stock. Add it to your wishlist and we will automatically let you know if it comes back into stock. Add to Wishlist
A new encounter with the work of a master of avant-garde theatreTadeusz Kantor (1915–1990) was one of the twentieth century’s most innovative visual artists, stage directors, and theoreticians. His theatre productions and manifestos challenged the conventions of creating art in post–World War II culture and expanded the boundaries of Dada, surrealist, Constructivist, and happening theatre forms. Kantor’s most widely known productions-The Dead Class (1975), Wielopole, Wielopole (1980), Let the Artists Die (1985), and Today Is My Birthday (1990)-have had a profound impact on playwrights and artists who continue today to engage with his radical theatre. In Further on, Nothing, Michal Kobialka explores Kantor’s theatre practice from the critical perspective of current debates about representation, memory, and history. He pursues the intriguing proposition that Kantor gave material form to a theatre practice that defined the very mode of postmodern operation and that many of its theoretical notions are still in circulation. According to Kobialka, Kantor’s theatre still offers an answer to reality rather than a portrayal of a utopian alternative. Further on, Nothing includes new translations of Kantor’s work, presented in conversation with Kobialka’s own theoretical analyses, to show us a Kantor who continues to offer-and deliver on-the promise of the avant-garde.
A new encounter with the work of a master of avant-garde theatreTadeusz Kantor (1915–1990) was one of the twentieth century’s most innovative visual artists, stage directors, and theoreticians. His theatre productions and manifestos challenged the conventions of creating art in post–World War II culture and expanded the boundaries of Dada, surrealist, Constructivist, and happening theatre forms. Kantor’s most widely known productions-The Dead Class (1975), Wielopole, Wielopole (1980), Let the Artists Die (1985), and Today Is My Birthday (1990)-have had a profound impact on playwrights and artists who continue today to engage with his radical theatre. In Further on, Nothing, Michal Kobialka explores Kantor’s theatre practice from the critical perspective of current debates about representation, memory, and history. He pursues the intriguing proposition that Kantor gave material form to a theatre practice that defined the very mode of postmodern operation and that many of its theoretical notions are still in circulation. According to Kobialka, Kantor’s theatre still offers an answer to reality rather than a portrayal of a utopian alternative. Further on, Nothing includes new translations of Kantor’s work, presented in conversation with Kobialka’s own theoretical analyses, to show us a Kantor who continues to offer-and deliver on-the promise of the avant-garde.
