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Please use this identifier to cite or link to this item: http://hdl.handle.net/20.500.12128/2755
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dc.contributor.authorGorzelak, Monika-
dc.date.accessioned2018-04-17T11:11:54Z-
dc.date.available2018-04-17T11:11:54Z-
dc.date.issued2014-
dc.identifier.citationB. Popczyk-Szczęsna, M. Figzał (red.), "Dramat i doświadczenie" (S. 457-466). Katowice : Wydawnictwo Uniwersytetu Śląskiegopl_PL
dc.identifier.isbn9788322622834-
dc.identifier.urihttp://hdl.handle.net/20.500.12128/2755-
dc.description.abstractThe analysis put forth in the article points out the relationship between the text and the experience in the post-dramatic theatre based on the dramas presented during the 13th edition of the all-Poland Festival of Director’s Art. „Interpretacje” 2011. A point of departure is J. Derrida’s assertion that “there is nothing outside (of) the text,” as well as R. Barthes’s essays, The Death of the Author and From Work to Text. According to both Derrida and Barthes, the text is not a finite thing, but it is an artistic event which is dependent on the reader’s will. Experience of the world is like performance, i.e. performative recognition of signs by “readers,” whereas signs misread by the reader are always fatal to the readers. In other words, it is performance that precedes the discourse — not vice versa, which is the essence of the drama in post-dramatic experience and theatre. To illustrate the fatal absence of the text in experience as well as in contemporary drama the article’s author uses a notion of “connection” coined by T. Kubikowski, who juxtaposes it with the wellknown in the theory of the performance concept of “feedback.” To adduce the latest discoveries in the field of neurobiology and in the theses on the philosophy of language and mind, Kubikowski asserts that feedback (information, manual, ready-made text) is always secondary to connection (blind selection and the recognition of signs), which is the reason for the drama of experience — anagnorisis always comes too late. In order to illustrate the fatal nature of connection which is prior to feedback, Kubikowski makes use of the myth of Apollo and Marsyas. According to Kubikowski the immanent absence of the text in experience makes the work apollonian and dramatic. The last section of the article presents the apollonian dimension of experience in the contemporary drama based on the presentations during the 13th edition of „Interpretacje” National Festival.pl_PL
dc.language.isoplpl_PL
dc.publisherKatowice : Wydawnictwo Uniwersytetu Śląskiegopl_PL
dc.rightsUznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/pl/*
dc.subjectdramat współczesnypl_PL
dc.subjectfestiwal "Interpretacje"pl_PL
dc.title"Zagraj to jeszcze raz, Marsjaszu" : performatywność w dramacie współczesnym na podstawie tekstów: "III Furie", "Lenz", "Judyta" i "Jak być kochaną" w kontekście festiwalu "Interpretacje"pl_PL
dc.typeinfo:eu-repo/semantics/bookPartpl_PL
Appears in Collections:Książki/rozdziały (W.Hum.)

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