Description

Krzysztof Warlikowski’s work stands among the most remarkable phenomena in post-1989 European theater. This book joins Warlikowski’s theater with the dynamic changes in Polish society following 1989, using strategies borrowed from psychoanalysis, theater anthropology, performance studies, and cultural poetics. This book is not only about an artist of the theater, but above all about the theater production as an object of the audience’s desire, an object evoking fascination, revulsion, aversion, and opposition. This is why the performances are analyzed as a series of flash-points, constellations with powerful affective impacts. It focuses on fragments of social rituals, material objects with major potential to spark audience emotions, and gestures of violence. The piecemeal narrative serves to cull out aspects of Warlikowski’s performances that could be read as symptoms of social drama.

Warlikowski: Extra Ecclesiam: Translated by Soren Gauger

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Krzysztof Warlikowski’s work stands among the most remarkable phenomena in post-1989 European theater. This book joins Warlikowski’s theater with the... Read more

    Publisher: Peter Lang AG
    Publication Date: 26/11/2014
    ISBN13: 9783631626801, 978-3631626801
    ISBN10: 3631626800

    Number of Pages: 164

    Description

    Krzysztof Warlikowski’s work stands among the most remarkable phenomena in post-1989 European theater. This book joins Warlikowski’s theater with the dynamic changes in Polish society following 1989, using strategies borrowed from psychoanalysis, theater anthropology, performance studies, and cultural poetics. This book is not only about an artist of the theater, but above all about the theater production as an object of the audience’s desire, an object evoking fascination, revulsion, aversion, and opposition. This is why the performances are analyzed as a series of flash-points, constellations with powerful affective impacts. It focuses on fragments of social rituals, material objects with major potential to spark audience emotions, and gestures of violence. The piecemeal narrative serves to cull out aspects of Warlikowski’s performances that could be read as symptoms of social drama.

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