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- Author Tadeusz Kantor
- Date of production 1980
- Dimensions height: 190 cm, length: 49 cm, width: 170 cm
- ID no. CRC/VII/170/1-3
- Object copyright The Cricoteka Centre for the Documentation of the Art of Tadeusz Kantor
- Digital images copyright © all rights reserved, The Cricoteka Centre for the Documentation of the Art of Tadeusz Kantor
- Digitalisation RDW MIC, Małopolska's Virtual Museums project
The role of this object is in the play is double. On the one hand, a window opens Room of Childhood on the outside, allows the penetration of other spaces. Just as it was in the play The Dead Class (1975). “The window is an unusual object that separates us from the world” the other side“, from» unknown «... of Death ...”more
This Window is a stage object from the performance of Cricot 2 Theatre, Wielopole, Wielopole, which premiered in Florence in June of 1980, in the building of the former convent at 25 via Santa Maria.
The Window, together with the wardrobe, bed, table, and chairs, were objects on stage, from which the artist was building a “room of the imagination“. He did not treat these objects as a stage action setting, but rather a construction referring to the mechanism of memory and memories. In the performance, Wielopole, Wielopole, the window and other stage props create the decor of the artist’s “Room of Childhood“, “recalled by memories“. Themes from his childhood in Wielopole Skrzyński, memorised by the artist, fragments of his room, the fate of the members of his family become “cliches of memory“ on the stage, along with the content of the spectacle.
In his Commentary to the score of the first act, the artist wrote: “An important WINDOW! behind it, (...) a STREET going deep inside, and at its end, A PINK TENEMENT HOUSE. My mother disappeared at this corner when she left for a long time, at this turn that was THE END OF THE WORLD“. Therefore, the window is not just a memory of the Galician town landscape, where “old Jewesses hung their cushions in the red covers“ through the windows, but also an area of experience. As the artist writes: “Because the window has many dark secrets. The window arouses fear and premonition of what is beyond“.
The role of this object is in the play is double. On the one hand, a window opens Room of Childhood on the outside, allows the penetration of other spaces. Just as it was in the play The Dead Class (1975). “The window is an unusual object that separates us from the world” the other side“, from» unknown «... of Death ...”
The window, however, which appears several times in the artist’s work, is also associated with “peeping“, “quietly and stealthily“. Peeping through the window from the outside was accompanied by the desire to cross this threshold.
The theme of the window and its mechanism of simultaneous being “here“ and “there“ appeared in the spectacle, The Dead Class, where peering through the window became an impulse to recall memories of the school’s class. In a similar way, we look through the dirty windows inside the building in the work, A school class, work closed (1983, 1985). The theme of the semi-open window was also used by the artist in Cricotage, A very short lesson (1988), and a series of paintings entitled, One shall not look through the window with impunity (1989), as well as in many drawing works from the 1960s and 1980s.
The construction of the Window is typical for the theatre objects of the spectacle. Two window units, painted with gray acrylic paint, were mounted on a metal frame, attached to a wooden platform. Plastic windows (plexiglass) were attached to the quarters. The construction of metal hinges allows the movement of the shutters, thanks to which the window can be opened and closed. As many objects from the performances of the Cricot 2 Theatre Window have installed wheels, thanks to which it became a mobile object. The Cricoteka Archives contain a technical sketch of Tadeusz Kantor precisely defining the object’s parameters.
It is also extremely important that the artist had re-used the objects—the window boxes are elements taken from reality. This is related to the idea of “the lowest rank of reality“, which Kantor consistently applied in his work.
Elaborated by Małgorzata Paluch-Cybulska (The Cricoteka Centre for the Documentation of the Art of Tadeusz Kantor), © all rights reserved