List of all exhibits. Click on one of them to go to the exhibit page. The topics allow exhibits to be selected by their concept categories. On the right, you can choose the settings of the list view.

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“Camera/Mr Daguerre’s invention” (“Wielopole, Wielopole”, 1980)

Kantor observed some analogy between photography and shooting, between a group posing for a photograph and a group of recruits lined up in a row. This field of association was used in one of the images from Wielopole, Wielopole, a performance that continued the themes/motifs from Umarła klasa [The Dead Class].

“Wardrobe — Interior of Imagination” (“Country House”, 1961), reconstructed in 1981

Tadeusz Kantor’s sculpture expressing the idea from the Cricot 2 play of W małym dworku (Country House), based on S.I. Witkiewicz’s play under the same title. The premiere took place in Kraków in the Krzysztofory Gallery on 14 January 1961. This was the Informel Theatre stage of the artist’s works.

“Tank” (“Today Is My Birthday”, 1990)

Presented object was made for the play Today is my birthday Cricot 2 Theater, over which the artist worked from October 1989 to early December 1990. Tadeusz Kantor died after one of the last rehearsals, 8 of December 1990 year. The premiere took place shortly afterwards, in January 1991 at the Théâtre Garonne in Toulouse, then the play was shown in 22 cities around the world until June 1992.

“Self-portrait” (“Today Is My Birthday”, 1990)

The presented object was created for a performance of Cricot 2 Theatre, Today is my birthday, on which the artist worked from October 1989 to early December 1990. Tadeusz Kantor died after one of the last rehearsals, on 8 December 1990. The premiere took place shortly after in January 1991 at Théâtre Garonne in Toulouse; then the show was shown in 22 cities around the world until June 1992.

“Boat of Charon” (“I Shall Never Return”, 1988)

The presented exhibit comes from the Qui non ci torno più [I Shall Never Return] performance at the Cricot 2 Theatre created in Kraków and Milan in the years 1987–1988. The performance had its premiere on 23 June 1988 at the Piccolo Teatro Studio in Milan. Nigdy tu już nie powrócę (I Shall Never Return) is a summary of Tadeusz Kantor’s previous theatrical works.

“Rat trap” (“I Shall Never Return”, 1988)

The presented exhibit comes from the Qui non ci torno più [I Shall Never Return​] play at the Cricot 2 Theatre created in Kraków and Milan in the years 1987–1988. The play’s premiere took place on 23 June 1988 at the Piccolo Teatro Studio in Milan. The plot of the play takes place in a tavern. There are metal tavern tables and stools on the stage. In the background a wall of smooth black cloth is set up in a semi-circle with the barely visible contours of four doors.

“Sink” (“I Shall Never Return”, 1988)

The presented exhibit comes from the Qui non ci torno più [I Shall Never Return] play at the Cricot 2 Theatre created in Kraków and Milan in the years 1987–1988. The play’s premiere took place on 23 June 1988 at the Piccolo Teatro Studio in Milan. The plot of the play takes place in a tavern. There are metal tavern tables and stools on the stage. In the background a wall of smooth black cloth is set up in a semi-circle with the barely visible contours of four doors.

“Infanta’s Portrait” (“Today is My Birthday”, 1990)

Infanta’s Portrait was one of the elements of the “Poor Room of Imagination”, arranged on the stage by Tadeusz Kantor (see The artist’s table). It was on the right side of the stage, next to the artist’s table. The Infanta’s presence in the painting is based on rhythmic departures and returns. As Kantor wrote, “standing or sitting in the frame, she poses herself in the painting and presents/ all her charms, or moves outside of the frame for various reasons: she is thrown, falls out or leaves herself. This ‘outside’ and ‘inside’ somehow sets the rhythm of her functioning in the performance.”

“Trolley” — prototype (“Let the Artists Die”, 1985)

Wózeczek stał się w spektaklu symbolem wspomnienia dzieciństwa. Czytamy w Przewodniku po spektaklu: „Idziemy ku przodowi w przyszłość, / równocześnie zagłębiając się w rejony / PRZESZŁOŚCI, czyli ŚMIERCI. (...) / Siedzę na scenie, / JA — rzeczywisty, lat 70... / nigdy już nie stanę się na nowo / chłopcem, gdy miałem 6 lat... / wiem o tym, ale pragnienie jest / nieprzeparte, / nieustanne, / napełnia całe moje istnienie... / W drzwiach zjawia się / MAŁY ŻOŁNIERZYK — dziecko / JA — GDY MIAŁEM 6 LAT, / na dziecinnym wózeczku / (na moim wózeczku!)”.

Drawing for the performance “Wielopole, Wielopole” by Tadeusz Kantor

This invaluable drawing presents the scene: “Properly handling the invention of Mr. Daguerre: the military way” of the first act of the work, Wielopole, Wielopole, directed by Tadeusz Kantor. The drawing has watermarks. The composition was made with ink and pencil and placed in a black cardboard passe-partout. The outline of the female photographer is marked in black ink. The woman is absorbed in the action of photographing/shooting.

“The Trumpet of the Last Judgement” (“Where Are Last Year’s Snows”, 1979)

The “trumpet” was an object — a prop of the Rabbi character (played by Zbigniew Gostomski) and his Pupil (Dominika Michalczuk). The natural-sized tin trumpet was covered with a black material, a kind of casing whose end on the cup side dropped loosely falling into the metal bucket. The trumpet was hung on a metal frame structure (nearly 3.5 metres high) where a system of blocks and transmissions was installed with steel links enabling it to be raised and dropped by a crank handle.

“The artist's table” (“Today is My Birthday”, 1990)

The Artist’s table is a unique object, created for the performance, Today is my birthday, at the Cricot 2 Theatre, on which the artist worked, from October 1989 to early December 1990. Tadeusz Kantor died after one of the last rehearsals of the performance, on 8 December 1990. The premiere took place shortly after, in January 1991, at Théâtre Garonne in Toulouse; then, the performance was shown in 22 cities around the world until June 1992.

“Bike”/“Manikin of a child on a bike” (“The Dead Class,” 1975)

Bike is an exhibit from Tadeusz Kantor’s performance Umarła klasa [The Dead Class].The premiere took place in the Krzysztofory Gallery in Kraków in November 1975. In the play was a prop of an “old man with a bicycle” going round and round, saying goodbye and leaving in step to the François waltz. The old man was played by Andrzej Wełmiński.

“Pillories of characters” (“Let the Artists Die”, 1985)

The “pillories” are extremely characteristic objects from the Niech sczezną artyści [Let the Artists Die] play at the Cricot 2 Theatre. The play had its premiere in Alte Giesserei in Nürnberg on 2 June 1985. The “pillories” appear in act III of the play and become the key objects with which the later stage plot, right to the epilogue in act V, is associated.

“Young couple” (“I Shall Never Return”, 1988)

Young Couple is an object of spectacle Cricot 2 Qui non ci torno più (I Shall Never return), which was created in Kraków and Milan in 1987–1988. The premiere took place on 23 June 1988 at the Piccolo Teatro Studio in Milan. The play I Shall Never return is a summary of previous work of Tadeusz Kantor's theater.

“Window” (“Wielopole, Wielopole”, 1980)

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 ...

“Dummy of Bedel” — image of Kazimierz Mikulski (“The Dead Class”, 1975)

Dummy of Bedel on a Chair is an object from Tadeusz Kantor’s performance Umarła klasa [The Dead Class]. The premiere took place in the Krzysztofory Gallery in Kraków in November 1975.

“The Cross” (“Wielopole, Wielopole”, 1980)

The “Cross” is a stage element from the Wielopole, Wielopole performance at the Cricot 2 Theatre. The premiere took place in Florence in June 1980 in a building that was formerly a monastery at 25 via Santa Maria. What is symptomatic here is that, apart from the discussed cross, the Wielopole, Wielopole play featured 15 other crosses, and in his entire theatrical oeuvre Tadeusz Kantor created more than 30 crosses.

“Mechanical cradle” (“The Dead Class”, 1975)

The Mechanical cradle is an exhibit from Tadeusz Kantor’s performance, Umarła klasa [The Dead Class]. The premiere took place in the Krzysztofory Gallery in Kraków in November 1975. It comprises a wooden chest on a metal support frame, which resembles a child’s cradle. It was designed to enable the rocking movement of the chest. This movement could be triggered with a pedal, or with an installed electrical engine. Inside the exhibit, there were two wooden balls that caused a hollow rattle when they hit the chest walls during the rocking movement...

“Goplana and Elfs” (“Balladyna”, 1943)

Goplana and the Elves is a reconstruction of the object from the performance Balladyna, performed in Kraków in 1943 by Tadeusz Kantor and a group of the artists from Kraków, in the Underground Independent Theatre. No objects survived from this period. As well as Balladyna by Juliusz Słowacki, Kantor also directed Return of Odysseus by Wyspiański in 1944...