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Did you know that Porządkowanie, autopodsumowanie Ostatni okres twórczości Tadeusza Kantora — po roku 1986 — jest autopodsumowaniem, które dzieje się na teatralnej scenie, w obrazach i rysunkach, pismach teoretycznych artysty, a także w jego działalności związanej z Cricoteką (potrzeba dokumentowania i zabezpieczania zbiorów). Motyw ten jest... |
Did you know that Figures of the theatre of death On the bench, there are seated: a Prostitute/Night-walker, a Woman with a Mechanical Cradle, a Woman Behind the Window, an Old Man with a Bicycle, an Old Man from the Toilet, the Old Man Podofilemiak, and Paralytics. In the procession of the characters, Pedel in Past Simple (the school janitor, in this case referring to the tradition of the Galician school) also appears as does the Cleaner/Death. |
Did you know that The gallery of memory and living monuments of Kantor Every 8 December, on the anniversary of the artist’s death, on Kanonicza Street in Kraków, there is a kind of commemorative happening: Jan Książek and the brothers Lesław and Wacław Janiccy (Cricot 2 actors) create living monuments. |
Did you know that Mannequins by Kantor Mannequins in museum exhibitions often signify attempts to reconstruct history, they are a tool for delving into the past, which, however, does not fully achieve the intended goals (although, of course, these are subjective judgements and experiences). At the moment when theatre objects enter the space of the museum... |
Did you know that Kantor’s wardrobe The wardrobe, which appeared in many of Kantor’s performances, was a specific object.
It served as a catalyst for many human affairs and secrets. |
Did you know that “Let the Artists Die” During the vernissage at the Galerie de France in 1983, Kantor met Gerhard Schmidt (the owner of one of the most renowned galleries in Nuremberg), who convinced him to prepare an artistic project related to the 450th anniversary of the death of Wit Stwosz. Kantor did not approach the above idea enthusiastically, but he expressed his fascination with the nail, which probably pierced the cheeks of the author of the St. the Mary’s Basilica altar. |
Did you know that The symbolism of the door in theatrical performances by Kantor The symbolism of a door is to some extent universal — common to different cultures and religions. Because a door is always on the border, its significance, first of all, is revealed at the moment of crossing a threshold. It illustrates the existence of opposition and the transition from one state to another. |
Did you know that "The Dead Class" Umarła klasa [The Dead Class], a play produced by Kantor in 1976, was called a drama séance by him during which the figures of Witkacy and Bruno Schulz, two great fascinations of Kantor, were summoned.
The performance was kept in the convention of a nightmare, in which you go back to your school days and experience the trauma associated with this period. In response to a signal given by Kantor, who is the conductor of the entire situation, a procession of figures begins – a procession of old men carrying children on their backs who are grown into a part of their bodies. |
Did you know that Cricotage by Tadeusz Kantor What is cricotage? Kantor wrote: “Cricotage is not a happening; it means that it does not have an ‘open form’ capable of being receptive to the audience’s participation“.
Cricotage is not identical to performance art while it is understood as an act in space using the performer’s body, yet |
Did you know that Infanta by Kantor/Velázquez Kantor perceived Velazquez’s Infantas as Madonnas and relics. Dressed in a kind of costume, they hide their rickety bodies underneath... |
Did you know that Kantor’s theatre props Theatre props/costumes/elements of scenography presented on the website are mostly incomplete objects which, although they are the key to many fascinating narratives, can hardly be examined in isolation from their staging. It is different when it comes to the objects from Tadeusz Kantor’s performances... |
Did you know that Recording, documentation The reconstruction of Kantor’s work on his performances is possible thanks to, among others, the video recordings of rehearsals which were made on the artist’s request, starting with the play Niech sczezną artyści [Let the Artists Die] from 1985. Forty eight hours of rehearsals were recorded during the preparation for the play Dziś są moje urodziny [Today Is My Birthday]. |
Did you know that “Childhood Room” As Tadeusz Kantor wrote, the childhood room is never a bright and sun-drenched space — such images are rather literary fiction. How can you capture and recreate what it was really like? Extracting the individual elements: the door, the window ... The window of the children’s room faced outwards, on the street with a pink storey tenement. ... |
