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Photo by Jerzy Borowski/ courtesy of Cricoteka Archives
The Yale Theater Studies Program
Yale School of Drama
and
the Adam Mickiewicz Institute
in partnership with
the Polish Cultural Institute New York
present


The Inauguration of the
TADEUSZ KANTOR CENTENNIAL at YALE UNIVERSITY and THE WATERMILL CENTER




Friday, February 6th at 7 PM

SCREENING OF WIELOPOLE, WIELOPOLE

followed by a discussion with Cricot 2 actor Andrzej Welminski.

Moderated by Marc Robinson.

Linsly-Chittenden Hall, Room 101 // 63 High Street, New Haven, CT


Friday, February 13th at 7 PM

SCREENING OF TODAY'S MY BIRTHDAY

followed by a discussion with Cricot 2 actor Bogdan Renczynski.

Moderated by Krystyna Illakowicz.

Linsly-Chittenden Hall, Room 101 // 63 High Street, New Haven, CT


The Theater Studies Program at Yale University has just announced its 2015 event series exploring the work of Polish theatre luminary Tadeusz Kantor (1915-1990). The program will coincide with a worldwide series of events commemorating the UNESCO-designated centennial of Kantors birth. The Kantor Centennial at Yale University will be inaugurated by screenings of Kantor's work, which will be followed by conversations with two of his actors and collaborators: Andrzej Welminski and Bogdan Renczynski.


TADEUSZ KANTOR one of the most significant European artists of the 20th Century was born in the Galician village of Wielopole in 1915 and studied at the Fine Arts Academy in Krakow from 1934-1939. Upon graduation, he founded the Independent Theater that continued to be active in the cellars of Krakow during the Nazi occupation of Poland. In 1955, Kantor, along with a group of visual artists, formed the Cricot 2 theatre, which toured widely and first became known in the United States through its performances at La MaMa E.T.C. in 1979. Perhaps best known for his notion of the Theatre of Death epitomized by the 1975 production of the Dead Class, Kantor's prolific practice spanned set design, painting, directing, manifestos, and assemblages, and has had a profound influence on the theatre and visual art worlds internationally.


Attention to Kantor has increased especially in the last decade, as his work prefigured contemporary interest in hybrid performance, manifesto forms, and performing objects. Like later directors, such as Richard Foreman and Richard Maxwell, Kantor pioneered his own acting philosophy, often foregoing trained professionals on stage in favor of amateurs and friends. He became fascinated with altering the role of the actor from that of an agent to that of a machine or scenic element: the Bio-object. He reduced his performers to props, while raising props to the level of performers, partly to convey the terrifying modern displacement of the subject.


Objects have emerged today as an important site of multidisciplinary inquiry. As the editors of Triple Canopy put it, we are faced with a profusion of digital and networked objects that are changing us, reconstituting the physical environment as data to be instrumentalized. Kantors uncanny performance worlds can tell us much about the one we are just now learning to live in.




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MORE ABOUT TADEUSZ KANTOR
MORE ABOUT PERFORMANCES and PARTICIPANTS
A MASTER CLASS LED BY BOGDAN RENCZYNSKI


           
October 2019
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