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Tadeusz Kantor Wielopole, Wielopole

After "The Dead Class", Tadeusz Kantor created "Wielopole, Wielopole" - the first performance based on personal memories, within the framework of the Death Theater. The first one also plays the role of the perpetrator and one of the characters remains silent.
Tadeusz Kantor shows us the Galician town of Wielopole and the room where he spent his childhood and actors playing the members of his family. The artist wrote in the program for the play: "The peace of my childhood is a dark and cluttered knight. It is not true that the child's room in our memory remains sunny and bright. This makes it only conventional literary manners. This is a DEAD and DAMNED room. When called up by memory it is constantly dying. But when we get rid of the fragments, the carpet, the window, the street running down, the sunbeam on the floor, the yellow leggings of my father, the crying of my mother, and some face behind the glass window - A real childhood room begins to be brought together. Maybe on this occasion we can it put together in our spectacle!" The show was produced extensively in Florence and involved a large group of Italian actors. Kantor presented Wielopole, Wielopole in Poland after the August revolt, in the late 1980s. He was particularly interested in performing the spectacle in the Gdansk shipyard, but the Solidarity workers did not receive it. On December 15, 1983, the performance was performed in a church in Wielopole. In 1984 Stanisław Zajączkowski registered Wielopole, Wielopole for television. "Paradoxically ... the theater of Kantor on television has been subjected to a kind of 'commonization', orderliness that implies the selectivity of television broadcasting. I think it is much more difficult to distinguish individual sequences of Wielopole by taking them from the audience's point of view of the stage - wrote Waclaw Tkaczuk in "Antena". - "Some other character is probably in the conditions of non-televised the presence of the creator among the actors, in the middle of the spectacle closer to his demiurge. Kantor, led by the camera, or rather caught by the camera, is only a participant, a little witness to the spectacle, in which his directing gesture won't change anything. This is essentially an actor gesture, not conducive to, for example, playing songs from the tape." *Source: http://ninateka.pl/kolekcja-teatralna... ┍━━━━━━━━━━━━━━━━━━━━━━ Dramatis personae: Stanisław Rychlicki (Uncle Józef, Priest) Jan Książek (Grandma Katarzyna) Teresa Wełmińska, Ludmiła Ryba (Mother Helena) Andrzej Wełmiński (Father Marian, Recruit I) Maria Kantor (Aunt Mańka, You-Know-Who, Rabbi) Ewa Janicka (Aunt Józka) Wacław Janicki (Uncle Karol) Lesław Janicki (Uncle Olek) Maria Krasicka (Uncle Stasio, Exile) Lech Stangret (Adaś, Recruit II) Mira Rychlicka (Photographer's Widow) Marzia Loriga (Recruit) Giovanni Battista Storni (Recruit) Loriano Della Roca (Recruit V) Luigi Arpini (Recruit VI) Jean-Marie Barotte (Recruit VII) Roman Siwulak (Recruit VII) Anna Halczak Scenography: Tadeusz Kantor Television production: Stanisław Zajączkowski Written and directed by Tadeusz Kantor

TUNNEL 82/83

Dall'archivio Storico del Beat72
TUNNEL 82/83
Al Traforo Umberto I di via Nazionale a Roma:
Prima Festa Pubblica di Capodanno
promossa da Renato Nicolini, Assessore alla Cultura del Comune di Roma
organizzata da Beat72, Il Male, Ass. Cult. Canale Zero

Traforo Umberto I, Roma
31 dicembre 1982 -1 gennaio 1983

Al suo poeta Peppe er tosto

Dall'archivio storico del Beat72
Al suo poeta Peppe er tosto 
Regia di Simone Garella
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