Michal Kobialka
Biographic Data
| ID | 1165936 |
|---|---|
| NAME | Michal Kobialka |
| GIVEN NAMES | Michal |
| FAMILY NAME | Kobialka |
| SIGNATURE | KOBIALKA M |
| AFFILIATIONS | University of Minnesota System |
| ORCID | 0000-0002-6698-4140 |
| VERIFIED | Yes |
| TOTAL WORKS | 31 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 30 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Specters of the Past
This essay explores both the topological and historiographic dimensions of installation. Fully cognizant of installation’s transience, temporality, experiential character, or its political dimensions, the author wishes to add one more element to the current discourse: that is, spatial dialectics foregrounding contradictions in and of space, as elucidated by Henri Lefebvre in The Production of Space. The essay takes the reader and the spectator th…
On Interruption
The events of 2020 are a central metaphor for the interruption and the possibility of putting a halt to that which is. They make us think of a ‘world without us’, or demand a social action that would make us ‘think otherwise’. This essay investigates what conditions need to be fulfilled for this vision to be sustainable, rather than a momentary intensification and radicalization of statements, which, as evidenced by the aftermath of those other i…
Theater/Performance Historiography
The introduction to the issue of Pamiętnik Teatralny which gestures towards current work on theater/performance historiography published in the Anglo-American academe. Reflecting on insights about the complex nature and the mediality of historical knowledge, we would like to offer a collection of essays which, in their singularity, draw attention to internal contradictions prompted by tensions between 1) time, space, and matter, which are used to…
Of British Representational Practices in the Age of Capitalism/Territorialism (1743-1776)
The issue addressed in this essay is how the notion of history was altered by the embedding of commerce into the discursive field of eighteenth-century Britain. Even though current eighteenth-century, and Enlightenment, studies draw attention to historiographic questions challenging traditional modes of periodization, the methods by which we acquire and organize knowledge, or the extent to which accounts of the eighteenth century have been driven…
Theatre/Performance Historiography
How do the ethical implications of writing theatrical histories complicate the historiographical imperative in our current sociopolitical context? This volume investigates a historiography whose funct
Possible Worlds of the Pomarańczowa Alternatywa
The twenty-fifth anniversary of the fall of the Berlin Wall provides an excellent background to consider how to think about what promised to be a possible world in 1989. Today, one must either blind oneself to the disastrous failure of the emancipatory endeavors prompted by liberal democracy, which took the form of the ethnic conflicts in Europe, the Middle East, and Africa; accept neoliberal politics as the only recourse and possible world; regr…
Tadeusz Kantor and Hamed Taheri
Is political performance still viable? Kobialka shows how Iranian theatre director Hamed Taheri—influenced by Polish avantgarde artist Tadeusz Kantor—develops a new kind of radical theatre/performance using actor-immigrants from African nations, Chile, Afghanistan, and Iran
Words and Bodies
In 1772, William Kenrick published Love in the Suds , a direct attack on David Garrick. In 1776, Humphrey Nettle [William Jackson] published Sodom and Onan , a satire against Samuel Foote. Both of these texts make explicit charges of homosexuality against the two men. Why were these two actors singled out at this particular moment: serendipity or a new mechanism of power? An examination, thus, is required, of the representational practices operat…
A Forum on Theatre and Tragedy
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
The Medieval Theater of Cruelty
Reviewed by: The Medieval Theatre of Cruelty: Rhetoric, Memory, Violence Michal Kobialka The Medieval Theatre of Cruelty: Rhetoric, Memory, Violence. By Jody Enders. Ithaca: Cornell University Press, 1999; pp. xviii + 268. $45.00 cloth. One of the most interesting aspects of the shift taking place in the field of medieval studies is, as Howard R. Bloch and Stephen G. Nichols, the editors of Medievalism and the Modernist Temper (1996), indicate, t…
Unbalancing Acts
A Journey through Other Spaces
Forget Kantor
A Journey through Other Spaces
Rhetoric and the Origins of Medieval Drama
A Laboratory of Impure Forms
Spatial Representation
The changes that occurred in the perception of time and space in the visual arts in the twentieth century questioned the traditional concept of representation, specifically representation defined as the transfer of an object from real space to illusionary space. Techniques of, for example, collage, montage, emballage, happening, and pastiche allowed the artists to take any number of elements from preexisting works, forms, messages, and to integra…
Poems
Poems
"The Milano Lessons" by Tadeusz Kantor
Tadeusz Kantor, the late Polish visual artist and theatre director, is most widely known as the creator of The Dead Class (I975), Wielopole, Wielopole (1980), Let the Artists Die (1985), and I Shall Never Return (1988). Kantor is less well-known as a teacher. In June 1986 he taught a group of I I students at the Milan Civica scuola d'arte drammatica and, after a month of explorations, the students presented The Wedding Ceremony in two versions: o…
Before the End of the Twentieth Century
But there is only time to address the highlights of surrealism. Not only will we travel to the regions of aesthetics, but also to the regions of civilization, that is, of spiritual and intellectual transformations of a human being and society. By so doing, we will stay faithful to the spirit of surrealism which refused to be merely an aesthetic movement. Surrealism defined the function of art in broad terms
The Danton Case & Thermidor
Contemporary Polish Theater and Drama (1956-1984)
Preface Acknowledgments Chronology Introduction: The Roots of Contemporary Polish Drama Leszek Kolakowski and Jan Kott: The Jester-Priest Metaphor Tadeusz Rozewicz: The Reluctant Jester Slawomir Mrozek: The Seeker of Absoltes Jerzy Broszkiewicz and Tymoteusz Karpowics: Priests in Mufti Grochowiak, Iredynski and Others: In Search of the Emperor's Clothes Directors and Their Theaters: Home for the Homeless
Revolutionaries in the Theatre
Gentlemen of a Company
Rhetoric and the Origins of Medieval Drama
A Forum on Theatre and Tragedy
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
A Journey through Other Spaces
Revolutionaries in the Theatre
Soviet Plays in Translation
Tadeusz Kantor's Journey
Let the Artists Die? An Interview with Tadeusz Kantor
The Writings of Tadeusz Kantor 1956-1985
After Hamlet
Shakespeare's plays have a long tradition of being altered and adapted to suit different cultural tastes. This tendency to regularize the texts began at least as early as the Restoration; e.g., Dryden's All for Love (1677), an attempt to improve Antony and Cleopatra, and Tate's happy ending in King Lear (1681). A tradition of alteration and imitation initially established in England has spread to other countries. Hamlet serves as a good example: …
Dramaturgs and Dramaturgy
Gentlemen of a Company
Contemporary Polish Theater and Drama (1956-1984)
Preface Acknowledgments Chronology Introduction: The Roots of Contemporary Polish Drama Leszek Kolakowski and Jan Kott: The Jester-Priest Metaphor Tadeusz Rozewicz: The Reluctant Jester Slawomir Mrozek: The Seeker of Absoltes Jerzy Broszkiewicz and Tymoteusz Karpowics: Priests in Mufti Grochowiak, Iredynski and Others: In Search of the Emperor's Clothes Directors and Their Theaters: Home for the Homeless
Revolutionaries in the Theatre
The Danton Case & Thermidor
Poems
Poems
"The Milano Lessons" by Tadeusz Kantor
Tadeusz Kantor, the late Polish visual artist and theatre director, is most widely known as the creator of The Dead Class (I975), Wielopole, Wielopole (1980), Let the Artists Die (1985), and I Shall Never Return (1988). Kantor is less well-known as a teacher. In June 1986 he taught a group of I I students at the Milan Civica scuola d'arte drammatica and, after a month of explorations, the students presented The Wedding Ceremony in two versions: o…
Before the End of the Twentieth Century
But there is only time to address the highlights of surrealism. Not only will we travel to the regions of aesthetics, but also to the regions of civilization, that is, of spiritual and intellectual transformations of a human being and society. By so doing, we will stay faithful to the spirit of surrealism which refused to be merely an aesthetic movement. Surrealism defined the function of art in broad terms
Spatial Representation
The changes that occurred in the perception of time and space in the visual arts in the twentieth century questioned the traditional concept of representation, specifically representation defined as the transfer of an object from real space to illusionary space. Techniques of, for example, collage, montage, emballage, happening, and pastiche allowed the artists to take any number of elements from preexisting works, forms, messages, and to integra…
Rhetoric and the Origins of Medieval Drama
A Laboratory of Impure Forms
Forget Kantor
A Journey through Other Spaces
A Journey through Other Spaces
Unbalancing Acts
The Medieval Theater of Cruelty
Reviewed by: The Medieval Theatre of Cruelty: Rhetoric, Memory, Violence Michal Kobialka The Medieval Theatre of Cruelty: Rhetoric, Memory, Violence. By Jody Enders. Ithaca: Cornell University Press, 1999; pp. xviii + 268. $45.00 cloth. One of the most interesting aspects of the shift taking place in the field of medieval studies is, as Howard R. Bloch and Stephen G. Nichols, the editors of Medievalism and the Modernist Temper (1996), indicate, t…
A Forum on Theatre and Tragedy
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
Words and Bodies
In 1772, William Kenrick published Love in the Suds , a direct attack on David Garrick. In 1776, Humphrey Nettle [William Jackson] published Sodom and Onan , a satire against Samuel Foote. Both of these texts make explicit charges of homosexuality against the two men. Why were these two actors singled out at this particular moment: serendipity or a new mechanism of power? An examination, thus, is required, of the representational practices operat…
Tadeusz Kantor and Hamed Taheri
Is political performance still viable? Kobialka shows how Iranian theatre director Hamed Taheri—influenced by Polish avantgarde artist Tadeusz Kantor—develops a new kind of radical theatre/performance using actor-immigrants from African nations, Chile, Afghanistan, and Iran
Art (22 works) · History (20 works) · Literature (12 works) · History (11 works) · Philosophy (10 works) · Political science (9 works) · Sociology (9 works) · Law (8 works) · Theatre and Performance Studies (8 works) · Aesthetics (7 works)