Kris Salata
Biographic Data
| ID | 4282061 |
|---|---|
| NAME | Kris Salata |
| GIVEN NAMES | Kris |
| FAMILY NAME | Salata |
| SIGNATURE | SALATA K |
| AFFILIATIONS | Florida State University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Necroperformance
Active Theatre and the Technology of the Self
The époque of alternative theatre in Poland, which followed Jerzy Grotowski's departure from the urban setting and his consequent experimentations in Paratheatre and Active Culture in remote natural settings and countryside, continues to draw attention from Western academics as well as practitioners, who find this phenomenon attractive and unique both in scale and influence. As if a continuation of the romantic movement's interest in folk culture…
Polish Theatre after the Fall of Communism
Book Review| October 01 2021 Polish Theatre after the Fall of Communism: Dionysus since ’89 Olga Śmiechowicz, Polish Theatre after the Fall of Communism: Dionysus since ’89, (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2018), 208 pp., chronology of works, bibliographical references, index. ISBN 978-1-5275-1309-9. Kris Salata Kris Salata Florida State University Search for other works by this author on: This Site Google The Polish Revi…
In Service of the Living Word
Conceived as a symbolic gift to honor Teatr Reduta on the 100th anniversary of its inception and dedicated to the memory of recently passed theatre historian, Zbigniew Osinski, this extensive volume does more than commemorate and celebrate. It advances the studies of one of the most original and deeply influential undertakings in Polish theatre, which, despite securing its emblematic place in histry, deserves a closer analysis from the contempora…
Grotowski, Women, and Contemporary Performance
Reply to Stanislavsky
While it has its origins in a talk given at the Brooklyn Academy of Music in February 1969, this key essay has never previously appeared in English. Publications in Italian, Polish, and Spanish, however, have ensured the circulation of this historically crucial text in European and South American theatre culture, resulting in a far more accurate historicization of Grotowski's work and its indebtedness to Stanislavsky
On the Genesis of Apocalypsis
Derived from a talk given following the opening of Grotowski's final theatrical performance in 1969, this text traces the artistic process that led Grotowski and his actors away from their initial point of departure, Juliusz Słowacki's Samuel Zborowski, and through their work on a staging of the Gospels, Ewangelie, before they finally discovered the creative seed that led them to devise Apocalypsis cum figuris
Toward the Non-(Re)presentational Actor
Situating Apocalypsis cum figuris as a turning point in Grotowski's efforts to move beyond theatrical representation, Salata considers the trajectory in Grotowski's work from acting to doing. Emphasizing the centrality of Buber's concept of the I-Thou, Salata examines the implications of Grotowski's search for unmediated perception through the lens of such theorists as Heidegger, Deleuze, and Levinas
Farewell Speech to the Pupils
This previously unpublished text originated as Grotowski's response to a worksession convened at Odin Teatret in 1968. An extended address to artists claiming to work “in his spirit,” this stinging rebuke of dilettantism and exhibitionism highlights Grotowski's stringent criteria for evaluating artistic work
Returning to the Subject
In his book, Pamięć Reduty (Memories of Reduta), Zbigniew Osiński gives a historical account of the work and legacy of a theatre laboratory from the interwar period in Poland, one that Grotowski considered his company's predecessor. In the excerpts presented here, Osiński pursues a comparative analysis of similarities and differences between the two theatre companies and their respective leaders
No prominent works on this page.
Reply to Stanislavsky
While it has its origins in a talk given at the Brooklyn Academy of Music in February 1969, this key essay has never previously appeared in English. Publications in Italian, Polish, and Spanish, however, have ensured the circulation of this historically crucial text in European and South American theatre culture, resulting in a far more accurate historicization of Grotowski's work and its indebtedness to Stanislavsky
On the Genesis of Apocalypsis
Derived from a talk given following the opening of Grotowski's final theatrical performance in 1969, this text traces the artistic process that led Grotowski and his actors away from their initial point of departure, Juliusz Słowacki's Samuel Zborowski, and through their work on a staging of the Gospels, Ewangelie, before they finally discovered the creative seed that led them to devise Apocalypsis cum figuris
Toward the Non-(Re)presentational Actor
Situating Apocalypsis cum figuris as a turning point in Grotowski's efforts to move beyond theatrical representation, Salata considers the trajectory in Grotowski's work from acting to doing. Emphasizing the centrality of Buber's concept of the I-Thou, Salata examines the implications of Grotowski's search for unmediated perception through the lens of such theorists as Heidegger, Deleuze, and Levinas
Farewell Speech to the Pupils
This previously unpublished text originated as Grotowski's response to a worksession convened at Odin Teatret in 1968. An extended address to artists claiming to work “in his spirit,” this stinging rebuke of dilettantism and exhibitionism highlights Grotowski's stringent criteria for evaluating artistic work
Returning to the Subject
In his book, Pamięć Reduty (Memories of Reduta), Zbigniew Osiński gives a historical account of the work and legacy of a theatre laboratory from the interwar period in Poland, one that Grotowski considered his company's predecessor. In the excerpts presented here, Osiński pursues a comparative analysis of similarities and differences between the two theatre companies and their respective leaders
Grotowski, Women, and Contemporary Performance
In Service of the Living Word
Conceived as a symbolic gift to honor Teatr Reduta on the 100th anniversary of its inception and dedicated to the memory of recently passed theatre historian, Zbigniew Osinski, this extensive volume does more than commemorate and celebrate. It advances the studies of one of the most original and deeply influential undertakings in Polish theatre, which, despite securing its emblematic place in histry, deserves a closer analysis from the contempora…
Polish Theatre after the Fall of Communism
Book Review| October 01 2021 Polish Theatre after the Fall of Communism: Dionysus since ’89 Olga Śmiechowicz, Polish Theatre after the Fall of Communism: Dionysus since ’89, (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2018), 208 pp., chronology of works, bibliographical references, index. ISBN 978-1-5275-1309-9. Kris Salata Kris Salata Florida State University Search for other works by this author on: This Site Google The Polish Revi…
Active Theatre and the Technology of the Self
The époque of alternative theatre in Poland, which followed Jerzy Grotowski's departure from the urban setting and his consequent experimentations in Paratheatre and Active Culture in remote natural settings and countryside, continues to draw attention from Western academics as well as practitioners, who find this phenomenon attractive and unique both in scale and influence. As if a continuation of the romantic movement's interest in folk culture…
Necroperformance
Art (9 works) · History (7 works) · Visual arts (6 works) · Polish Historical and Cultural Studies (5 works) · Aesthetics (4 works) · Art history (4 works) · Computer Science (4 works) · Eastern European Communism and Reforms (4 works) · Theatre and Performance Studies (4 works) · Central European Literary Studies (3 works)