Abstract
Robert Wilson’s works have been discussed here in the historical-artistic context of the 20th century and in reference to the modern theories of the media, which use such terms as “transmediality” and “media landscape”. The intermedial model of arts has been exhausted and there has appeared the problem of transmediality, as well as such issues like transcegenity, transinstrumentality, transperception and even transcompetence of art. Technologies which developed in the 20th century and media codes, redefined and new, provoked a change of thinking about the theatre and every other art which uses various instruments.
R. Wilson – like other artists who exist in the transmedial net – sees the theatre through audiovisual arts and film; he does not introduce them to his performances but uses their tools and specific narrations characteristic for the arts.References
H. Jenkins, Kultura konwergencji. Zderzenie starych i nowych mediów, Warszawa 2008.
D. Higgins, Intermedia, w: Nowoczesność od czasu postmodernizmu, Gdańsk 2000, s. 115—135.
S.Banes, Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body, New York 1993, s. 3.
S. Brecht, Robert Wilson. The Theatre of Visions, London 1994, s. 16—17.
R. Goldberg, Performance. Live Art Since the 6os, New York 2004, s. 21—22.
A. Holmberg, The Theatre of Robert Wil-son. Directors in Perspective, Cambridge 1996, s. 3.
L. Aragon, Lettreouverte ą André Breton,„LesLettresFranćaises" 1971 (June 2—8). Cyt. za: A. Holmberg, op. cit., s. 5—6.
Wprowadzenie do filmu dokumentującego spektakl MadamaButterfly, Opus Arte (2005).
W.N. Toporow, Przestrzeń i rzecz, przeł. B. Żyłko, Kraków 2003, s. 29.
H.-T. Leh-mann, Teatr postdramatyczny, przeł. D. Sajewska i M. Sugiera, Kraków 2004, s. 65.
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