Ku nowoczesnej sztuce audiowizualnej czyli teatralny "Scenariusz dla nieistniejącego ale możliwego aktora instrumentalnego" Bogusława Schaeffera
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The article contains an attempted description and analysis of a theatre play performed by Jan Peszek according to the Script .. mentioned in the title. The first part of the essay presents the author. Bogusław Schaeffer is a truly Renaissance artist: first of all he is a composer, but also a musicologist, a scholar, a writer and a playwright. The universal interests of the artist influence the form and subject matter of his plays. Schaeffer's theatre was born during the composer's cooperation with the MW2 group (Young Performers of Modern Music). This group of musicians, actors and dancers, founded in 1962, entered a broad field of various activities and searched primarily in the sphere of new music for any possible innovative artistic resolutions. Bogusław Schaeffer created for them - for the first time in Poland - the first work of the instrumental theatre TIS MW2. Schaeffer is interested in the li m its of artistic possibilities. That is why in his theatre the performer ceases to be a re-creator and becomes a co-creator of a work, he has to show versatility, inventiveness and great technical ability. The instumental actor takes part in the creation of a two-grade self-reflexivity of the performance (the author uncovers his own play as the composer and the actor reveals his workshop), and at the same in a single creative act he arrives at a dynamic synthesis of arts, which is the essence of this theatre. The topic of the author's reflection in the following theatre scores is the decline of art, its commercialization, the disappearance of esthetic value and the code of art criticism. In the second part of the article I attempt to show on the example of the Script... how the instumental actor creates a work of the new theatre on stage using the open form of the theatrical score. Describing the performance I stress the relations between word, sound, gesture, mimicry, movement and the elements of functional stage set. I also point out the deliberate broadening of the possibilities of interpretation carried out by the author and the actor, which is characteristic for this theatre. The role of an actor as god controlling the final shape of the work is connected with the notion of plax and non-play (meta-play). Ina specific way the audience also takes part in this play. Scheaffer demands much from the audience. Numerous allusions to many spheres of art force the audience to be constanly active intellectually. Thus the actor not only performs for the public, but also with it and on it. The elements of form in motion, of the descruction of the text, quotation and metatheatre present in Schaeffer's theatre place it among decadent art phenomena of the end of the 20th century.