| dc.description.abstract | 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. | pl_PL |
