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Theatre/Ecology/Cognition

Part of the Cognitive Studies in Literature and Performance Book Series

DOI: 10.1057/9781137277923

ISBN: 978-1-349-44745-9

Publisher: Palgrave Macmillan US - Springer Journals

Nov 4, 2015

LitStream

Chapter 1Introduction

Paavolainen, Teemu

Pages: 1 –12

[The general theme of this study is performer-object interaction, as enacted and perceived in the theatre—its overarching research question, how varieties of “meaning” may already be enacted and perceived thereby. In theorizing this, the work generally subscribes to the cognitive turn of the...
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Chapter 2Agents and Objects: A Primer to Concepts and Approaches

Paavolainen, Teemu

Pages: 13 –52

[Looking at how scenography has traditionally been conceptualized, we basically find two levels of abstraction and analysis: one concerned with “objects,” rather generally—theoretical, detached, and fairly recent—and one, with the more pragmatic vocabulary of scenery, props, and perhaps costume....
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Chapter 3The Meyerhold Case: Scaffolding Action and Interpretation

Paavolainen, Teemu

Pages: 53 –92

[I have now introduced on various levels of conceptual resolution the two key aspects of the theatrical events I am to investigate—agents and objects—and argued that the valid metaphor for such investigation is not some version of a Great Chain of Being but the intricate cognitive ecology of...
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Chapter 4The Polish Case: Poor Theatre/s and Cultural Ecology

Paavolainen, Teemu

Pages: 93 –122

[Tadeusz Kantor and Jerzy Grotowski purportedly detested one another. As Jan Kott puts it, “Grotowski respected Kantor, but Kantor hated Grotowski.” Coming as they did from the fine arts and actor training, respectively, their very names have become metonymical of larger trends—conveniently, we...
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Chapter 5Grotowski and the “Objectivity” of Performance

Paavolainen, Teemu

Pages: 123 –161

[Having now outlined the schematic contours of Jerzy Grotowski’s theatrical rhetoric, there are several reasons to concentrate on one specific production of his, so as to examine its embodiment in a very specific “score” of performer-object interactions. Premiered in Opole in October 1962—staged...
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Chapter 6Pillories to Barricade: Kantor’s Infernal Ecologies

Paavolainen, Teemu

Pages: 163 –207

[Tadeusz Kantor’s theatre is probably best remembered for his insistent personal presence, on stage, and for the insistent coupling of his actors with an imposing multitude of “poor” wooden objects, dadaistic “machines,” and surreal contraptions, fused in the performance of memory and history. On...
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Chapter 7Epilogue Performing Humanity: Tensions and Continuities

Paavolainen, Teemu

Pages: 209 –226

[Let me begin with one final take on Kantor and Grotowski. Having argued, throughout, that their work is prototypically related to “objects” and the “actor,” respectively, the merest sampling of international reviews seems to betray a different dynamic. Contrary to Grotowski’s humane reputation,...

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