نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری، گروه هنر و کار آفرینی، دانشگاه هنر اصفهان، اصفهان، ایران.
2 استاد گروه پژوهش هنر، دانشگاه هنر اصفهان، اصفهان، ایران.
3 استادیار، دانشکده پژوهشهای عالی هنر و کارآفر ینی، دانشگاه هنر اصفهان، اصفهان، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Objective
This research explores the concept of "Thingness" in Tadeusz Kantor's theater through the lens of Martin Heidegger’s phenomenology. The primary objective is to analyze how objects in Kantor’s performances transform from mere stage props to "things" imbued with semantic and existential significance. By doing so, the study seeks to elucidate how these objects transcend their instrumental status and evolve into carriers of memory, identity, and phenomenological truth. Kantor's approach to objects challenges traditional theatrical conventions, offering a unique perspective on the ontology of objects in performance.This research highlights the pivotal role of objects in reshaping theatrical space.
Research Method
This study adopts a qualitative and phenomenological research approach, utilizing Heidegger’s hermeneutical phenomenology as the primary method of data analysis. Data collection is based on two main sources: (1) an in-depth analysis of five key performances by Tadeusz Kantor—"The Dead Class," "Wielopole Wielopole," "Let the Artists Die," "I Shall Never Return," and "Today Is My Birthday"—with a focus on the role of objects in these productions, and (2) a meticulous examination of recorded films of these performances to assess the transformation of objects during live enactment. The analysis identifies moments where objects shift from static props to dynamic "things," exploring their interaction with the body, memory, and space. By employing phenomenological reduction, the study aims to strip away preconceived notions of theatrical objects and uncover their essential role in Kantor’s artistic vision. Findings The findings indicate that in Kantor’s theater, objects are not merely inanimate stage elements but integral components of the performance’s ontological and aesthetic fabric. These objects—such as mannequins, benches, suitcases, empty frames, and coffins—transcend their material existence and assume deeper meaning through their interaction with performers and spatial arrangements. In "The Dead Class," for instance, the mannequins serve as both remnants of the past and manifestations of an enduring presence, complicating the boundary between absence and presence, life and death. Similarly, in "Wielopole Wielopole," everyday objects such as suitcases and wooden benches transform into repositories of memory, evoking personal and collective histories. These objects function as what Heidegger describes as "things"—entities that gather and disclose a reality beyond their physical form.
Conclusion
Tadeusz Kantor’s theater establishes a transformative space where objects transition into "things" laden with existential weight. This transition is a dynamic process in which material objects, through their entanglement with the body, memory, and history, transcend their static state and become carriers of phenomenological truth. Kantor’s artistic philosophy redefines the conventional role of stage objects, demonstrating their potential to mediate between past and present, materiality and memory, presence and absence. His work underscores the fundamental interplay between objects and human experience, offering new insights into the ontology of performance. The study concludes by suggesting that future research explore the broader implications of object-oriented ontology in contemporary theater, comparing Kantor’s vision with other avant-garde theatrical approaches that engage with the concept of "thingness." Such inquiries could further illuminate the evolving role of objects in performance and deepen our understanding of the phenomenological dimensions of theatrical space.
کلیدواژه‌ها [English]
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