selected articles
THE THEATRE OF DISSATISFACTION
Today, the modern audience like in the Elizabethan theatre also chooses, influences, takes part in a performance. However, it is only because there is no other choice. The author able to propose a consistent, comfortable and exciting world no longer exists. The spectator has to construct the text of the play on his own. Whereas the goal of the 17thC English actors was to live up to the audience expectations, the founders of postdramatic theatre try with all their might to let those expectations down. Everything that up to this time attracted the clientele during some hundreds years of bourgeois theatre’s dominance – is rejected. Spectators entering the space of the game they give a mute assent to have everything they do used against themselves.
press review
A HIT THAT WILL NOT SINK OR HOW TO GET LOADS OF MONEY
Those one hundred dollar are the budget of the Polish Film Institute, composed of fees from cinemas’ owners, distribution companies, TV stations . They transfer 1,5% of their revenue. Who and for who transfers those money? Agnieszka Odorowicz heads this institution but there is also an eleven-member council with tree-year tenure which has some of the entitlements of supervisory board and programming policy. People connected with the film trade – distributors, producers, directors are included in this institution. There is a lack of representatives of critics. The scientific environment is represented by prof. Wiesław Godzic who takes notice of mistakes in the bill which are dubious about the clarity of the Polish Film Institution’s work.
IT IS NOT A FAIRY TALE
Another trouble connected to film theory is that it is so heterogeneous, divided into the historical and the theoretical part, with the analytical part squashed somewhere between the two. Much as historicists are more or less active, since there are countless amounts of new or not so new films to deal with, theorists have become totally flaccid. Those more vigorous have already historicized their work or combined it with the media theory. Film historicists at least ask who killed Laura Palmer, whereas theorists do not even think of taking interest in the fate of Ernest Wild. It is a pity, because from among all Polish film theorist, he is the one who deserves a little Golden Palm for a small but eminent entirety. What results from the situation is that in “Panoptikum” one can read, in between the lines, about the sad fate of Lynch’s heroine but nothing about Wild.