Staying at the Level of Impulses: Queering the Grotowski Archive in Karol Radziszewski’s The Prince

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Notes

1. Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity (Durham, NC: Duke University Press, 2003), 14.

2. Sara Ahmed, Queer Phenomenology, Orientations, Objects, Others (Durham, NC: Duke University Press, 2006), 8.

3. Witold Gombrowicz, Ferdydurke (Kraków: Wydawnictwo Literackie, 2012), 40–41.

4. ‘Książę Niezłomny – Стойкий принц Jerzy Grotowski’, YouTube-Video, May 9, 2012, https://www.youtube.com/watch?v=WIHcKm1CuXE (accessed August 3, 2020), 00:47:57.

5. Konstanty Puzyna, Półmrok: Felietony teatralne i szkice (Warszawa: Państwowy Instytut Wydawniczy, 1982), 138.

6. George Oppenheimer, ‘Polish Show Revolutionary’, The Daily Times, October 17, 1969.

7. Peter Brook, The Empty Space (Harmondsworth: Penguin, 1968), 66–67.

8. Oppenheimer, ‘Polish Show Revolutionary’.

9. Agnieszka Tarwacka-Dama ‘Jerzy Grotowski między polityką a religią …, czyli o reformowaniu polskiego społeczeństwa przez teatr’, The Central European Journal of Social Sciences and Humanities 3 (2015): 213.

10. Ibid., 222.

11. Marcin Kościelniak, ‘Niepokalani. Przypis do historii polskiego teatru krytycznego’, Didaskalia, no 138 (2017): 17.

12. Ibid.

13. Ludwik Flaszen, ‘O metodzie aktorskiej’, Księcia Niezłomnego Teatru Laboratorium 13 Rzędów we Wrocławiu [theatre programme] (1964), author’s emphasis.

14. Leszek Kolankiewicz, ‘“Grotowski a polskość” to wielki temat, ciągle nie dość zbadany’, Gazeta Prawna, January 14, 2019, https://kultura.gazetaprawna.pl/artykuly/1392080,leszek-kolankiewicz-o-tworczosci-jerzego-grotowskiego.html (accessed August 3, 2020).

15. Jerzy Grotowski, ‘Towards a Poor Theatre’, in ed. Eugenio Barba, Towards a Poor Theatre (New York: Routledge, 2002), 37.

16. Agata Adamiecka-Sitek, ‘Grotowski, Women and Homosexuals: On the margins of a “Human Drama”’, Didaskalia 2 (2015): 6.

17. Jerzy Grotowski cited in Thomas Richards, At Work with Grotowski on Physical Actions (London, New York: Routledge, 1995), 94–95, emphasis in original.

18. Ruth Foster, Knowing in My Bones (London: Adam and Charles Black, 1976), 31.

19. Karen Barad, ‘On Touching – The Inhuman that Therefore I Am’, Differences. A Journal of Feminist Cultural Studies 23, no. 3 (2012): 213.

20. Jacques Derrida, On Touching – Jean-Luc Nancy (Palo Alto: Stanford University Press, 2005), 274.

21. Foster, Knowing in My Bones, 30.

22. Ahmed, Queer Phenomenology, 106–107.

23. Astrida Neimanis, Bodies of Water: Posthumanist Feminist Phenomenology (New York, London: Bloomsbury, 2017), 29.

24. Ibid., 33.

25. José Esteban Muñoz, ‘Ephemera as Evidence: Introductory Notes to Queer Acts’, Women and Performance: A Journal of Feminist Theory 8, no. 2 (1996), 6.

26. Jack Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives (New York and London: New York University Press, 2005), 4–5.

27. Ibid., 4.

28. Adamiecka-Sitek, ‘Książę i kamera’, Didaskalia 127–128 (2015): 62.

29. Karol Radziszewski, Książę (The Prince), 2014. Video. Courtesy of the artist.

30. Ibid.

31. José Esteban Muñoz, Cruising Utopia. The Then and There of Queer Futurity (New York, London: New York University Press, 2009), 65.

32. See for example ‘Training at Grotowski’s “Laboratorium” in [Wrocław] in 1972 Screener’, YouTube- Video, June 11, 2009, https://www.youtube.com/watch?v=dRyLLTvs00c (accessed August 3, 2020), 00: 05:22.

33. Adamiecka-Sitek, ‘The Prince and the Camera’, 63.

34. Agnieszka Podsiadlik as Teresa Nawrot in Karol Radziszewski, The Prince. 2014. Courtesy of Radziszewski.

35. Elisabeth Arnould-Bloomfield, ‘Posthuman Compassions’, PMLA 130, No. 5 (2015), 1471.

36. See, for example, ‘Ryszard Cieślak on the Plastiques pt.1ʹ, YouTube-Video, March 11, 2009, https://www.youtube.com/watch?v=1VCyGPm1VJM (accessed August 3, 2020), 00:09:50.

37. Dorota Sajewska, Karol Radziszewski, ‘Ciało jako Archiwum’, Widok 5 (2014): 14.

38. Jolanta Kowalska, ‘Everyman w dresie’, Dziennik Teatralny, March 25, 2010, http://www.dziennikteatralny.pl/artykuly/everyman-w-dresie.html (accessed July 1, 2019).

39. Marcin Różyc, ‘Karol Radziszewski: Uniwersalny człowiek-artysta to wciąż heteroseksualny mężczyzna’, Gazeta Wyborcza, http://weekend.gazeta.pl/weekend/1,152121,17107419,Karol_Radziszewski__Uniwersalny_czlowiek_artysta_to.html (accessed June 15, 2018).

40. Radziszewski, The Prince.

41. Elizabeth Freeman, Time Binds. Queer Temporalities, Queer Histories (Durham, NC: Duke University Press, 2010), 11.

42. Muñoz, ‘Ephemera as Evidence’, 12.

43. Grotowski, Towards a Poor Theatre, 209.

44. Adamiecka-Sitek, ‘Grotowski, Women and Homosexuals’, 6.

45. Adamiecka-Sitek, ‘The Prince and the Camera’, 62.

46. Freeman, Time Binds, 95.

47. Carolyn Dinshaw, Getting Medieval (Durham: Duke University Press, 1999), 36.