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Theatre

 

"RETURN TO THE  F A I R G R O U N D  B O O T H  S T A G E


Before this image disappears from our memory and poor Pierrot leaves forever, I would like to say something that may simply and explicitly describe my journey towards Theatre.
Even though in different "periods" and at the different "stages" of my journey I used to label all the places I had visited: the "Informel" Theatre, the Zero Theatre, the Impossible Theatre, the Theatre of the Lowest Rank, the Theatre - Journey, the Theatre of Death, this FAIRGROUND BOOTH STAGE has always existed at the back of my mind. All those other names have only preserved it from official and academic stultification. They were like the titles of consecutive chapters that described my struggle and victory over the forces lurking to trap me throughout my journey into the  u n k n o w n  and the  i m p o s s i b l e.
For the last half of the century, the poor Fairground Booth Stage has been nearly forgotten. It has been suppressed from memory by purist ideas, constructivist revolutions, surrealist manifestations, metaphysics of abstraction, Happenings, environmental art, the ideas of open or conceptual theatre, anti-theatre, big battles, hopes, and illusions as well as defeats, disappointments, and pseudo-scientific degenerations.
Today, after having fought many battles, I see clearly the journey I have accomplished. I understand why I have stubbornly refused to accept both official and institutional status, in other words, why my theatre and I have been stubbornly refused any privileges that are bestowed on us with the achievement of a certain social position. The only tangible answer to this is that my theatre has always been recognized as the Fairground Booth Stage.

 

T h e  o n l y  t r u e  T h e a t r e  o f  E m o t i o n s."

 

Kantor, Tadeusz. Wielopole, Wielopole. Kraków-Wrocław: Wydawnictwo Literackie, 1990.

 

 

This section includes the successive stages of Tadeusz Kantor's theatrical activity: the Puppet Theatre, the Autonomous Underground Theatre, the works prepared for  repertoire theatres, the Cricot 2 Theatre and Cricotages. Theatrical costumes are presented as well.


 

Anna Halczak

 

Translated by: Michal Kobialka