Tadeusz Kantor (Polônia 1915/1990) foi um dos mais importantes homens de teatro do século XX. O seu teatro possui uma intensa ligação com as artes plásticas e foi fortemente influenciado pelas vanguardas do início do século passado: Construtivismo, Bauhaus, Dadaísmo, Surrealismo, Expressionismo. Seu teatro é marcado pela ocorrência de imagens fortes e perturbadoras, principalmente a partir da encenação de A classe morta (1975), espetáculo que se tornou uma lenda mundial. No teatro de Kantor existem vários elementos de sustentação, entretanto, o objeto, seja real, cotidiano ou construído exclusivamente para finalidade cênica, transpassa toda a sua obra. No entanto, Kantor nunca explicou satisfatoriamente essa ocorrência em seu teatro e em sua arte de uma maneira geral. Assim, esse trabalho trata de uma reflexão acerca do objeto no teatro de Tadeusz Kantor, tendo como tema central a demonstração do objeto como o elemento responsável pela criação de outra realidade, um outro espaço, onde os espetáculos acontecem. / Tadeusz Kantor (Poland 1915/1990) was one of the most important men of theater of the 20th century. His theater has an intense connection with plastic arts and it was strongly influenced by the vanguards from the beginning of the last century: Constructivism, Bauhaus, Dadaism, Surrealism, and Expressionism. His theater is identified by the occurrence of strong and disturbing images, specialy after the première of The Dead Class. (1975), a play that became a world legend. In the theater of Kantor many support elements can be found, although, the object, being it real, dayto- day, or exclusively built for the scenic purpose, trespasses all his work. However, Kantor never explained satisfactorily that occurrence in his theater and in his art in a general way. Thus, this work is about a reflection concerning the object in Tadeusz Kantor\'s theater, having as a central theme the demonstration of the object as the responsible element for the creation of another reality, another space, where the play takes place.

A seguinte dissertaÃÃo se apresenta enquanto um registro de um rastro de passagem em uma experimentaÃÃo que se dà no Ãmbito da processualidade na criaÃÃo cÃnica. A investigaÃÃo aqui proposta parte do diÃlogo traÃado entre o Teatro do artista PolonÃs Tadeusz Kantor e o coletivo de artistas da cidade de QuixerÃ, CearÃ, denominado Trupe Motim. Para tanto este diÃlogo se efetivou a partir da percepÃÃo à respeito do carÃter processual presente na poÃtica de Tadeusz Kantor que serviu enquanto disparo para a realizaÃÃo de um trabalho de criaÃÃo junto à Trupe Motim. No percurso do processo de pesquisa, problematizou-se o ato de ensaiar, trazendo enquanto discussÃo este como mÃtodo de pesquisa, tensionando a relaÃÃo da pesquisa em arte, ou seja, o prÃprio processo enquanto mÃtodo de pesquisa em contraponto aos mÃtodos da pesquisa clÃssica. Desse modo, o percurso traÃado neste trabalho, tem como questÃo a relaÃÃo da arte em seu aspecto autorreferencial, trazendo para a discussÃo, a dinÃmica dos fluxos molar e molecular, a partir do referencial da filosofia de Deleuze & Gattari. Desta forma, o experimento efetuado se dà na perspectiva do jogo entre os fluxos molar e molecular, uma vez que questiona a ideia de obra de arte acabada e busca trabalhar na ideia de uma obra que se realiza em seu aspecto processual e nesse sentido, se abre para a realizaÃÃo cÃnica enquanto uma construÃÃo em devir. Estes aspectos acima descritos se mostram inclusive na prÃpria apresentaÃÃo desta dissertaÃÃo que joga com a quebra da normatizaÃÃo, uma vez que propÃe uma leitura que se estabelece em meio Ãs possibilidades do acaso, se dando, portanto, tambÃm em uma leitura em processo. / The following dissertation presents itself as a record of a trace of passage in a trial that takes place within the processuality in the scenic creation. The research proposed here of the dialogue drawn between the theatre of the polish artist Tadeusz Kantor and the collective of artists of the city of QuixerÃ, CearÃ, called Trupe Motim. To this end this dialogue was effective from the perception regarding the procedural character present in the poetry of Tadeusz Kantor who served as a trigger for carrying out creative work by the Trupe Motim. In the course of the research process, problematized is the act of rehearsing, bringing as discussion this as a research method, straining the relationship of research in art, that is, the process itself as a research method in contrast to the methods of classical research. Thus, the path traced in this work is to question the art of relationship in their self-referential aspect, bringing to the discussion, the dynamics of molecular and molecular flows from the framework of the philosophy of Deleuze & Gattari. Thus, the made experiment takes place in the context of the match between the molar flow and molecular as it questions the idea of art work finished and seeks to work on the idea of a work that takes place in its procedural aspect and in that sense, opens to the scenic realization as a building becoming. These above aspects are even show the actual presentation of this dissertation playing with breaking the regulation, since proposes a reading that takes place amid the possibilities of chance, giving thus also in a reading process.

Tadeusz Kantor (Polônia 1915/1990) foi um dos mais importantes homens de teatro do século XX. O seu teatro possui uma intensa ligação com as artes plásticas e foi fortemente influenciado pelas vanguardas do início do século passado: Construtivismo, Bauhaus, Dadaísmo, Surrealismo, Expressionismo. Seu teatro é marcado pela ocorrência de imagens fortes e perturbadoras, principalmente a partir da encenação de A classe morta (1975), espetáculo que se tornou uma lenda mundial. No teatro de Kantor existem vários elementos de sustentação, entretanto, o objeto, seja real, cotidiano ou construído exclusivamente para finalidade cênica, transpassa toda a sua obra. No entanto, Kantor nunca explicou satisfatoriamente essa ocorrência em seu teatro e em sua arte de uma maneira geral. Assim, esse trabalho trata de uma reflexão acerca do objeto no teatro de Tadeusz Kantor, tendo como tema central a demonstração do objeto como o elemento responsável pela criação de outra realidade, um outro espaço, onde os espetáculos acontecem. / Tadeusz Kantor (Poland 1915/1990) was one of the most important men of theater of the 20th century. His theater has an intense connection with plastic arts and it was strongly influenced by the vanguards from the beginning of the last century: Constructivism, Bauhaus, Dadaism, Surrealism, and Expressionism. His theater is identified by the occurrence of strong and disturbing images, specialy after the première of The Dead Class. (1975), a play that became a world legend. In the theater of Kantor many support elements can be found, although, the object, being it real, dayto- day, or exclusively built for the scenic purpose, trespasses all his work. However, Kantor never explained satisfactorily that occurrence in his theater and in his art in a general way. Thus, this work is about a reflection concerning the object in Tadeusz Kantor\'s theater, having as a central theme the demonstration of the object as the responsible element for the creation of another reality, another space, where the play takes place.

À travers l’analyse d’œuvres de Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono et Emma Dante, cette étude propose une ouverture des outils traditionnels des études théâtrales aux concepts de la psychanalyse et aux méthodes des études visuelles pour rendre compte de l’expérience émotionnelle intense que les créations de ces artistes induisent. La notion de symptôme, théorisée par Freud et reprise dans le champ de l’histoire de l’art par Georges Didi-Huberman, permet de dépasser une vision de la scène comme « système de signes » « à lire » – sous l’influence de la sémiologie et du structuralisme – et de penser au contraire ce qui, dans les images proposées, ne se laisse pas saisir immédiatement. Après avoir montré les limites des outils dramaturgiques, il est possible de mettre en évidence les moments d’irruption du geste-symptôme dans les œuvres, en adoptant une attitude plus phénoménologique. Le paradigme du rêve, comme modèle analogique d’une organisation-désorganisation, peut nous permettre de comprendre l’agencement des éléments scéniques. Ce qui touche le spectateur ne se situe plus au niveau de la représentation, mise en branle par la présence du symptôme, mais sous celle-ci et entre les éléments. Le rapport au réel qui s’instaure pour le spectateur relève alors plus de l’imaginable que d’une forme de mimèsis : les images ouvrent le regard et modifient la position du spectateur touché corporellement et émotionnellement. Le sujet théâtral diffracté porté par le corps de l’acteur amène le spectateur à faire l’épreuve de l’Autre en scène. Les œuvres à l’étude proposent ainsi une expérience de subjectivation et de symbolisation qui réactive les processus de la construction psychique de l’individu mise en crise dans la société contemporaine. Dans le corps-à-corps qui s’installe entre la scène et la salle, c’est à sa position de sujet face aux autres, à lui-même et au monde, que le spectateur accède. / Through an analysis of works by Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono and Emma Dante, this thesis attempts to open up the traditional analytical tools that tend to be privileged by the discipline of theatre studies to concepts stemming from psychoanalysis or visual arts, which are more appropriate for rendering the intense emotional experience that these works induce. The notion of symptom, theorised by Freud and reappropriated by art history thanks to the work of Georges Didi-Huberman, can allow us to see the stage as more than a “system of signs”, “to be read”, under the influence of semiology and structuralism, but also to go beyond the image, towards something that is not immediately evident. Having shown the limitations of dramaturgical tools, it is possible to highlight the specific moments when a symptomatic gesture irrupts within these works by relying on a more phenomenological analysis. Dream patterns, which have the similar quality of being models of an order-disorder, are essential to our understanding of the organization of stage elements and processes. Whatever moves the spectator, is no longer strictly conditioned by representation, which is itself disrupted by the symptom, but is situated beyond it, under it, between the different scenic elements. The audience’s perception of reality becomes more reliant on imaginable rather than on some form of mimesis: images open up the gaze and alter the spectator’s stance, touching him physically and emotionally. The diffracted theatrical subject contained in the actor’s body helps the public witness Otherness onstage. The works studied here involve an experience of subjectivation and symbolisation, which activates the constitutive elements of the individual’s psyche, in crisis in contemporary society. Within the very physical relationship that is built between stage and audience, the spectator experiences his own position as a subject facing others, himself and the world.

This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …