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• W2896366833 abstract "Reviewed by: A Pink Chair (In Place of a Fake Antique)dir. by Elizabeth LeCompte Theresa Smalec A PINK CHAIR (IN PLACE OF A FAKE ANTIQUE). By the Wooster Group. Directed by Elizabeth LeCompte. Richard B. Fisher Center for the Performing Arts at Bard College, Annandale-on-Hudson, New York. 07 22, 2017. Days before Poland's president finally vetoed his Parliament's contentious new law to replace Supreme Court judges with government nominees, I found myself talking with Dorota Krakowska, daughter of Tadeusz Kantor (1915–90) and dramaturge for the Wooster Group's (TWG) A Pink Chair (In Place of a Fake Antique). Excited as I was to see this world premiere, I really wanted to know her thoughts about the odds of Poland's far-right government controlling the judiciary. Krakowska spoke bluntly about democracy's newness in postcommunist Poland—its fledgling traditions of free speech and the rule of law. We both feared a return to the repressive silences that had constrained our Polish parents. Yet, seeing A Pink Chairabruptly recalled the visual and musical forms of protest that Poles have used when they could not speak openly. This provocative piece also linked Polish modes of political resistance to the aesthetics of media and mediation that have shaped TWG's theatre for forty years. A Pink Chairconsisted of a prologue and five parts. Curiously, performers waited until part 3 to enact their startling goal: reviving Kantor's spirit and conducting an onstage dialogue with him. Before discussing the show's deferrals, however, I want to start with its use of media to disrupt traditional approaches to acting. Instead of live performers, the prologue featured a flat-screen monitor center stage that played a video of Zbigniew Bzymek, the company's Polish-born videographer. Bzymek performed as himself in the video (he had clearly recorded it as part of his official job with TWG); yet, he also spent much of the show searching for non-psychological ways to be Kantor, to approximate his persona. The prologue video included an audio track of Kantor's response to criticism lobbed at his penultimate production, I Shall Never Return(1988). Bzymek's outfit in the video closely matched the fool's attire that Kantor had vowed to wear in the audio. Part 1 began with another video starring Kate Valk and Krakowska. Onscreen, the women sat together in an apartment, behind a wooden table with an aloe plant and box on it. A stagehand quietly positioned a plant and box on top of a table resembling the one in the video onstage so that they lined up almost perfectly (but not quite) with the objects shown on the monitor. Valk and Krakowska discussed one of Kantor's most eerie performance techniques: having a mannequin enter the stage accompanied by a living actor, thus reminding viewers of theatre's roots in artificial doubles and death. As they spoke, the technician for video and projections (Robert Wuss) opened another window to show historical footage of Kantor's performer clasping a lifelike mannequin. It's like watching TV! Valk exclaimed from onscreen, drawing attention to the strange mediations of that moment. As theatregoers, we found ourselves watching a film within a video, and still no live performers in sight. The monitor went black, but Krakowska continued to speak via voiceover. Her powerful Polish accent filled the dark auditorium as she dedicated A Pink Chairto her father, explaining that she hoped to meet his spirit one more time. Krakowska acknowledged theatre's ephemerality, yet sought to interact with its remains: what you can keep, meet again. In that vein, part 2 featured a third video: Bzymek and Krakowska in Krakow, viewing archival films of her father's stage productions. Here, multimedia served to mediate (distance and curate) life material. As the video's narrator, Bzymek explained Krakowska's rules for engaging her father's archive. For one thing, she liked him only dressed in black suits. Hence, the video fast-forwarded through copious footage of Kantor not wearing a suit, hinting that any reunion with his spirit would hinge on external items like clothing. This counterintuitive idea [End Page 393]aligned with..." @default.
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• W2896366833 date "2018-01-01" @default.
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• W2896366833 title "A Pink Chair (In Place of a Fake Antique) dir. by Elizabeth LeCompte" @default.
• W2896366833 doi "https://doi.org/10.1353/tj.2018.0065" @default.
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