Jan Kott Our Contemporary: Contexts, Legacies, New Perspectives

 

 

 

 

 

 

Event Date: 19 February 2015
Rose Theatre,
24-26 High Street,
Kingston, KT1 1HL

Kingston Shakespeare Seminars present:

Jan Kott Our Contemporary: Contexts, Legacies, New Perspectives

An international one-day conference, Rose Theatre, Kingston-upon-Thames

“Jan Kott (1950s)” by Source. Licensed under Fair use via Wikipedia

On the hundredth anniversary of his birth, and fifty years to the day after the English publication of Jan Kott’s Shakespeare Our Contemporary, this conference will bring together scholars, students, practitioners, reviewers, and members of the general public, to discuss the role of the Polish critic Jan Kott in Shakespeare and Theatre Studies, as well as his contribution to the intellectual life of the twentieth century. The event is part of a centenary celebration that includes evening performances of Songs of Lear, an acclaimed production by the Polish Song of the Goat Theatre, at the Battersea Arts Centre, London.

PROGRAMME:

Welcome by Richard Wilson (Kingston University):

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Anna Godlewska (Director of Polish Cultural Institute in London):

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Aleksandra Sakowska (British Friends of Gdansk Theatre Trust):

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Introduction by Richard Wilson:

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John Elsom’s Introduction – Is Shakespeare Still Our Contemporary?:

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Keynote Lecture:

Chaired by Anna Godlewska

Prof. Dariusz Kosinski (Jagiellonian University, Cracow and Deputy Director of Theatre Institute, Warsaw) – Shakespeare Our (Polish) Contemporary

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Questions:

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Panel 1: In Search of Human Essence: Theatre of Song of the Goat

Chaired by Aleksandra Sakowska

Grzegorz Bral (theatre director, Song of the Goat) and Dariusz Kosinski

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Panel 2: Kott and British Shakespeare

Chaired by Richard Wilson

Ken Pickering:

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Graham Holderness:

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Kate McLuskie:

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Questions:

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Panel 3: Jan Kott Before and After the Iron Curtain

Chaired by Duška Radosavljevic

Madalina NicolaescuJan Kott’s Resonance on the Romanian stage: in the Past and in the Present:

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Zorica NicolicLingering Presence of Jan Kott’s ‘presentism’ in Serbia:

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Kalina StefanovaRevolting Against the “imposed situation” or Eastern European Hamlets in the Light of Jan Kott’s Insights:

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Questions:

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Panel 4: Kott and Theatre Criticis

Chaired by Ian Herbert

John Elsom and Ned Chaillet

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Panel 5a:‘Polish Shakespeare’

Chaired by Aneta Mancewicz

Wanda ŚwiątkowskaThe Political Hamlet: according to Jan Kott and Jerzy Grotowski

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Tadeusz BradeckiShakespeare, Our Contemporary, Today:

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Kevin HayesJan Kott’s Vision of Shakespeare in The Dramatic World of Witkacy:

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Questions:

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Panel 5b:. ‘Kott and the Greeks

Chaired by Christian Smith

Timo UotinenKott’s Prometheus, or the State of Man:

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Paul HamiltonJan Kott: Critic of Violated Thresholds:

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J Michael Walton (paper read by Richard Wilson) – Jan Kott and the Greeks:

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Questions:

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Panel 6a: King Lear and the Theatre of the Absurd

Chaired by Ken Pickering

Ildikó Ungvári ZrínyiDictators, Puppets and Japanese Drums, Jan Kott’s legacy in the Hungarian theatre of Romania:

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Paulo GregórioPeter Brook’s King Lear: From Experimentation to Canonisation:

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Ildiko Solti“Wherefore to Dover?”: Jan Kott’s concept of the Elizabethan playhouse in ‘King Lear, or Endgame’:

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Panel 6b: ‘Universal Shakespeare’

Chaired by Anne Sophie Refskou

Victor MartinJan Kott and Macbeth “Brando”, or an Intertextual Commentary on Rupert Goold’s Macbeth  (2010):

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Dong WeinaDancing in Shackles: Reflections on the Chinese Peking Opera Shakespearean Adaptations:

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Questions:

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Panel 7: ‘Shakespeare Our Contemporary’ and Theatre Directors

Stephen Unwin, Kate Stafford, Philip Parr and Arne Pohlmeier

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