“The Impossible Theatre”

Woman with a rat-trap: Maria Stangret photo the Cricoteka Archives

“(…) ANNEXATION OF REALITY
Reality can only be
“u s e d.”
This is the most appropriate term.
Working with reality
in  a r t
entails
a n n e x i n g  it.
This qualification: “in art” – 
requires that the annexation
should be d i s i n t e r e s t e d
rather than
referring to practical life.
It should be
useless, that is 
aimless.
(the word “absurd”
is not suitable here;
it is used exactly from the perspective
of practical life
in relation with
artistic phenomena.)
By no means should
these epithets be
associated with  e n t e r t a i n m e n t, 
play or jugglery.

The annexation of reality 
in art – is very
meaningful.
in this  a c t
reality
g o e s  b e y o n d
i t s  b o u n d a r i e s
into 
“t h e  i m p o s s i b l e.”

The annexed reality includes

real objects,
situations, 
surroundings
existing currently
and at a given place.
The place of moulding, which
is not an action to be performed here
is taken by
b e h a v i o u r, 
c o n d u c t,
a n  a n n e x i n g  g e s t u r e
(as if “enchanting” it) – 
a  r i t u a l. (…)”

(Kantor, Tadeusz.  Metamorfozy. Teksty o latach 1938-1974 [Metamorphoses. Texts about the years 1938-1974] selected and edited by Krzysztof Pleśniarowicz. Cracow: Cricoteka, Księgarnia Akademicka, 2000, p. 594-595.)

Translated by: Monika Markiewicz