This article is devoted to one of the most important discoveries of Jerzy Grotowski, the total act, a specific kind of action and experience. It was created as part of theatrical practice, but apart from the function related to the dramaturgy of performances, it had a higher purpose, associated with the search for the essence of humanity and sources of experience of reality. Jerzy Grotowski sought to transform actors and observers, open them to what is authentic, alive and (...) present. This achievement was a kind of experience in which the sacrum and the profanum are overcome. The total act allowed "to become watched” and, paradoxically, allowed to participate in the duality of passive action, in which man becomes an observer and agent at the same time. My goal is to describe the role of the principle of coexistence of opposites in the work of J. Grotowski. I am describing the total act as an opportunity to reach an experience of reality in which the mind and the body merge with each other. Man as a psychophysical unity precedes all differences in this archetypal experience, he is able to reach the very center of his own self, that which Jung called Selbst. (shrink)

This book visits the legacy of Jerzy Grotowski, focusing on his least known last phase of work on ancient songs and the craft of the performer. Salata posits Grotowski's work as philosophical practice, and more particularly, as practical research in the phenomenology of being.

L’articolo è l’estratto di un più ampio lavoro ancora in corso. Come Michel Foucault e Pierre Hadot, ognuno dalla propria postazione storico-teorica, ci hanno ricordato, la filosofia antica, ed in particolare quella ellenistica con i cinici e gli stoici, non era solo un discorso ma una concreta pratica di vita, un comportamento esistenziale proposto come modello per tutti coloro che intendevano raggiungere l’arete. Il testimone di questa “arte della vita” −è la tesi di fondo di questo contributo− non è stato (...) però storicamente raccolto dalla filosofia moderna −impersonale, tecnicistica, professionalizzata− ma dall’ètimo stesso delle correnti più significative delle arti moderno-contemporanee, impegnate non a produrre l’“opera d’arte” nel senso classico-tradizonale del termine, ma a proporre pratiche e modelli di vita creativi. L’esempio che qui abbiamo trascelto riguarda la pedagogia teatrale del famoso regista polacco Jerzy Grotowski. (shrink)

RELIGIOUSNESS WITHOUT GOD AND FAITH. INSPIRED BY JERZY GROTOWSKI The purpose of this article is to present a certain idea of religiousness. It could be called religiousness without God and without faith. I found its premises in the work of the Polish theatre reformer Jerzy Grotowski. He was neither a prophet nor the founder of the religion; primarily, he was a man of theatre. But for him, in the age of “God’s death” the theatre was a substitute of (...) religion and religious experience. He understood his “poor theatre” as a search for sense of life, an authentic life and the world’s salvation. At various stages of his artistic way, which I present in the first unit of this article, he tried to reach to deeper dimensions of reality. In the end, he went far beyond the theatre. In the second unit, I show the features of religiousness without God and faith. In this religiousness, God exists and does not exists, he is a question, or doubtfulness. The Faith is a physical action, instead of seriousness, we have irony, grotesque, buffo. Keywords: GOD, FAITH, RELIGIOUSNESS, JERZY GROTOWSKI. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The leading idea (...) in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

In a phenomenology of acting, Phillip Zarrilliconsiders acting as a 'question' to be explored in the studio, and then reflected upon. This book is a vital response to Jerzy Grotowski's essential question: "How does the actor 'touch that which is untouchable?'" Phenomenology invites us to listen to "the things themselves", to be attentive to how we sensorially, kinaesthetically, and affectively engage with acting as a phenomenon and process. Using detailed first-person accounts of acting across a variety of dramaturgies and (...) performances from Beckett to newly co-created performances to realism, it provides an account of how we 'do' or practice phenomenology when training, performing, directing, or teaching. Zarrilli brings a wealth of international and intercultural experience as a director, performer, and teacher to this major new contribution both to the practices of acting, and how we can reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting thatis ideal for both the training/rehearsal studio and research, a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice. n reflect in depth on those practices. An advanced study for actors, directors, and teachers of acting thatis ideal for both the training/rehearsal studio and research, a phenomenology of acting is an exciting move forward in the philosophical understanding of acting as an embodied practice. (shrink)

Carmelo Bene is not simply to be counted among the "big players" of the twentieth century, but is the author of a "genetic mutation" in theater practice. There are, in Asia, some hermits puppeteers who daily set up a show for the gods, that is for anyone, but anyone to pass, human or animal, is welcome. Acting for the desert means to embody a posture that goes beyond the duality between nature and artifice: event that bases its effectiveness in gratitude, (...) in the surplus of life that goes from the emptiness outside to the inner one, infinitely small. (shrink)

This essay proposes two examples of avant-garde theatre, Jerzy Grotowski's poor theatre and Augusto Boal's theatre of the oppressed, as resources for Christian ethics. Both pursue theater as bodily copresent interaction whose moral labor is the liberation of the human body from conventional gestures for the sake of authentic encounter and from oppressive postures for the sake of social intervention. Focusing on the body in this way reveals that the place of narrative, while essential to Christian ethics, is ambiguous. (...) The outcome of this argument is the possibility of combining the insights of monastic and liberation accounts of the moral life in order to release moral action in microsocial encounters, thus recovering the constitutive humility of Christian ethics. (shrink)

The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of (...) the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”. (shrink)

Jerzy Perzanowski s ideas were based on an original blend of logic and ontology in what he called onto/logic, where the slash is meant to suggest a quotient of ontology by logic. Perzanowski began as a logician, his early works being on modal logic, then gradually shifted his interest to logical philosophy, meaning not so much philosophy of logic as philosophy informed by logic. Perzanowski was a rare breed of analytical philosopher who thought that a philosophical theory of everything (...) was worthwhile. In this systematic spirit, he began with method. He presented his method of total analysis and synthesis quite simply: reduce the object of research to its simplest possible constituents, and then combine them in some way. Better still, combine them in every possible way, thereby producing a space of possibilities analogous to (and in certain cases identical with) the logical space. Thus, analysis and synthesis differ from a trivial disassembly and reassembly.". (shrink)

Jerzy Franczak comprehensively presents Jacques Rancière's thought by emphasizing the relations between politics and literature. The detailed analysis considers the context of modern aesthetics and political philosophy, which is why the book introduces further protagonists, such as Louis Althusser, Michel Foucault, Pierre Bourdieu, or Jean-François Lyotard. Franczak first reconstructs Rancière's original philosophy of literature so as to then immediately apply it in readings of select world literature masterpieces by Gustav Flaubert, Max Jacob, Bertold Brecht, Vladimir Nabokov, and Philip Roth.

The paper examines the relations between presentism and the thesis concerning the existence of the flow of time. It tries to show that the presentist has to admit the existence of the passage of time and that the standard formulation of presentism as a singular thesis saying that only the present exists is insufficient because it does not allow the inference of the existence of the passage of time. Instead of this, the paper proposes a formulation of presentism with the (...) aid of the notion of becoming; not only does a formulation state the existence of the flow of time in such a way as to avoid the question of the rate of the passage of time, it also allows the inference of the existence of only present things and events. The paper demonstrates that the proposed conception of presentism also has other virtues, such as homogeneity, non-triviality, and ability to express dynamicity of presentists’ image of the world which testify for it. (shrink)

The idea of rejection of some sentences on the basis of others comes from Aristotle, as Jan Łukasiewicz states in his studies on Aristotle's syllogistic [1939, 1951], concerning rejection of the false syllogistic form and those on certain calculus of propositions. Short historical remarks on the origin and development of the notion of a rejected sentence, introduced into logic by Jan Łukasiewicz, are contained in the Introduction of this paper. This paper is to a considerable extent a summary of papers (...) which are not easily available, even to the Polish reader: (1) J. Słupecki, Funkcja Łukasiewicza (Łukasiewicz’s function), Zeszyty Naukowe Uniwersytetu Wrocławskiego, Seria B, nr 3 (1959), 33-40; (2) U. Wybraniec-Skardowska, Teoria zdań odrzuconych (Theory of Rejected Sentences), (doctoral dissertation under the supervision of Jerzy Słupecki, published as a monograph), Zeszyty Naukowe Wyższej Szkoły Pedagogicznej w Opolu, Studia i Monografie, Nr 22 (1969), 5-131; (3) G. Bryll, Kilka uzupełnień teorii zdań odrzuconych (Some supplements to the theory of rejcted sentences), Zeszyty Naukowe Wyższej Szkoły Pedagogicznej w Opolu, Studia i Mnografie, Nr 22 (1969), 153-154. The paper also contains a good number of results which have not been published yet. Chapter I contains results presented in the papers (1)-(3). It provides an extension of Alfred Tarski’s theory of deductive systems presented by him in the papers [1930]: Fundamentale Begriffe der Methodologie der deduktiven Wssenschaften, I and Über einige fundamentale Begriffe der Metamathematik. The enriched theory is marked with T. The most essential new concept in T is the function Cn-1, whose definition was given by Słupecki in (1) on the basis of the so-called Tarski’s general theory of deductive systems. It has the form: y e Cn-1X iff Ex e X (x e Cn {y}), where Cn is Tarski’s consequence operation. In accordance with the definition: A sentence y is rejected on the basis of the sentences of the set X iff at least one of sentences of X is a consequence of y (is deducible from y). The intuitive meaning of the rejection function Cn-1: on the basis of false sentences we can reject false sentences only (while by means of the consequence operation Cn on the basis of true sentences we can deduce true sentences only). The function Cn-1 is a generalization of the notion of rejected sentences which was introduced into logic by Łukasiewicz. The essential property of the rejection function Cn-1 is that it satisfies the axioms of general Tarski’s consequence Cn, so it is a consequence operation, called the rejection consequence. In addition, it is an additive and normal operation. In Chapter I, there are given notions analogous to those of the theory of deductive systems, but they are written down by means of the symbol ‘Cn-1’ and not ‘Cn’. There are established the properties of introduced notions and differences and analogies taking place between them and properties of respective notions of the theory T. There are also given generalizations of the notions of ‘decidable system’ and ‘consistent system’ used by Łukasiewicz. The short Chapter II contains axioms of the system T’ which is equivalent to the system T. The only difference between sets of primitive notions of these systems consists in the appearance of the function Cn-1 in the system T’ instead of the function Cn. This chapter reproduces the results given in (2), but they are partially simplified. (shrink)

Quantum mechanics (QM) predicts probabilities on the fundamental level which are, via Born probability law, connected to the formal randomness of infinite sequences of QM outcomes. Recently it has been shown that QM is algorithmic 1-random in the sense of Martin–Löf. We extend this result and demonstrate that QM is algorithmic $$\omega$$ -random and generic, precisely as described by the ’miniaturisation’ of the Solovay forcing to arithmetic. This is extended further to the result that QM becomes Zermelo–Fraenkel Solovay random on (...) infinite-dimensional Hilbert spaces. Moreover, it is more likely that there exists a standard transitive ZFC model M, where QM is expressed in reality, than in the universe V of sets. Then every generic quantum measurement adds to M the infinite sequence, i.e. random real $$r\in 2^{\omega }$$, and the model undergoes random forcing extensions M[r]. The entire process of forcing becomes the structural ingredient of QM and parallels similar constructions applied to spacetime in the quantum limit, therefore showing the structural resemblance of both in this limit. We discuss several questions regarding measurability and possible practical applications of the extended Solovay randomness of QM. The method applied is the formalization based on models of ZFC; however, this is particularly well-suited technique to recognising randomness questions of QM. When one works in a constant model of ZFC or in axiomatic ZFC itself, the issues considered here remain hidden to a great extent. (shrink)

Chciałem Go pożegnać. Kilkakrotnie próbowałem napisać choć parę słów. O Nim samym. Okazało się, że nie potrafię. Udało mi się tylko przedstawić Jego poglądy na reizm Tadeusza Kotarbińskiego, ale uczyniłem to gdzie indziej. Muszę tu poprzestać na ofiarowaniu Mu tego, co napisałem na Jego dziewięćdziesiąte urodziny, w osiemdziesięciolecie naszej przyjaźni.

There are five basic types of ontology of law identified in relation with the singling out simpIe ontological objects in a strong or weak sense, dualist ontological objects, and complex ontalogical objects in a strong or weak sense. The conceptians of law far mulated in the theories/philosophies/ of law are ascribed to these five types.

This paper is a continuation of Part I under the same title. Its Chapter III contains results given in the following publications: U. Wybraniec-Skardowska, Teoria zdań odrzuconych (Theory of Rejected Sentences), (doctoral dissertation under the supervision of Jerzy Słupecki, published as a monograph), Zeszyty Naukowe Wyższej Szkoły Pedagogicznej w Opolu, Studia i Monografie, Nr 22 (1969), 5-131. G. Bryll, Związki logiczne pomiędzy zdaniami nauk empirycznych (Logical relations between sentences of empirical sciences). Zeszyty Naukowe Wyższej Szkoły Pedagogicznej w Opolu, Studia (...) i Monografie, Nr 22 (1969), 155-216. This chapter contains an attempt to formalize some questions of methodology of empirical sciences. The theory T is enriched here not only by new definitions but also by a new primitive term and new axioms. The most important notion defined in this chapter is the set IndX of all inductive conclusions obtained on the basis of sentences of the set X. The function CnI defined by the equality: CnI X = X u IndX, satisfies the axioms of the general theory of deductive systems. The set CnI X can be understood as a system of empirical sciences in a narrower sense. This paper is a development of the considerations of G. Bryll, included in the above-listed article by this author. (shrink)

Author: Sawicki Jerzy Title: THELEOGICAL PRINCIPLE IN KANT’S METHODOLOGY (Zasada teleologiczna w metodologii Kanta) Source: Filo-Sofija year: 2005, vol:.5, number: 2005/1, pages: 281-292 Keywords: KANT, THELEOGICAL PRINCIPLE, FINALISM, MECHANICISM Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The work contains a concise of I. Kant’s views on the problem of the laws of nature and the theleological principle presented in this context, which Kant proposes in the character of a regulative methodological postulate. (...) The analysis of fundamental philosophical notions (the law of nature, necessity, causality, purpose) carried out from the position of an extreme aprioristic rationalism leads Kant to the conclusion about the basic impossibility of educing the conception of purpose (in relation to nature) from aprioristic transcendental laws, ie. such laws which the theoretical reason imposes to the nature by necessity. However, the fact of a total functioning of an organism does not fit, according to Kant, into the frames of a mechanically understood causality. Kant tries to solve this problem choosing the way of conclusion by analogy and finally he suggests to introduce into the living nature a specific causal relation in which the purposes constitute a particular kind of causes and results at the same time. That conception oscillates between mechanicism and theological finalism, and the fitting of a science system into the frames of aprioristic categories does not permit a finally decide about the supremacy of one or the other way of seeing the world. However, nevertheless, the perceiving and stressing of the peculiarity of organic symptoms, the formulation of the postulate about their unreductability to the law of a mechanical type constitute unquestionable and great merit of the author of the Criticism of the Judgment Authority. The idea of the totality of organism, though involved in subjective idealistic non consequences of Kant’s conceptions has in the given historical period all features of a deep and progressive thought, outpacing and inspiring several later research ideas, both in philosophy and in natural science. (shrink)

The paper analyzes the philosophical consequences of the recent discovery of direct violations of the time–reversal symmetry of weak interactions. It shows that although we have here an important case of the time asymmetry of one of the fundamental physical forces which could have had a great impact on the form of our world with an excess of matter over antimatter, this asymmetry cannot be treated as the asymmetry of time itself but rather as an asymmetry of some specific physical (...) process in time. The paper also analyzes the consequences of the new discovery for the general problem of the possible connections between direction of time and time-asymmetric laws of nature. These problems are analyzed in the context of Horwich’s Asymmetries in time: problems in the philosophy of science argumentation, trying to show that existence of a time–asymmetric law of nature is a sufficient condition for time to be anisotropic. Instead of Horwich’s sufficient condition for anisotropy of time, it is stressed that for a theory of asymmetry of time to be acceptable it should explain all fundamental time asymmetries: the asymmetry of traces, the asymmetry of causation, and the asymmetry between the fixed past and open future. It is so because the problem of the direction of time has originated from our attempts to understand these asymmetries and every plausible theory of the direction of time should explain them. (shrink)

The paper defends a dynamic view of reality which is founded on the assumption of the existence of the flow of time. This vindication makes use of a metaphysical theory of the flow of time developed by the author which is based on the notion of dynamic existence. It is shown that such a conception allows one to explain the fundamental phenomena connected with the flow of time, namely the continuous changing of the present, the endurance of things, and the (...) asymmetry of time. It is also argued that the proposed approach may be of some virtue for the empirical sciences because it explains the ubiquitous interest of scientists in the evolution of dynamic systems of different kinds, and provides us with an arrow of time which is lacking in theories describing fundamental physical interactions. The argument is advanced which aims to show that physics is unable to provide us with a theory of the flow of time and that we should look for such a theory in metaphysics. Thus, an approach to the relation between metaphysics and physics is vindicated that may help to overcome the difficulties blocking our understanding of reality as a dynamic one. (shrink)

Book review: Lukas Benedikt Kraus, Der Begriff des Kontinuums bei Bernard Bolzano, Beiträge zur Bolzano-Forschung, vol. 25, Academia Verlag, Sankt Augustin 2014, pp. 112.

W wyniku przemian społecznych w wielu krajach demokratycznych, a zwłaszcza w Stanach Zjednoczonych jako kolebce demokracji, dostrzega się zmiany nie tylko ideowe, ale i obrazu samego społeczeństwa, podkreślając choćby zmiany tradycyjnych cnót mieszczańskich społeczeństwa kapitalistycznego. W tym kontekście warto więc zauważyć, ze wszelkie przeobrażenia i „nowinki" odbywają się na bazie poszanowania podstawowych zasad systemu, tj. demokracji, wolnego rynku oraz wyraźnej dominacji drogi ewolucyjnej, a nie rewolucyjnej, co dla czytelnika polskiego może stanowić pozytywny aspekt wychowawczy. W niniejszym studium teoretyczne koncepcje filozoficzne (...) filozofów Johna Rawlsa i George'a C. Lodge'a są zestawione z działalnością polityka praktyka Johna Fitzgeralda Kennedy’ego, który choć nie jest filozofem teoretykiem, to jednak należy do głównych przedstawicieli tzw. liberalizmu jakościowego. Jego pozycja w życiu społeczno-politycznym Stanów Zjednoczonych Ameryki Północnej umożliwiła spopularyzowanie tego nurtu liberalnego w życiu publicznym społeczeństwa amerykańskiego. (shrink)

Omawiana książka jest poprawioną wersją rozprawy doktorskiej przedłożonej przez A. Reichold na uniwersytecie w Kaiserslautern w roku 2002 i rozpoczyna się od cytatu z L. Wittgensteina, który w wolnym przekładzie można oddać w sposób następujący: „Najważniejsze aspekty rzeczy są dla nas skryte w ich prostocie i codzienności”. Na genialność i niezwykłość prostoty trzeba zwrócić uwagi, gdyż ona nie rzuca się w oczy. Dostrzeżenie doskonałości prostoty wiąże się z przeżyciem: „aha". Codzienność obcowania z czymś niezwykłym na każdym polu i w każdej (...) dziedzinie zda się czynić wszystko, aby zatrzeć wrażenie niezwykłości przez włączenie do stanu czy wydarzenia oczywistego, zrozumiałego samo przez się. Tak ma się właśnie sprawa z naszym ciałem. Zapominamy o jego istnieniu tak długo, jak długo ono nie daje się nam we znaki. Nagle daje ono nam znać o swoim istnieniu, gdy nie jest do naszej dyspozycji, tak jak było do tej pory. Przeżywając jedność, tożsamość, z ciałem nie zwracaliśmy wcale uwagi na jego istnienie. W przypadku utraty władzy nad nim, przeżywanego zdystansowania względem ciała, stajemy przed faktem naszej cielesności. Naszym udziałem jest związek z czymś, co do nas przynależy, co o nas stanowi, ale czym ostatecznie nie jesteśmy. Nasze istnienie okazuje się istnieniem organicznym: życie człowieka rozwija się w fizyczno-cielesno-psychiczno-duchowej strukturze. Zależnie od przyjętej perspektywy w bycie człowieka można wyróżnić trzy lub cztery rzeczywistości: sferę materii, „podniesioną" przez duszę do ciała sferę psychiki i sferę ducha. (shrink)