"Every image is an image of the body. Each work is a visual representation of the body. Say it, say otherwise, that we see the body, even if they do not exist and that the formation of mold is to some extent the formation of the body "- wrote James Elkins.
The "Lake" (2016) directed by Yany Ross, one of the central figures - what's not in the original text of the drama - was created in the image of Russian artist Petr Pavlensky'ego known for its action in public places. The idea for this analogy may raise considerable doubt as nudity ever seen, and yet imperceptible, entered the consequences of such treatment. In the "Tsarina Catherine" (2013) directed by Victor Rubin title heroine in a coin you stack the box with holes through which you can touch her naked breasts and travels by encouraging the audience to this gesture of the people selected. Similarly, in 1968, he encouraged Valie Export in his iconic performance already TAP and TOUCH Cinema. As far as this quote before the nearly half century seems to be the holder and the significance of this gesture are still the same? In turn, the spectacle-spectacle Cezary Tomaszewski who is fun in quotations, borrowings and jokes with the avant-garde and contemporary "It's not bad, that would not work out nicely. Spectacle "(2014), one of the actors trying to play the" Open Book "Vito Acconci (1974) - achieving a similar effect known from the original.
The above-mentioned examples of references to the specific performances tend to a few questions; how contemporary theater uses the history and contemporary art? To what extent these references especially for performance - in the face of the changing concept of physicality and subjectivity seem to be relevant? When the series RE // MIX Commune / Warsaw looked like in "Paradise Now" (2015), one of the most important "theaters" for the visual arts - The Living Theatre gave rise to the association with the thesis Amelia Jones expressed in Self / Image: today we do not know how to live without the ideas themselves as an image.
Dawna space has undoubtedly saved. Today the body - especially naked - does not refer to the presence of only its absence - an image. Could it be that the body, which in the first performances seemed stubbornly, persistently, irritating and przeszkadzająco present today is not only strange, stubborn, persistent, irritating and nieprzeszkadzająco silent?