Pokaż treść! - Śląska Biblioteka Cyfrowa

268 Czêœæ druga: Przestrzeñ dramatyczna a przestrzeñ teatralnabudulec przedstawienia ikon popkultury, elementów ³atwo identyfikowalnych,wszechobecnych w kulturze masowej, popularnej. Czy jednak z perspektywywidza teatralnego jest to równie czytelne? Jêzyk teatru, poetykanie jest przecie¿ tylko (czy jak kto chce — a¿) kwesti¹ estetyczn¹. Wyznaczaon poziom dyskursu, pozwala poruszaæ siê po powierzchni problemu lubzmusza do pójœcia „w g³¹b”.Miros³awa Koz³owskaA local space — a universal spaceAn ethnocentric discourse in the theatre after 1989(on the basis of selected realizationsof Polish and Lithuanian theatres)SummaryThe reflection takes into consideration two aspects of space: a scenic space and aninternal space of realizators and receivers of the performance, resulting from their culturalexperiences. Most probably, the two different — hypothetically, but also confirmedto a large extent by critical reception — orders of interpretation of the space constructioncan be observed in the Lithuanian theatre, in realizations of his standard authors: JonasVaitkus, Oskaras Koršunovas, Rimas Tuminas and Eimuntas Nekrošius. Basic elementsdetermining a scenic stage of Shakespeare’s Othello in Nekrošius’ interpretation, pointto two main contexts of interpretation: a Lithuanian culture and a general-cultural one.His interpretation by means of references to an ethnic Lithuanian culture, does not introducerevolutionary changes in the egsegesis of adaptation. However, it gives theworld presented a clear order, and allows for a revelation of its clear and consistent construction.The problem of the relationship between a local and universal space — in relation tothe construction of the scenic space and its reception, is presented differently in the Polishtheatre. The operatic adaptations of Othello by G. Verdi, M. Treliñski (2001), M. Znaniecki(2004) and a theatrical one by J. G³omb (2005), make it clear that space generates the layerof a global culture, and points to the homogenization processes. It is shaped as beyondlocaland beyond-cultural, multidimensional, and often composed of permeating subspaces,multifunctional and often unidentifiable. In this hyperspace, it is created as a hyper-reality,based on and treated as yet another phenomenon of compression, so inscribingin the multimedia world erasing what is individual and going beyond the borders oftime and space.