Strategie unieważniania emocji w teatrze współczesnym

Abstract

The place and role of a theater in a contemporary culture and society are constantly negotiated. Theater is an artistic, social and political phenomenon and it reflects different infłuences, trends, fashions and ideas. As a sociologist of theater the author of this article, continually looks for answers to the question about the duties and obligations of the theater towards the audience; how stage participates in the process of recording and processing of the reality; the formulation of a point of view; the emergence of entities and determining the possible objects of cognition. Finally, about the emotions that theater generates and whether it affects the way the viewer translates the social reality. The problems of the modern world flowed across the stage in dramatic texts like Geza-boy by János Háy, filtered by the consciousness and sensitivity of directors, artists and spectators, become full participants in the discourse about the present, implement the postulate of Charles Wright Mills - turning personal care of the environment into public issues. If and when does that happen ? What conditions must be met in order to the stage implementation of the text allows the viewer to become an element of the present world, sparked intense emotions - and has therefore breached the balance between the relation to the external and internal word, even if not catharsis it feds strong and true? The article is also a reflection on the new forms of theatrical actions and it expresses a deep-reaching distrust of the author to the specific actions on stage.