Towards a Poetic theatre

Poetsko kazalište je nedefiniran, pomalo gluhi prostor koji se dohvaća iz različitih teorijskih, pa i autoteorijskih smjerova. U ovom radu uspostavlja se relacija između poezije i kazališta, koristeći niz negativnih kategorija njemačkog teoretičara Huga Friedricha vezanih uz principe moderne lirike. Međutim. poetski tekstovi ne garantiraju poetsko kazalište, niti kazalište uopće. Zato je bilo presudno odrediti ontološke karakteristike poetskog kazališta. Poetsko nije istovjetno lirskom i udaljava se od njega svojim zanimanjem za heideggerovsku otkrivenost bitka. Međutim, poetsko kazalište uže je i od mimetičkog, dijegetičkog, epskog i ikonoklastičnog kazališta. Poetsko i epsko kazalište dijele začudnu dijalektiku. S dijegetičkim i ikonoklastičkim dijeli negaciju translacije mentalne slike u spacijalnost (tek je Leonardova slijepa slika). S mimetičkim vodi borbu na kontrapunktualnoj osnovi, a jukstapozicija scene i poetskog daje najbolje učinke. Za definiciju ontološke postavke poetskog kazališta moralo se približiti krucijalnoj materijalnosti scene i ne-koncilijantnosti kazališnog jezika. Uz to poetsko kazalište mora uzimati u obzir artaudovsku kozmološku okrutnost i njen scenski pandan – neumoljivu preciznost Anomalije i antinomije poetskog kazališta na kraju diplomskog rada predstavljaju se analizama jukstapozicija u izuzetnim predstavama Grotowskog, Brezovca i Ferlina.The poetic theatre is an undefined, almost deaf space, which is being found in different theoretical as well as autotheoretical schools of thought. This thesis establishes a relationship between poetry and theatre, using a series of negative categories developed by the German theorist Hugo Friedrich related to the principles of modern lyricism. However, poetic texts are neither a guarantee of the poetic theatre, nor theatre in general. For that reason, it was important to determine the ontological characteristics of the poetic theatre. Poetic does not mean the same as lyrical and it distances even more from it through its interest in Heidegger’sopenness of being. Nevertheless, the poetic theatre is more specific than the mimetic, diegetic, epic, and iconoclastic theatres. The dialectics of estrangement is common to both poetic and epic theatres. With diegetic and iconoclastic theatres, it shares a common negation of the translation of the mental image into spatiality (it is merely Leonardo’sblind painting). It battles the mimetic theatre on a contrapuntal basis, where the juxtaposition of the stage and poetics creates the best effect. To define the ontological postulate of the poetic theatre, it was necessary to get closer to the crucial materiality of the scene and the non-conciliation of the theatrical language. Besides that, the poetic theatre ought to take into account Artaud’s cosmological cruelty and its stage counterpart – relentless precision. Anomalies and antinomies of the poetic theatre are presented at the end of the paper through an analysis of juxtapositions of remarkable plays by Grotowski, Brezovec, and Ferlin