Czego chce film na scenie? Analiza trzech przypadków
What Does the Film Want on the Stage? Three case studies

Summary/Abstract: The growing presence of film images on stage makes one question the sense and meaning of their being there, the relations between what is live and recorded. In the article adequate theories are sought that would help to analyse complex scenic imaging techniques, ranging from repetition, illusion, playing with perception, to dispersion and consolidation of corporeality on stage. Analysis of selected examples aims to answer the question (according to W. J. T. Mitchell’s formulae) what is the purpose of film images on the stage. The author refers to the theatres of Krystian Lupa, Krzysztof Warlikowski and Krzysztof Garbaczewski, and analyses the directors’ strategies of their use of recorded film, camera, film citations and their own dramaturgy, and how they changed and made more complex the form of life presence on the stage. The modern visual practices force one to search for new tools to be used in the description of the theatre phenomena which do not have a unitary structure. What appears interesting is not simply the direct placing of film on the stage, but the use of film material as an inspiration and a source of conventions that de(con)struct traditional theatrical agents.

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