Kantor's 'Poor Object' as Icon of Truth

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dc.contributor.author Leach, Martin en
dc.date.accessioned 2012-07-18T08:20:00Z
dc.date.available 2012-07-18T08:20:00Z
dc.date.issued 2012
dc.identifier.citation Leach, M. (2012) Kantor's 'Poor Object' as Icon of Truth. In: The Institut International de la Marionnette in partnership with the research group RIRRA 21 (University Paul Valéry-Montpellier 3), ÜBER-MARIONETTES AND MANNEQUINS: Craig, Kantor and their contemporary legacies, Charleville-Mézières (France), March 15th, 16th, 17th, 2012 en
dc.identifier.uri http://hdl.handle.net/2086/6404
dc.description.abstract In a 1980 address Jacques Derrida characterised the problematic of representation as a ʻsendingʼ or ʻdispatchʼ—as envoi of truth. For Derrida the appearance of the envoi is not separate from that which it represents. Such a revision of the relationship between truth and representation derives from Heideggerʼs reading of Plato, which deconstructs the Allegory of the Cave into a narrative economy. The ʻimageʼ of truth enshrined in Platoʼs cave is seen in terms of a necessarily structured process of disclosure or alētheia. Such an ʻeconomy of truthʼ is also an inherent part of the Orthodox iconʼs uncanny power to act as the envoi of truth from ʻthe other worldʼ. Recent research has identified a relationship between the metaphysics of icons and the early twentieth-century avant-gardes in contemporaneous Russian writing. In categorically located his ʻpoor objectʼ ʻbetween the garbage dump and eternityʼ Tadeusz Kantorʼs aesthetic apparently bears an unlikely affinity with the ʻhammered gold and gold enamellingʼ—ʻthe artifice of eternityʼ of Orthodox icons. However, whilst Kantor can be seen to draw on the metaphysics of Bruno Schulzʼs ʻdegraded realityʼ, his apparently peculiar marriage of symbolism and abstraction indicate a previously unexplored proximity, via the Russian avant- garde, with the mystical legacy of the aesthetic logic of icons. This paper makes links between Pavel Florenskyʼs work on space and representation, in particular his 1919 essay ʻReverse Perspectiveʼ, and Heideggerʼs and Derridaʼs critiques of representation, drawing on recent research to shed new light on Kantorʼs aesthetic of the ʻrealʼ. en
dc.language.iso en en
dc.publisher The Institut International de la Marionnette in partnership with the research group RIRRA 21 (University Paul Valéry-Montpellier 3) en
dc.subject alētheia en
dc.subject Constructivism en
dc.subject Edward Gordon Craig en
dc.subject The Dead Class en
dc.subject Jacques Derrida en
dc.subject Pavel Florensky en
dc.subject Martin Heidegger en
dc.subject Tadeusz Kantor en
dc.subject Heinrich von Kleist en
dc.subject Kazimir Malevich en
dc.subject mannequin en
dc.subject Orthodox Icon en
dc.subject Plato en
dc.subject 'Poor Object' en
dc.subject 'Poor Reality' en
dc.subject Reverse Perspective en
dc.subject Russian Avant-Garde en
dc.subject Vladimir Tatlin en
dc.subject Theatre of Death en
dc.subject Truth en
dc.title Kantor's 'Poor Object' as Icon of Truth en
dc.type Conference en
dc.researchgroup Dance Research
dc.peerreviewed Yes en


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