Theatermachine: Tadeusz Kantor in Context is an in-depth, multidisciplinary compendium of essays that examine Kantor’s work through the prism of postmemory and trauma theory and in relation to Polish literature, Jewish culture, and Yiddish theater as well as the Japanese, German, French, Polish, and American avant-garde. Hans-Thies Lehmann’s theory of postdramatic theater and contemporary developments in critical theory—particularly Bill Brown’s thing theory, Bruno Latour’s actor network theory, and posthumanism—provide a previously unavailable vocabulary for discussion of Kantor’s theater.
“This groundbreaking collection of beautifully edited essays is impressive in both scope and depth. The book deftly interweaves Kantor’s Polish, Jewish, international, and theoretical roots, thus illuminating essential connections between each in thrilling new ways.”
—Dassia Posner, author of The Director’s Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde
“A unique collection, full of splendid writing and vivid insight, destined to become an essential resource on one of the twentieth century’s seminal experimental theater artists.”—Jonathan Kalb, Hunter College, the author of Great Lengths: Seven Works of Marathon Theater
“An invaluable and much needed collection on the incomparable Kantor—his work, his life, his theatrical prescience. Kantor confronted the twentieth century in profound ways that changed the future of theater. This volume approaches his methods and means through twenty-first century lenses that Kantor’s own work might be said to have forecast—post-dramatic theory, new materialism, thing theory, and posthumanism. As such, Theatermachine expands our understanding not only of the theater artist but of theory and practice that would follow.”—Rebecca Schneider, Brown University, the author of Performing Remains: Art and War in Times of Theatrical Reenactment
". . . these rich and profound essays not only place Kantor retrospectively into the theatrical past, but also argue persuasively for his relevance in the 21st century as an avatar of postdramatic and posthuman performance, and of object theater and performance art." —R. Remshardt, University of Florida, CHOICE