Oldal 241 [241]
ABSTRACTS
ENIKŐ SEPSI
The legacy of Pilinszky's theatrical and cinematic vision in poetry, paper
theatre, and on stage
The following study examines the poetic implications of Pilinszky’s theatrical
approach to the rite and ceremony, as well as his views on the witness state, at a time
when the liturgy and ceremony also appeared in Robert Wilson’s thinking about
theatre. The research published in my book on the immobile theatre of Janos Pi¬
linszky in French and then in Hungarian is based primarily on two letters I discovered
in the early Robert Wilson Archives at Columbia University. I take this research in
a chapter of my book Poetic Images, Presence, and the Theater of Kenotic Rituals
published this year at Routledge Publishing House in the direction of poetic
ritualism, which I briefly describe here in Hungarian. In the second half of this
essay, I will discuss the study of the mechanism of action of poetic rituals in the
case of some contemporary artists (performances and poems).
ANDRAS VISKY
“The only book of aesthetics”. Conversations with Sheryl Sutton
as a drama
Janos Pilinszky’s last book Conversations with Sheryl Sutton: The Novel of
a Dialogue is a unique attempt in the history of theatre at a systematic aesthetics
of theatre. More than this, the book, written in the form of the Augustinian dialogues,
proves to be asummary of Pilinszky’s oeuvre, which suggests that besides the theatre
experiments, his highly acclaimed poetry is also a performative endeavor, designed
to trigger a radical self-reflection and catharsis for his readers. In Pilinszky’s view
the Christian culture has fallen in the Second World War, and its cleansing is
possible only by means of the theatre and arts in general. Our paper, written in
dialogues as homage to the author of Conversations with Sheryl Sutton: The Novel
of a Dialogue, aims to demonstrate that Pilinszky’s book as an aesthetic legacy is
written deliberately in the shape of a play, and its meanings remains in the shadow
unless we read it as post-dramatic, initiative writing. To prove this thesis we read
Pilinszky’s masterpiece from multiple points of views, including Origen’s The Song
of Songs. Commentary and Homilies, Roman Ingarden’s The Literary Work of Art,
Peter Szondi’s Theory of the Modern Drama, and Hans-Thies Lehmann’s
Postdramatic Theatre.
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