RESEARCH
In ancient Greece an artist was equalized with a thinker from obvious reasons. A powerful work of art, be it a piece of pottery, a statue or a temple, was a result of intellectual concept first, only later put in practice. However, theory of art was implied in making, not writing about it. And it was taught orally. Our conference are dedicated to the broad concept of the theory of performing arts. Now the English word theory is a loan from the Greek noun θεορία which means contemplation, speculation or a looking at something. It originated from a verb theorein (θεωρείν) meaning ‘to see” or ‘to contemplate”, or more exactly, the act of seeing, observing or contemplating. The related term ‘theros’ (θερός) means spectator or observer. So the theory is ‘conception’, a mental scheme. Initially ‘theory’ referred to to the act of observing or spectating, often in religious or public contexts, but it evolved to encompass deeper contemplation and understanding. The main purpose of our conferences is to bridge art with academy and stimulate a free flow of inspiration between them.
We hosted among other:
Roderyk Lange, Sondra H. Fraleigh, Richard Shusterman, Maria Krzysztof Byrski, Zbigniew Osiński, Estera Żeromska, Toshiharu Kasai, Andrzej Szczeklik, Luk Van den Ries, Ana Bernstein, Yuko Yuasa, Ruth Kanner, Lucjan Buchalik, Włodzimierz Szturc, Francisco de Santos, Suzana Martins, Bożena Śliwczyńska, Janusz Wałek, Jacek Szerszenowicz, Antanas Andrijauskas, Karin von Maur, Maaike Bleeker, Anneli Saro, Timo Klemola, Christel Stalpaert, Michael Carklin, David Roesner, Richard Stockton