La Huella del montaje Aby Warburg; Aldo van Eyck, Jerzy Grotowski: recorridos a partir del Atlas Mnemosyne
- Autores: Dimitra Konstantopoulou
- Directores de la Tesis: Juan José Lahuerta Alsina (dir. tes.)
- Lectura: En la Universitat Politècnica de Catalunya (UPC) ( España ) en 2011
- Idioma: catalán
- Tribunal Calificador de la Tesis: Anna Maria Guasch Ferrer (presid.), Antoni Ramón Graells (secret.), Ricardo Sánchez Lampreave (voc.), José Víctor Molina Escobar (voc.), Maurici Pla Serra (voc.)
- Materias:
- Enlaces
- Tesis en acceso abierto en: TDX
- Resumen
The thesis consists in constructing an itinerary through three fields ¿culture of science, architecture, theatre¿ and three authors ¿Aby Warburg, Aldo van Eyck, Jerzy Grotowski¿ on the basis of the idea of the montage. Its ¿methodological¿ reference ¿in spite of the inadequacy of any literal reference to the term ¿method¿ in this case¿ is Warburg¿s Atlas Mnemosyne; on the one hand, since it constitutes itself a materialization of de idea of montage and, on the other, since it converts the separator barriers between disciplines into permeable. Furthermore, Warburg¿s Kulturwissenschaft aims at re-founding the discipline of history of art on a new ¿or forgotten¿ basis. Its end is neither the artist nor the work of art themselves; on the contrary, the work of art ¿as any other cultural document¿ is a vehicle towards reconstructing the chain of human culture against the grain. Therefore, the purpose is to come to understand man as a phenomenon; as creator of civilization. For this reason, and according to Warburg, his enterprise is conceived in terms of psychology of culture. In Atlas Mnemosyne montage is visualised as a modern means of both creating and understanding reality, being the image-fragment its vehicle. The structural seed of the montage of Mnemosyne is the contraposition, or ¿in Warburg¿s terms¿ the law of good neighbourliness. Having it as a reference, we analyse the grand montage of images that constitutes the last ¿but not for that reason infinite¿ of the author¿s works. The point of departure and, at the same time, of arrival of the thesis is the architect¿s craft, montage revealing itself as its spinal column. Following Warburg¿s structural guideline, architectural montage is being approached through its contraposition with montage in other creative disciplines. For this it is necessary to trace a concrete map of interactions. There the representative figure for architecture ¿i.e. for architectural montage¿ is Van Eyck. He raises, both in theoretical and in practical terms, an issue of concern that aims at re-positioning architect¿s craft within the context where it belongs: in both the anthropocentric and the interdisciplinary one. The figure that assumes the role of his counterpoint ¿in our own ¿map¿¿ is, within the same decade of the sixties, Grotowski. Apart from the obvious confluence between architecture and theatre in scenography, another one ¿less evident, nevertheless more eloquent¿ is being discovered, starting from the twin phenomenon architecture-society, a Van Eyck¿s own point of reference. Interpreting the last in terms of space-action brings us closer ¿anti-symmetrically¿ to the way in which Grotowski (re)sets theatre craft. His montages consist in scores of precise and repeatable actions, where there is no space for mimetic. Their end points out outside the confines of ¿art for art¿s sake¿, being recognized their role of vehicle at man¿s service. So much so, that it leads him to cross the limits of the ¿discipline¿ itself ¿by abandoning theatre¿ in order to return to them once he has had them completely reformed. Furthermore, it is discovered that all three authors share conjunction between opposites as the structural nucleus of their respective montages. Their interdisciplinary perspective serves each of them to re-define their particular field of craft and not ¿in spite of appearances¿ to erase the separatory lines between disciplines. Opposing Warburg¿s Atlas Mnemosyne to Van Eyck¿s Kindertehuis and to grotowskian The constant prince and Action permits us, at the same time, to establish a kind of common denominator of ¿interdisciplinary lecture¿ of montage and to mark off each discipline on the grounds of their own means of carrying out a montage. For this, as in Warburg¿s case, image ¿a particular type of it¿ serves us as a vehicle. The thesis makes palpable its own process of development; therefore ¿following the line of its key authors¿ its reading as a process prevails over that as a product.
