Not to be "looked at"! Reality and unreality in Kantor's aesthetics of theatre

Universally regarded as one of the twentieth century's most subversive pieces, the Dead Class epitomises Tadeusz Kantor's concept of what theatre (and, more generally, art) could and should be. In the attempt to eliminate any distance between the stage and the auditorium, between actors and spectators, the Polish artist reflected on how to do away with the traditional distinction between the reality of everyday life and the (alleged) unreality of theatrical performances. Staging daily and trivial objects played a crucial role in this artistic strategy. Kantor was fascinated, in particular, by hyperrealistic dummies which seem to have more to do with Wunderkammern and fairground booths than with so-called "high" art. By focusing on the material the Dead Class mannequins are made of (namely, wax), the article delves deep into Kantor's essays and manifestos, exploring the theoretical reasons underlying his aesthetics of theatre.