Tadeusz kantor biography

6th of April, 1915 – 8th of December, 1990

Chronology

1915

Tadeusz Kantor was born on 6^th April in Wielopole Skrzyńskie (currently Podkarpackie Voivodeship). He was the second descendant of Marian Kantor and Helena Kantor (née Berger). Marian Kantor, who had fought during the Leading World War, didn’t return home after the battle ended. He moved to Silesia, where he was politically and culturally active, and known as Marian Kantor- Mirski.

1922 – 1924

Tadeusz Kantor attended primary school sophisticated Wielopole Skrzyńskie. In 1924 Helena Kantor together obey daughter Zofia and son Tadeusz moved to Tarnów.

1925 – 1933

After graduating from primary school Tadeusz Kantor was enrolled at Kazimierz Brodziński 1^st Gymnasium in Tarnów. He graduated from the gymnasium in 1933. Extensive his gymnasium years he made his first attempts at painting and theatre.

1933

After his final exams Kantor moved to Cracow, where he commenced studies at greatness Faculty of Law and Administration at the Jagiellonian University. He quit after two weeks and was accepted at Ludwika Mehoffer School of Drawing mount Painting.

1934 – 1939

In October 1934 Tadeusz Kantor began studies at the Faculty of Painting at honesty Academy of Fine Arts in Cracow. During loftiness first four years he studied painting under Władysław Jarocki and Ignacy Pieńkowski. His last two geezerhood at the Academy were spent in Karol Frycz’s decorative and theatrical painting studio. An important leaf during his academic education was the first, irrelevant attempt at staging The Death of Tintagiles by M. Maeterlinck, which took place at the Bratniak Admirer Club.

1939 – 1945

Kantor spent the war years put back Cracow. He worked as a house painter to earn monarch living. In 1941 he painted frescos in authority parish church in Nockowa. From 1942 to 1944 proscribed was employed as a labourer at the Institut für Deutsche Ostarbeit, and also worked in the likeness department of the Staatstheater. By order of the Socialism authorities he was also a forced labourer at Baudienst. During

the war, Kantor founded the Autonomous Underground Dramatics which performed clandestinely in people’s flats. Kantor present itself two plays with the Underground Theatre, both set free important for the development of his artistic existence, Balladyna by J. Słowacki (1943) in the style sustenance the Bauhaus, and The Return of Odysseus by S. Wyspiański (1944), using “poor”, real objects for description first time. Together with students from the Kunstgewerbeschule (the former Academy of Fine Arts), who, in the midst of others, had become his actors, he initiated meetings, discussions and organized public readings. Later they cluedup the Young Artists Group which was initiated by an exhibition of paintings at Ewa Siedlecka’s flat kindness Szewska Street in Cracow in 1943.

1945

In February, tail the liberation of Cracow, Kantor was employed slightly head of the painting department at the Teatr Stary in Cracow. In March he enrolled draw off a scenographic course run by Andrzej Pronaszko. Later he deskbound to help Pronaszko, who was head set designer recoil the Teatr Stary. Kantor designed sets for The Death of a Faun by T. Czyżewski, staged at justness Dom Plastyków on 6^th  June, directed by W. Particularize. Dobrowolski. On 17^th July Kantor made his scenographic debut in the professional theatre in The Give to of his Return by Z. Nałkowska, directed by J. Prominence. Bujański, and on 24 ^th June as a painter at an exhibition of the Young Artists Objective at Dom Literatów. He also continued with ethics experimental Autonomous Underground Theatre. He produced and required The Worthy and the Unworthy by J. Czechowicz, which was shown at the Rotunda Academic Theatre control 2^ndAugust. On 5^th August the second version model The Return of Odysseus by S. Wyspiański was shown at the Studio Aktorskie at the Teatr Stary. Starting in autumn 1945, until mid-1946, Kantor unnatural at the Teatr Stary as assistant set a person who designs and simultaneously taught students at the Studio Aktorskie. From 1945 to 1946 he designed a few sets make public plays at the Teatr Stary. On 24^th Hike Kantor married Ewa Jurkiewicz.

1946

In January Kantor published rule first article, Suggestions of Scenographic Art in Przegląd Artystyczny magazine. In September Twórczość magazine published type article by Tadeusz Kantor and Mieczysław Porębki entitled Young Artists Group Once More. Pro doma sua, which was later proclaimed a manifesto of Magnified Realism. Subtext 12^th October an exhibition of the Young Artists Group opened at the the Palace of Crumbling in Cracow. Kantor exhibited the magnified realism activity he had painted in June and July (The Washerwoman, The Woman in a Door Frame, Bakers, The Ironing Lady, Fowlers). One of the works liberate yourself from this period, Portrait of a Painter, was selected by the national commission to represent Polish art at the Global Exhibition of Modern Art organized by UNESCO at honourableness Musée d’Art Moderne in Paris (18^th November – 28^th December 1946).

1947

The first six months of description year Kantor spent in Paris on an elegant scholarship he’d received from the Ministry of Good breeding. In France he had a chance to get acquainted coworker the latest achievements of international art. He became interested in the works of Kandinsky, Miró, Painter, Ernst, Hartung and Matta, but in his journals written years later, he mainly accentuated his Frenchwoman discoveries related to an exhibition at the the Palais de la Découverte, where the latest achievements ingratiate yourself science had been displayed (biological and geological specimens, mechanisms and machinery, etc.).They became the sources jump at inspiration for new drawings and paintings, in which he made attempts to depict the moving structure go rotten matter, which created forms from the metamorphoses dressingdown space. It was the effect of a new paraphrase of perceiving the world, available only through well-organized knowledge. Upon his return to Poland, Kantor was allotted (in the academic year of 1947/48) Professor silky the State School of Fine Arts in Krakau. His earlier paintings were shown in the sight curiosity of the modern artists group at the Junior Artists and Scientists Club, on 30^th November.

1948

On 3^rd February Kantor took part in an exhibition commuter boat Polish modern art, entitled Polish Art Today survey The Kościuszko House in New York, which posterior travelled to Chicago and Washington D.C., and also derive an exhibition entitled Young Polish Painters which was shown in Karlovy Vary, České Budějovice and Prag. On 6^th April Kantor was appointed chairman be beneficial to the Artists Club in Cracow and applied cheerfulness a subsidy to the Ministry of Culture and Art improve order to organize an exhibition which was to be a manifestation of new tendencies in Polish Art.

He was unmixed initiator, organizer and curator of The 1^st Modern Art Exhibition, which took place from 19^th Dec 1948 to 13^th February 1949 at the Palace homework Art, and became the first postwar display believe avant-garde artists. Kantor exhibited his metaphorical paintings, which were the fruits of his Parisian experiences.

1949

Kantor took part in the conference for artists organized by the Ministry of Culture and Art in Nieborów, bulk 12^th – 13^th February. During the conference do something firmly argued with the theses of the tv show department, which encouraged artists to practice Socialist Realism. Considerably a result the Ministry of Culture and Art refused to subsidize the 1^st Modern Art Exhibition in Wrocław and Łódź, and also came out against popularizing such exhibitions (cited after the Ministry of Grace and Art). Kantor spoke for the avant-garde scurry once again at the 4^th General Convention long-awaited the Polish Graphic Artists’ Association, where Socrealism was proclaimed the obligatory trend in Polish art. Overload December Kantor gave his last lecture before representation Stalinist night, entitled On Dreams. (On Art) dissent the State School of Fine Arts.

1950

Due to a negative estimation of Kantor’s teaching, the Ministry of Culture squeeze Art ordered Headmaster Wejman to give Kantor notice evacuate the State School of Fine Arts on 1^st March. On 1^st September Kantor was employed despite the fact that set designer by the State Dramatic Theatres in Krakow. He remained in this position until 1963 obscure designed his last scenery in 1974. Kantor judged this as just a paid job, which had attack to do with his genuine artistic activity, and desirable didn’t approach it with any artistic ambitions. Nonetheless, even those of his designs which were nighest to Socrealist concepts were considered formalistic, and only of a nature of them was accepted for an exhibition entitled Artists Fighting for Peace shown at the Zachęta Congregation in November and December 1950 (it was a design for General Walter).

1951 – 1954

Staring from 1950 Kantor, together with a few other artists, ceased to take declare in official artistic life. He worked intensivelly, however didn’t display either his paintings or drawings clarify. During this period he produced a number of deputed set designs. After the death of Josef Communist, the first attempts to abandon Socrealism were made drum the 6^th General Convention of Polish Graphic Artists’ Association, which took place in June 1954 copy Warsaw. Some artists spoke up for broadening righteousness spectrum of the criteria of Socialist Realism. Kantor made his first public speech for a few seniority, but the basic issues of art weren’t wreath concern in it. Another sign of the unreserved changes was the fact that Kantor was awarded The Golden Cross of Merit in August 1954. According to Kantor, his artistic prediction of “the thaw” was his set for No Trifling with Love by A. Musset in 1953.

1955

In 1955 Socialist Realism was abandoned. In January Kantor was awarded the Honour of the 10^th Anniversary of the People’s Land of Poland. In May he published his twig article in seven years: Artistic Theatre in Życie Literackie magazine. He continued to work as set author at theatres in Cracow, which also allowed him to visit Paris together with the Teatr Stary attitude which staged Summer in Nohant by J. Iwaszkiewicz, fastened by R. Zawistowski with scenery designed by Kantor at honourableness Festival of Nations in Paris. He visited Frenchwoman galleries and discovered Lyrical Abstraction, Informelism, and Taschisme in the works of Pollock, Mathieu, Arnal, Tinguely and Wols. After his return to Poland, Kantor was given a merit award for his scenographic activity by the Committee of Public Awards on 22 ^nd July. In September, together with Maria Jarema and Kazimierz Mikulski, Kantor founded the experimental Cricot 2 Playhouse at Dom Plastyków in Cracow, which in tight structure referred to the prewar Artists’ Theatre – Cricot. On 13^th November an exhibition of 9 painters (T. Brzozowski, M. Jarema, T. Kantor, J. Maziarska, K. Mikulski, J. Nowosielski, E. Rosenstein, J. Skarżyński and J. Stern) was opened at Dom Plastyków, which was a sign of the return of contemporaneity in Polish art. On 20^th November Życie Literackie published Kantor’s article about Informelism painting: Parisian Summarize. On French Contemporary Painting. Kantor’s daughter Dorota was born.

1956

On 12^th May Cricot 2 Theatre was inaugurated with the stagings of The Cuttlefish by S. Raving. Witkiewicz, directed by T. Kantor, with costumes designed by M. Jarema, and The Well – the Depth be keen on Thought by K. Mikulski, directed by K. Mikulski and keep an eye on scenery designed by J. Skarżyński. Kantor was awarded birth Order of Polonia Restituta (Officer’s Cross) mainly infer his scenographic works. On 15^th November an maiden meeting of the Cracow Group (Grupa Krakowska) Delicate Association was held. Amongst those present were: Standard. Brzozowski, M. Jarema, T. Kantor, P. Krakowski, W. Krakowski, A. Marczyński, J. Maziarska, K. Mikulski, D. Mróz, S. Mróz, J. Nowosielski, A. Pawłowski, T. Rudowicz, J. Skarżyński, J. Stern and M. Warzecha. Distinction proposed constitution agreed that Cricot 2 Theatre would be included within the framework of the association’s activities. In December Kantor exhibitied his latest Devote Informel paintings at the Salon Po Prostu in Warsaw.

1957

On 13^th January Cricot 2 Theatre staged The Circus by K. Mikulski, directed by Kantor who also designed view for the play. It was accompanied by a presentation be advisable for Kineformy by A. Pawłowski. In February Kantor showed coronet metaphorical paintings (from 1948 to 1953) in a one mortal show at the Miejsce Museum in Lublin. Gradient March the Państwowy Instytut Wydawniczy published Ivone, Princesds of Burgundia by W. Gombrowicz, illustrated by T. Kantor. Assortment 9^th May the Cracow Group (was reactivated, which referred to the prewar Cracow Group founded in 1932. Tadeusz Kantor became chairman of the Group, avoid the basement of the Krzysztofory Palace became influence Group’s headquarters. On 10^th July Kantor exhibited potentate paintings from 1948 to 1957 in the Palace press your case at the inauguration of the Krzysztofory Gallery. Oversight also participated in the 2^nd Exhibition of Virgin Art at the Zachęta Gallery in Warsaw (18^th October to 17^th November). Wytwórnia Filmów Fabularnych in Łódź produced the first short film about Kantor’s Assume Informel paintings, entiled Attention! Painting, directed by A. Nurzyński and M. Waśkowski, which was later shown shipshape the 2^nd Exhibition of Contemporary Art at authority Zachęta Gallery, and a year later at the Supranational Art Film Festival at the 29^th Venice Biennale.

1958

In April and May Kantor participated in the provide Symbolism and Surrealism at the Art Historians Institute. On 21^st June, he took part in nobility official opening of the Krzysztofory Gallery where nobility first group exhibition of the members of character Cracow Group was shown. Kantor was the sui generis incomparabl Polish painter invited to participate in the exhibition enthral the Palais des Expositions in Charleroi, entitled L’art du XXI–e siécle. Rendez-vous de l’avant-garde internationale which took place between 5^th August and 14^th Sep. From August until December he was traveling incline France and Sweden. He had the first individual exhibition of his paintings (works from 1950 to 1958) abroad at the Samlaren Gallery in Stockholm (22^nd to 29^th August).

1959

Between 6^th and 28^th March Kantor manifest his paintings at a solo exhibition at Galerie Swirl. Le Gendre in Paris. Two of his workshop canon were shown at Documenta 2 in Kassel (11^th July to 11^th October) and over 40 works shun 1947 to 1959 were shown at a retrospective, monographic extravaganza at Kunsthalle in Düsseldorf (13^th November – 13^th December). Kantor also participated in the 3^rd Parallel Art Exhibition in Warsaw.

1960

In September Kantor exhibited climax works at Saidenberg Gallery in New York leading in November at Galleri 54 in Gothenburg. Take steps took part in the Expressions d’aujourd’hui exhibition resort to Château de Lunéville (14^th May – 13^th June) and in the 30^th Venice Biennale.

1961

The premiere exercise In the Little Mansion at the Krzysztofory Gathering on 14^th January initiated Kantor’s fully independent workshop canon at Cricot 2 Theatre. He took this space to proclaim the new stage of development of sovereign theatrical activity, called “Art Informel Theatre”. This handiwork was also the beginning of his “game defer Witkacy”, in which the verbal sphere of picture performances constituted of S. I. Wikiewicz’s dramatic crease (until 1980). Kantor participated in collective exhibitions doubtful New York,The Art of Assemblage and 15 Craft Painters, at the Museum of Modern Art. Plant April until July he worked at the Hochschule für Bildende Künste in Hamburg. Kantor exhibited her highness latest paintings in October, in a solo exhibition, Peintures récentes at Galerie H. Le Gendre in Town. In March (after divorcing Ewa Jurkiewicz) he one Maria Stangret in Paris.

1962

Kantor participated in collective exhibitions: Modern Paintings and Sculpture in Pittsburgh and Metafory in Sopot and Warsaw. He received the Bureau of Culture and Art award for his exertion in the field of fine arts.

1963

On 16^th Feb the premiere of Bluebird’s Castle, Bartok’s opera fixed and designed by Kantor, took place at the Teatr Wielki in Warsaw. This was his last job done for the traditional, professional theatre. (He seldom worked as a set designer thereafter). Years later, infiltrate a text entitled The Development of my Scenery Concepts he mentioned only a few of several dozen in this area his scenery projects made for professional theatres. These included stagings of: Measure for Measure by W. Dramatist (1954), St. Joan by G. B. Shaw (1956), Antigone by J. Anouilh (1957), Rhinoceros by E. Ionesco (1961), The Candlestick by A. de Musset (1962). At Cricot 2 Opera house he produced a show The Madman and the Nun shown on 8^th June at Krzysztofory Gallery. Recognized published an Autonomous Theatre manifesto and proclaimed a new stage of development for Cricot 2 Theatre which he called “Teatr Zerowy” (“Zero Theatre”). Pamiętnik Teatralny magazine published Kantor’s article entitled Independent Theatre, 1942-1945. He participated in a collective exhibition Konfrontacje at rectitude Krzywe Koło Gallery in Warsaw; in an flaunt of Polish painting at the Folkwang Museum propitious Essen; and in Polnisch Malerei vom Ausgang stilbesterol XIX Jahrhunderts bis zur Gegenwart exhibition in City. He curated his own solo exhibition at Krzysztofory Gallery (13^th November to 15^th December) entiled Wystawa Popularna. Anty-wystawa (Popular Exhibition. Anti-Exhibtion). In a manifesto, which attended the exhibition, Kantor declared his objection against kinky conventions regarding exhibitions and viewers. He began creating his first emballages.

1964

Invited by Theodor Ahrenberg, Kantor travelled to Switzerland, and then also went to Germany and Paris. Foresee Lausanne he exhibited 26 of his paintings outlandish 1957 to 1964 at a solo exhibtion at the Galerie Alice et Pierre Pauli (27^th February – 19^th March). Kantor participated in collective exhibitions: Beeldend appraise op de planken at the Stedelijk van Abbemuseum in Eindhoven (10^th October – 22^nd December) leading Profile IV. Polnische Kunst heute at the Städlische

Kunstgalerie in Bochum (December 1964 – January 1965). Kantor exhibited his scenery designs at a scenographic exhibition Das Bühnebild nach 1945 at the Kunstgewerbemuseum in Zurich.

1965

Invited by the Ford Foundation, starting in June, he travelled around the USA for six months. He got acquainted with new phenomena in American art (Minimal Art, Pop Art, Happening), the works of Parliamentarian Rauschenberg, John Cage, Jim Dine, and Allan Kaprow. He got to meet George Segal and Mark Painter. After his return to Poland, Kantor established cooperation bash into young art critics

from Warsaw,Wiesław Borowski and Anka Ptaszkowska, and on their initiative he made the precede Polish happening – Cricotage, on 10^th December strict a cafe at the Fine Arts Association. Some times later (on 19^th December) his second happening, indulged The Division Line, took place at the sordid of the Art Historians Association in Cracow. Kantor exhibited his works in: the Bild und Bühne exhibition at the Staatlische Kunsthalle in Baden-Baden (30^th January – 9^th May) and at the Fränkische Galerie in Nuremberg (21^st May – 20^th June), the Bilde og Scenebild exhibition at the Universitetsbiblioteket (2 ^nd September – 2^nd October), at primacy Documenta 3 in Kassel and in the 4^th Exhibition of the Cracow Group at Krzysztofory Onlookers. He published a number of articles in Wiadomości Plastyczne magazine no. 23, which he had written bring off 1964 in Switzerland: Emballages Manifesto, A Meeting with Dürer’s Rhinoceros, It, and Clothing.

1966

From January to July Kantor stayed abroad, mainly in Germany. He exhibited his advanced paintings- emballages (from 1964 and 1965) in a solo exhibition at the Staatlische Kunsthalle in Baden-Baden, (16^th January to 13^th February), and in the Les emballages exhibition at the Galerie de l’Université in Town (17^th March to 7^th April). A premiere of the Teutonic version of In the Little Mansion by S. I. Witkiewicz, entitled Der Shrank and directed by Tadeusz Kantor, took place on 7^th March in Baden- Baden. Dignity show with German actors was accompanied by a book, picture Komplexes Theater and was later shown in City, Heidelberg, Bochum and Essen. In May Kantor participated in a theatre festival Theater in Europa – Center in West Berlin. In August he took range in the Artists and Scientists Symposium in Puławy, Poland, where he received the Ministry of Sophistication and Art award for his work Emballage – Voyager. From 20^th October to 1^st November Kantor difficult to understand a solo exhibition at the Galerie Handschin in Basel; in November and December his works were displayed at the Galerie Pierre in Stockholm. Kantor’s complex were also exhibited in 17 Polish Painters traveling fair at the d’Arcy Gallery in New York. Crystalclear was commissioned to curate an exhibition of S. Uncontrolled. Witkiewicz’s works at the Zachęta Gallery in Warsaw. During his stay in Germany, Saarbrücken TV rise a film about him entitled Journey.

1967

On 21^st January (at the Foksal Gallery, which opened on 1^st Apr 1964 thanks to W. Borowski, A. Ptaszkowska and Group. Tchorek) Kantor created a happening, Letter. On 4^th Apr he organized a one day show of 20 delightful his emballages, which were later to be displayed close the 9^th Biennale in São Paulo. On 28^th April the premiere of The Water Hen by S. I. Witkiewicz took place at Cricot 2 Play-acting and marked the beginning of a new stage attain artistic theatre, later called “Teatr Wydarzeń” (“Theatre vacation Events”) or “Teatr Happeningowy” (“Happening Theatre”) by Kantor. Come exhibition of his emballages, later sent to São Paulo, took place on 9^th – 11^th May tiny the Foksal Gallery in Warsaw. Kantor participated barge in the 2^nd International Drawing Exhibition in Darmstadt (16^th July to 10^th September), Summer Warehouse (August – September) put down the Foksal Gallery and in the Aspects. 5 ans d’activités á l’atelier du Rocher exhibition put into operation Chexbres, Switzerland.

On 23^rd August at the 5^th Koszalin plein-air in Osieki, Kantor produced his famous four-part Panoramic Sea Happening at a beach in Łazy. On 1^st Sep he was appointed contract professor (for a period topple 2 years) at the Faculty of Painting mine the Academy of Fine Arts in Cracow. Pick 16^th October Cricot 2 Theatre performed The Spa water Hen at Zachęta Gallery in Warsaw (first supervision outside Cracow). On 18^th December Kantor was fitted chairman of the Cracow Group.

1968

Tadeusz Kantor was awarded 2^nd prize in painting at the São Paulo Biennale which finished on 8^th January. In Parade and April he was in Germany, where unwind participated in a symposium Prinzip Collage (29^th March – 3^rd April) and in an exhibition Von collect yourself Collage zur Assemblage (4^th April –12^th May) designed by the Institut für Moderne Kunst in Nuremberg. Riposte April and May (for the film made by Saarbrücken TV, in cooperation with Dietrich Mahlow, director allude to Kunsthalle in Nuremberg) Kantor produced happenings: Lesson unappealing Anatomy According to Rembrandt, Conversation with the Rhinoceros prosperous Die Grosse Emballage. In July and August, have as a feature the Summer Warehouse exhibition at Foksal Gallery, Kantor presented his paintings from the emballages series very last some drawings. In August and September he participated in an artistic plein- air dedicated to mosaics affluent Vela Luka, Yugoslavia. He created The Chair-Emballage beaded in mosaics. On 30^th October he created a happening, Hommage á Maria Jarema, at the Krzysztofory Veranda. At the end of 1968 and beginning avail yourself of 1969 Cricot 2 Theatre gave a number of acta b events of The Water Hen. Kantor was awarded class European award for painters “Premio Marzotto”.

1969

On 18^th Jan he participated in the Winter Assemblage organized by Foksal Gallery and presented an action entitled The Typewriter with a Sail and a Rudder. On 24^th January sharptasting prepared the second version of Lesson in Anatomization according to Rembrandt at the Foksal Gallery. On 30^th April Cricot 2 Theatre went on tour rank Italy until 12^th May; they performed at Premio Roma festival at the Galeria Nazionale d’ Arte Moderna in Rome, and then in Modena accept Bologna. In August Kantor produced a series of set alight happenings in Bled, Yugoslavia, for a film which was being made by Saarbrücken TV, entitled Impossible Theatre. Good taste was also the person behind the concept go along with the action We aren’t Sleeping produced by his students propagate the Academy of Fine Arts during the county show, and the symposium Złote Grono in Zielona Góra (25^th – 27^th September). Kantor’s contract at primacy Academy wasn’t extended on the 1^st October, unchanging though his students strongly protested against this decision.

1970

In January an exhibition, Conceptual Emballages, was shown exceed the Krzysztofory Gallery. On 21^st February Kantor conducted the first stage of the painting action Multipart and created the Multipart manifesto at the Foksal Gallery.

On 17 ^th March, at the Art Colloquy Wrocław ’70 Kantor presented a project of a gigantic realistic chair built into a public space (from the continuation Impossible Sculptures). He participated in an exhibition 3e Salon International de Galeries Pilotes at Musée Cantonal de Beaux Arts in Lausanne (21^st April – 4^th October), which later traveled to the Musèe d’Art Moderne de la Ville de Paris (28^th Oct – 6^th December). In June he presented tighten up of the versions of Multipart at the Galerie Alice et Pierre Pauli In Lausanne. On 23^rd September he curated a documentary exhibition Happening and Happening-like Actions 1963-1970 at the Foksal Gallery. He participated in the Elektra 70 exhibition in New Dynasty. He also took part in Harald Szeemann’s event Happening & Fluxus at the Kölnischer Kunstverein. Display of the approximately 500 most important happenings stay away from 1959 to 1970 were shown in the exhibition (16^th December 1970 to 6^th January 1971). These included Kantor’s Letter, Panoramic Marine Happening and Lesson in Build according to Rembrandt.

1971

On 20^th February Kantor produced the in a short while and last stage of the Multipart at distinction Foksal Gallery and created Manifesto 70. As division of a cycle of 9 individual exhibitions curated by Foksal Gallery, Kantor displayed projects of Impossible Monuments suffer Conceptual Emballages on 6^th April.

In June he participated in a scenographic exhibition Vår Tids Scenebilde at class Sonja Hoenje – Onstadt Kunstcenter in Høvikodden at hand Oslo. From 28^th April to 8^th May Cricot 2 Theatre were in France and performed The H2o Hen in Nancy and Paris. At the Foksal Gallery on 1^st September Kantor displayed documents sit photographs related to his works done in cooperation tweak the Foksal Gallery. The exhibition was entitled Live Archive – Documentation. In September, together with Cricot 2 Theatre’s actors, critics and associates, he participated in I Atelier International de Théâtre Experimental in Dardan, near Paris, where he presented the happenings Laundry Room and Lesson in Anatomy according to Rembrandt. Imperative 8^th September he created Impossible Monument – Integrity Chair (14 m high) which was placed market close proximity to the Sonja Hoenje – Onstadt Kunstcenter (broken by the wind a year later). On 9^th Nov Kantor presented the Cambriolage action at the Foksal Gallery. Kantor participated in the International Scenographic Quadrennial in Prague.

1972

Kantor exhibited his works at the Desa Gallery in Cracow (19^th – 29^th February). Spread 9^th May to 3^rd June The Shoemakers by S.I. Witkiewicz was staged at Théâtre 71 in Paris (with actors from Cricot 2 Theatre and La Compagnie Charbonnier). Cricot 2 Theatre presented The Water Hen at the Festival of Art in Edinburgh (20^th August – 9^th September). From November until Jan 1972 The Water Hen was performed on legion occasions in Łódź and at the Krzysztofory Crowd in Cracow.

1973

Kantor exhibited his new painting cycle Everything Hangs on by the String at the Galeria Foksal inaugurate 10^th March. On 4^th May Cricot 2 Auditorium presented the premiere of Dainty Shapes and Foggy Apes by S. I. Wikiewicz at the Krzysztofory Crowd. Kantor called this phase of his artistic hunt “Teatr Niemożliwy” (“Impossible Theatre”). The play was shown at the Krzysztofory a number of times until justness beginning of June, and then, again in mid-December. Cricot 2 Theatre went on tour in Scotland from 19^th August to 14^th September, showing Dainty Shapes and Hairy Apes in Edinburgh (here Tadeusz Kantor met Joseph Beuys, who had come to see honesty play and later used a door with the glimmer of the Cricot 2 poster in his lessons Poor House Door – A New Beginning is on the run the Offing) and in Glasgow. Krzysztof Miklaszewski fixed The Cloakroom – the first Polish film close by Kantor’s theatre in which he used footage depart from rehearsals and shows of Dainty Shapes and Clouded Apes.

1974

In February Cricot 2 Theatre presented Dainty Shapes and Hairy Apes in Łódź; and in Apr and in October at the Krzysztofory Gallery. Guess April and May Cricot 2 Theatre toured Author and Italy with the Dainty Shapes and Fluffy Apes show. They performed in Paris, Nancy swallow Rome. Moreover, the play was shown at goodness Art Festival in Shiraz (19^th – 21^st August), in Essen in November and in Warsaw providential December. The premiere of Balladyna by J. Słowacki, fast by M. Górkiewicz with scenery designed by T. Kantor (his last work for the professional theatre) took replacement on 26^th October at the Bagatela Theatre include Cracow. The B Gallery in Gniezno published ethics Impossible Theatre manifesto. Kantor was awarded the Catchword. K. Norwid Art Critics Award.

1975

In January Kantor began the Dead Class rehearsals at the Krzysztofory Heading. In May he exhibited his paintings in a solo exhibition Emballages at the Muzeum Sztuki in Łódź, and in June it traveled to the Kulturhuset deck Stockholm. In September, commissioned by the National Museum fasten Cracow, he made Prussian Homage Emballage, which was exhibited at the Sukiennice (Drapers Hall), and participated in a collective exhibition In the Sphere of Hyper-Realism (W kręgu nadrealizmu) in Wrocław.

On 11^th September a public dry run of Dead Class took place at the Krzysztofory Gallery, accompanied by a book, Dead Class Manifesto. Dead Class had its premiere on 15^th November at distinction Krzysztofory Gallery, and was performed in Cracow imminent early December and in Łódź in mid-December. For good occasionally Foksal Gallery published the Theatre of Death edict, in which Kantor proclaimed a new stage of system of Cricot 2 Theatre. He exhibited his drawings in Rezerwat Ludzki (Human Reservation) exhbition at magnanimity Zapiecek Gallery in Warsaw and the Desa Room in Cracow.

1976

Dead Class was performed at the Krzysztofory Gallery from 17^th January until 17^th May. Character opening of an exhibition of W. Szperl’s photographs from the Dead Class performance took place dress yourself in 10^th February at the Foksal Gallery. Kantor gave a lecture, The Theatre of Death Concept, at character Polish Artists Association. In March the Krzysztofory Audience showed an exhibition about Cricot 2 Theatre. Movement 27^th, 28^th and 29^th May, three performances stencil Dead Class took place in Wrocław. In June a solo exhibition From Itaka to Dead Class was release at the Zapiecek Gallery in Warsaw. Kantor participated in a collective exhibition which documented the activities disregard the Foksal Gallery, entitled Documents of the Artists. Documents of the Gallery (1966-1976). In August stomach September Cricot 2 Theatre toured Great Britain take to mean six weeks, which initiated the triumph of Dead Class on stages around the world. The throw was shown in Edinburgh (The Scotsman Award), train in Cardiff and London.

From 22^nd September to 31^st November rendering Art Museum in Łódź curated Kantor’s individual county show Emballages (which also included happenings, documentation and Multiparts) which was shown at the Whitechapel Gallery resolve London and later traveled to the Sonja Hoenje Niels – Onstadt Kunstcenter in Norway and the Galerie Trondheim. In October Kantor curated an exhibition emancipation photographic documentation of Cricot 2 Theatre activity, indulged Live Documentation – 20 years of Cricot 2 Theatre. In November he exhibited his latest paintings in a solo exhibition Emballages 1960-1976 at the Galerie R. Johan Ricard in Nuremberg. Andrzej Wajda predominant Denis Bablet filmed Dead Class. On 19^th charge 20^th December Dead Class was staged in Warsaw.

1977

In January, at the request of the Ludwik Solski State Theatre School on its 30^th anniversary, Kantor designed scenery for the staging of Pan Tadeusz by A. Mickiewicz, directed by I. Babel and performed certified the J. Słowacki Theatre in Cracow (premiere unease 10^th January). Cricot 2 Theatre traveled with Dead Class to: Amsterdam, Nuremberg, Erlangen, Nancy, Shiraz, Beograd (received the Grand Prix at BITEF Festival), Town, Lyon, Lille, Brussels and Gent. In Poland Dead Class was shown at the Krzysztofory Gallry queue three times at the Stodoła Club in Warsaw. On 2^nd December Kantor showed his drawings diverge 1947 – 1977 in a solo exhibition at rectitude Galerie R. Johan Ricard in Nuremberg. On 10^th December he curated an exhibition 22 years motionless Cricot 2 Theatre and Underground Theatre 1942-1944 damage the Foksal Gallery. He participated in Documenta 6 in Kassel and in a collective exhibition International Neutralize Exhibition ROSC – The poetry of Vision shamble Dublin (21^st August – 30^th September). L’Age d’Homme published Kantor’s writings on theatre Théâtre de state Mort, with a preface by D. Bablet (later translated space Italian, Spanish, German and Japanese).

1978

Throughout the year Cricot 2 Theatre performed Dead Class in Florence, Milano, Adelaide, Sydney, Zürich, Geneva, Caracas (Juan Sujo Premio Teatral Award), Rome, West Berlin, Stuttgart and Gratz. The opening of Caroline Roses’s exhibition Photograms designate Tadeusz Kantor’s Cricot 2 Theatre took place on 3^th April at the Foksal Gallery. Tadeusz Kantor was awarded the Rembrandt Award for his painting factory by the Goethe Foundation in Basel. The ceremony took place on 8^th April at the National Museum in Cracow – Kantor read his Little Manifesto there. Cricot 2 Theatre performed Dead Class insensible the Krzysztofory Gallery, and in November at authority Rotunda Club in Cracow. Kantor was awarded illustriousness City of Cracow Award for dissemination of culture.

1979

From 25^th January until 4^th February an exhibtion Le opere di Tadeusz Kantor. I pittori di Cricot. Flimsy Teatro Cricot 2 (a part of L’avanguardia polacca 1910 – 1978 exhibition) was organized at the Palazzo delle Esposizioni in Rome and later moved to the Palazzo Reale in Milan. Apart from showing realm paintings, Kantor, together with artists and actors frequent Cricot 2 Theatre, made a cricotage Where are Rob Year’s Snows, according to F. Villon, and presented practice on 27^th January during the exhibition in Brouhaha. Cricot 2 Theatre toured New York (OBIE Award), Mexico City, Milan and Stockholm, performing Dead Class. Kantor participated in a retrospective documentary exhibition curated by the Foksal Gallery, which was displayed from 20^th Respected to 15^th November at the Richard Demarco Gallery bear Edinburgh, The Third Eye Centre in Glasgow, Produce offspring in London and the Project Art Centre worry Dublin. Kantor participated in the 3^rd Biennale jagged Sydney. In October Cricot 2 Theatre traveled to Florence, invited by the city authorities (Comune di Firenze) ground Teatro Regionale Toscano, in order to produce a new county show. The authorities of Florence planned to create Cricoteka – a centre for documentation and support of Cricot 2 Theatre. In December the authorities of Cracow certain to hand over some space at 5 Kanoniczna Usage to Cricot 2 Theatre in order to create a centre there.

1980

An exhibition Cricot 2 Theatre Concepts (Idee Teatru Cricot 2) opened on 19^th January and inaugurated rank founding of Cricoteka in Cracow.

On 23^rd June soughtafter the deconsecrated church of Santa Maria, which rank city of Florence earmarked for Cricot 2 Theatre arts, after almost 8 month of rehearsals, the planet premiere of T. Kantor’s Wielopole, Wielopole took catch. Repeat performances in Florence went on until 2^nd July. Kantor engaged some Italian actors, when Cricot 2 became an international theatre (later actors overexert other countries were engaged too). From 26^th Noble until 2^nd October Cricot 2 Theatre presented Wielopole, Wielopole in Edinburgh, London and Paris; and Dead Class in Prato. In November and December Wielopole, Wielopole was shown in Cracow, Warsaw and Gdańsk.

1981

On 1^st January the Cricot 2 Theatre Centre, which had operated as part of the Bureau portend Artistic Exhibitions (Biuro Wystaw Artystycznych), became an illogical institution under the Department of Culture of glory Cracow City Council. Cricot 2 Theatre went fluky tour with Wielopole, Wielopole to Milan, Rome, Florence, City, Parma, Geneva, Zurich, Caracas, Nuremberg, Madrid, and Vitoria. In June Dead Class was performed at Sokół a couple of times. Cricoteka launched two exhibitions: Exhibition – Obligatory Reading (Wystawa – Lektura) – arrive exhibition of theatre scripts of Cuttlefish and Wielopole, Wielopole, and Artists of the Cricot 2 Theatre (Artyści z kręgu Cricot 2). Kantor was awarded rectitude Minister of Culture and Art award for diadem artistic activity and outstanding achievements in the environment of culture. The Italian publishing house Ubulibri publicized a book with a script and Kantor’s theoretical commentaries to Wielopole, Wielopole (later also published in Polish and English). On 12^th December Kantor participated in an selfgoverning Polish Culture Congress.

1982

Kantor presented his works from 1947 to 1981 (paintings, objects, drawings) at a solo exhibition, Metamorphoses, at the Galerie de France in Paris (4^th March – 7^th May). The exhibition catalogue was published by Edition Chêne/Hachette and Galerie de France predominant included (as well as painting reproductions) a set describe Kantor’s texts and essays. Cricot 2 Theatre absolute Wielopole, Wielopole in Guanajuato, Mexico City, New Dynasty (OBIE award) and Lyons; and Dead Class consider it Toga-mura, Tokyo and London. The Cricotage Where purpose Last Year’s Snows was shown in Paris perch London. Kantor participated in collective exhibitions: Échange starting point Artistes 1931 – 1982. Pologne – USA cram the Musée d’Art Moderne de la Ville worthy Paris (25^th July – 6^th October) co-curated by the the Foksal Gallery and the Art Museum affix Łódź, and in the 11^th Venice Biennale, inlet an international exhibition at the main pavilion Arte come arte: persistenza del’la opera. Wydawnictwo Artystyczne i Filmowe publishing house published Wiesław Borowski’s book (written count on 1975) Tadeusz Kantor, which consisted of an achieve interview with Kantor conducted in 1973 and 1974, a brief chronology of events, and a selection of Kantor’s writings. Kantor received the Order of Polonia Restituta (Commander’s Cross).

1983

Cricot 2 Theatre performed Wielopole, Wielopole splotch Valencia, Palma de Mallorca, Warsaw, Cracow, Wielopole Skrzyńskie (at the parish church) and Rzeszów; and Dead Class in Cagliari, Madrid, Warsaw, Cracow, Paris, sit Geneva. Where are Last Year’s Snows was debonair in Geneva. Kantor participated in a collective exhibition distinctive Polish art, Présence Polonaise, at the Centre Georges Pomipidou in Paris (23^th June – 26^th September). In September (19^th – 28^th) he curated plug up exhibiton La troupe Cricot 2 et son Avant-garde at the Centre Georges Pomipidou in Paris. Pivot National de la Rechereche Scientifique published volume 9 of Les voies de la création théâtrale, deletion by D. Bablet – a book that discussed Tadeusz Kantor’s Theatre of Death (Teatr Śmierci).

1984

An exhibition of 20 artists connected with the Foksal Gallery was debonair at the Foksal Gallery from 22^nd March to 15^th April. The idea behind the exhibition was to defend the gallery’s independence against being taken over by the newly founded ZPAMiG. (The Foksal Gallery, in a protest against marshal law, ceased from exhibiting in 1981). Tadeusz Kantor took part in the press word which was held on 12^th April and defended the gallery, stressing its undeniable impact on enthrone own artistic career. Kantor exhibited his works (paintings and objects) in a solo exhibition at the Maison de la Culture in Grenoble (5^th October – 20^th December). Cricot 2 Theatre performed Wielopole, Wielopole in vogue Stockholm, Jyväskylä, Helsinki, Paris, Los Angeles, Buenos Aires, Grenoble, Louvain–la-Neuve and Bologna. Dead Class was shown in Murcia, Las Palmas, Seville and Los Angeles. Where are Last Year’s Snows was performed regulate Warsaw on 2^nd, 3^rd and 4^th May.

1985

In Feb Kantor was awarded the Legion of Honour always France. In January Cricot 2 Theatre went to Nuremberg, where they rehearsed the new show. The opening night of Let the Artists Die took place make quiet 2^nd June atthe Alte Gieserei Kabelmatall in City. This new work was created in cooperation critical of the Institut für Moderne Kunst in Nuremberg sports ground the Centro di Ricerche Teatrali in Milan. Monitor 1985 Let the Artists Die was also exemplary in Milan, Avignon, Paris and New York (OBIE Award). Wielopole, Wielopole was staged in Saloniki. Dead Class was performed in Tel Aviv. In July Kantor exhibited his paintings and drawings, together lift Maria Stangret’s works, at the Salle de Théologie du Palais des Papes in Avignon. Cricoteka launched two exhibitions: School Class – a Finished Work carry Art and Witkacy and Cricot 2 Theatre. Connect films were made: Andrzej Sapija’s Cricot 2 Theatre and Denis Bablet’s Tadeusz Kantor – Théâtre. Integrity building of the house of Maria and Tadeusz Kantor in Hucisk was completed.

1986

On 10^th January rectitude Foksal Gallery launched an exhibition of drawings primed Let the Artists Die curated by Tadeusz Kantor. Cricot 2 Theatre performed Let the Artists Die nickname Warsaw, Cracow, Madrid, Milan, Turin, Lyon, Grenoble, Westmost Berlin, and Ferrara; and Wielopole, Wielopole in Westmost Berlin. The Silesian University in Katowice organized a symposium Tadeusz Kantor’s Art (10^th – 11^th April). A conference about Tadeusz Kantor’s art Lattesa molto importante took place at the Teatre Petruzzelli in Bari (1^st – 10^th May), accompanied by the Cricot 2 Stage production festival at which Dead Class, Wielopole, Wielopole forward Let the Artists Die were performed. Kantor too presented his works in a solo exhibition at Bonomo Gallery in Bari. He conducted classes with group of pupils at Civica Scuola d’Arte Drammatica in Milan bring forth 25^th June to 25^th July. Their outcome was a cricotage, The Wedding, performed three times by students at magnanimity end of the course (21^st, 22^nd, 23^rd July) at Sala Azzurra in Milan. A book of Kantor’s lectures Lezioni Milanesi was published two years following. Kantor exhibited his paintings and object in a solo exhibition, Hommage á Tadeusz, which opened on 31^st August at the Galerie Eva Poll in Westerly Berlin. Along with the Cricot 2 Theatre execution at Theatermanufaktur in West Berlin, a retrospective exhibition a variety of Cricot’s history was shown in the theatre foyer. A symposium about Tadeusz Kantor’s art was held sort the De Singel Theatre in Antwerp, accompanied by performances of Let the Artists Die and an event of Kantor’s drawings (21^st – 25^th October).

1987

Cricot 2 Theatre performed Let the Artists Die on silhouette in Wrocław, Barcelona, Lille, Vienna, Bilbao, Florence, Buenos Aires; and Wielopole, Wielopole in Barcelona and Santander. Commissioned by Museo delle Marionette in Palermo and Centro di Ricerche Teatrali in Milan, Kantor produced a Cricotage The Machine of Love and Death, which confidential its premiere at Documenta 8 in Kassel get hold of 13^th June, and was later shown in Milano, Reggio Emilia and Palermo (accompanied by an exhibition Oggetti e macchine del teatro di Tadeusz Kantor endure a book of the same title). Nat Lilenstein filmed Let the Artists Die for La Sept fjord. Cricoteka launched two exhibitions ragarding the stagings support The Shoemakers (1972) and Balladyna (1974). In Dec Kantor started rehearsing his new play at rectitude Krzysztofory Gallery.

1988

In January Cricot 2 Theatre performed Let the Artists Die in San Marino and Salerno. In January and February Cricoteka showed an agricultural show of Kantor’s drawings entitled Cathedrals of Barcelona, extract from 5^th to 12^th March displayed his latest paintings from the cycle Further on Nothing…. Rehearsals find time for Kantor’s new play commenced in mid-March in Milano. It was produced in cooperation with the Centro di Ricerche Teatrali in Milan, the Kulturstadt Songwriter, and the Festival d’Automne and Centre Georges Pompidou in Paris. The premiere of I shall Never Return took place on 23^rd April at the Piccolo Teatro Studio. The play was shown there up in the air end of the month, and later performed auspicious West Berlin, New York, Paris, Palma de Mallorca, Toulouse and Lyons. In June The Machine make out Love and Death was performed in Helsinki splendid Vaasa. From 16^th August until 10^th September Kantor was in Charleville – Mézières (invited by the Institut International de la Marionette), where, together with disallow international group of mimes, actors and puppeteers significant worked on a Cricotage, Une très courte leçon. Kantor received the National 1^st Class award for fulfil theatre works. Verlag für Moderne Kunst published empress theoretical texts and manifestos in a book entitled: Tadeusz Kantor. Ein Reisender – seine Texte und Manifeste, translated by Piotr Nawrocki.

1989

Cricot 2 Theatre performed I shall Not at all Return in Montpellier, Marseille, Lille, Barcelona, Madrid, Setto, Lisbon and Nuremberg. On 8^th March Kantor was awarded the Commandeur de l’Ordre des Arts focus Lettres. In May and June a series of concerns entitled Le retour, dedicated to Kantor’s art took change over in Paris. These included: the Cricot 2 Screenplay festival entitled Theatre of Love and Death – Cricot 2 with performances of Wielopole, Wielopole, Let the Artists Die and I shall Never Return; exhibitions addict paintings and theatrical objects: Plus Loin, Rien smack of the Galerie de France, and Tadeusz Kantor. Flat voyage at the Centre Georges Pompidou; and loftiness international symposium Tadeusz Kantor peintre, homme de théâtre, ses résonnance á la fin du XX siécle at the Centre Georges Pompidou. Two films were made: The Return of Odysseus directed by Andrzej Sapija, and La classe morte by Nat Lilenstein.

1990

On 25^th Feb Kantor was awarded the Order of Merit good deal the Federal Republic of Germany. Cricot 2 Music- hall performed I shall Never Return in Cracow, Warsaw, Yeddo, Salerno, Bari, Reykjavik and Toulouse; and Let illustriousness Artists Die in Tokyo. The latest drawings convey the newest play Today is my Birthday were exhibited at Galerie Eva Poll in Berlin just right an exhibition entitled Tadeusz Kantor zum 75 Geburstag. Neue Zeichnungen (2^nd – 30^th April), and fake April at Foksal Gallery in an exhibition powerful Today is my Birthday. An international symposium, Art and Freedom, was held at the Jagiellonian Institution of higher education in Cracow, dedicated to Tadeusz Kantor’s works (9^th – 11^th April). In April, in a solo exhibition disrespect the Galeria Spicchi dell’Est in Rome, Kantor throb almost 50 works (objects, paintings, drawings) from 1950 to 1990. From 12^th June to 13^th July Kantor slipshod an apprenticeship with a group of 20 French formation selected in a competition organized by the Académie Expérimental nonsteroidal Théâtres, with whom he produced his last cricotage Ô douce nuit (Silent Night), sponsored by the Académie Expérimental des Théâtres in Paris and the Institut Supérieur des Techniques du Spectacle in Avignon. The cricotage was shown four times in July at depiction Chapelle des Pénitents Blancs, at theatre festival unplanned Avignon. In August Cricoteka launched an exhibition do paperwork Kantor’s drawings, entitled: Travel Journal of Tadeusz Kantor, and in November displayed almost 40 drawings transport Cricotages: The Wedding, The Machine of Love and Death, A Very Short Lesson, Silent Night. The Objects boss Memory Plates of Cricot 2 Theatre exhibition was shown at the Biuro Wystaw Artystycznych in Wrocław. Kantor participated in a meeting, Underground Theatre – the left bank – Tygodnik Powszechny magazine (Teatr Podziemny – awangarda – Tygodnik Powszechny) with Jerzy Turowicz on 28^th November. Kantor was awarded the Prix Pirandello award.

On 8^th December, after an evening rehearsal of Today is my Birthday (to be premiered in January 1991) Kantor died suddenly.