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This Element explores how women theatre artists in Ukraine and Poland – separately and together – respond to their dynamically shifting socio-political realities after the early 2010s events: the pro-European Maidan Revolution in Ukraine and the traditionalist, anti-European governance in Poland, both of which ignited mass women's protests. Engaging with diverse works – new writing, adaptations of classics, musicals, puppetry, and devised productions – Feminist Imagining features artists that explore the connections between patriarchy-rooted violence, gendered nationalism, women's reproductive rights, and decolonial critique. These underpin their transcultural and intersectional alliances and their proposals for concrete scenarios that redefine the past, present, and future, creating specific feminist imaginaries and epistemologies situated in Central-Eastern Europe. The Element captures the feminist turns in Polish and Ukrainian theatres, highlighting the practices of women artists from the so-called Eastern Europe, whose voices have long been nationally and internationally silenced.
In this chapter, I consider how translation pertains to the body on stage as a site of multiplicity and propose the term ‘transembodiment’ in my analysis of Weronika Szczawińska and Bartosz Frąckowiak’s Komornicka. Biografia pozorna (Komornicka. Ostensible biography, 2011). My intention in considering transembodiment is to analyse the effects and limitations of physical and fictional bodies as they appear within the mimetic, representational and concrete frame of the theatre space. Ultimately, I argue that the body is itself a paradigmatic site of translation, which can neither be reduced to nor fully dislodged from language, and which is both submitted to and escapes processes of mimetic representation. In this way, I do not offer transembodiment as a methodology but rather as a structure and a consequence of the process of transmission in the theatre that invites new subjects to emerge and come into being.
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