The article presents a certain dialectic of art, the dialectic developed on the basis of such concepts as essence, potentiality, completeness, sense and phenomenon. The completeness of art is hereby understood as the maximum actualisation of its potential, the pretence of art would be therefore something, in which the potentiality of art isn’t elaborated on. What would be the sense of art then? It would be the process of certain actualisation of art potentiality. The history of art then presents itself as the amplitude whose extents are drawn by the level of the actualisation of that potentiality; from the pretence of art to the appearance of immanence, the epiphanic experience of the omni-completeness. This might have been the most maximalist vision of art, which can be found, for example, in Schiller, Schelling, Heidegger or Chögyam Trungpa.

We can also imagine a different variant of dialectic of art, in which its story would have unfolded in form of a spiral. The history of art would then have been driven by the need for the realisation of its telos. It would have been the achievement of complete sense of art inherent to its concept, which may be derived from Hegel’s aesthetics.

Can this spiral and this amplitude be intersecting? And if so, how could this affect understanding of art? It seems that the dialectic form of spiral provides art with the terminological integrity, the possibility of its nominal creation, whereas the form of amplitude reinforces art as the epiphany of omni-completeness. Finally, the art would be the form of energy flow on the certain horizon, horizon of art; the form of flow into its condensation points of completeness; and the moments of transparency of this eternal flow…

This article undertakes an attempt to prove validity of the claim that the play Kochana Wisełko, Najdroższy Zbyszku can be seen as an exemplification of feminist ethics of care, especially in reference to its interpretation by the theorist Nel Noddings. The methodological tools used, include the textual analysis of the script as well as the adaptation of phenomenological approach. The categories of a general assessment introduced alongside this reflection are as follows: relationality and receptivity, as well as the practice of empathy, care, understanding and attunement to other people’s needs. The article proved the adequacy of the assumption that the aforementioned categories had been expressed in the play and that they can be clearly ascertained in its reception by the viewers.

The aim of this article is to draw the attention to the formation process of the theatre history on the basis of the dominant perception of phenomena, relations between them and the oeuvre of the artists, which has been shaped by the selected research methods. The material, which constitutes the exemplification for the necessity of turning towards the unconventional readings of the sources seen as not so credible, is the autobiography, with the special focus on the anecdotes which are prevalent in it.