DOCSLIB.ORG

7Th International Theatre Festival 5—13.12.2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
7Th International Theatre Festival 5—13.12.2014 7th International Theatre Festival 5—13.12.2014 www.divinecomedy.pl serve as guides through the stage world, accompanied by ama- a real dark horse. In a play made in collaboration with Capella teurs with autism. But they aren’t being exposed to the curious Cracoviensis, the director asks questions about the meaning and gaze of “normal” people; instead the director works with them as limits of originality, one of our modern cultural obsessions. The if they were just regular actors. The structure of Paradiso is based structure of the piece is defined by a popular form of karaoke. on repetition, and at times resembles the stream of consciousness Tomaszewski gives a voice to a variety of freaks and losers, here of a Proust novel. Borczuch attempts to re-create the experience represented by members of a choir who have been dreaming their whole lives about singing a solo part. of autism, but his play is more than a mere theatrical simulation. In The Chorus of Orphans, created at the KTO The- Another experiment is offered by Monika Strzępka and Paweł De- atre, Jerzy Zoń uses yet another strategy. This wordless, hypnotic mirski in their theatrical series The Curse: Episodes from play originates from different cultural influences, inspired by such the Hopeless Times, which is presented during the festival varied material as the Book of Exodus, traditional Bolivian song in its entirety. The artists struggle here with the most effective te- and the Third Symphony by Henryk Mikołaj Górecki. levision medium of the last decade and adapt some of its narrative The selection of Competition plays concludes with Meta- and plot tools to the theatre stage. They arrange a threatening and morphoses, directed by Małgorzata Zwolińska and Adolf dangerous situation and make all the politicians die while society Weltschek. The play references the best traditions in art, theatre drowns in chaos. The Competition also showcases the latest play and dance. The fusion of a variety of expressive tools — costumes, from Krystian Lupa, based on a text by Thomas Bernhard, Wo- set design, multimedia projections, dance, music and lights — creates an original stage world that leaves plenty of interpretative odcutters Holzfällen. With a clear-sighted approach freedom for the audience. The performance is full of cultural as- and a tendency to make accurate cultural diagnoses, Lupa obse- sociations and certain elements of the narrative refer to the myth rves a group of people once brought together by ideas, passions of Orpheus and Eurydice. The play is partly inspired by the Polish and desires who are now strangers to one another. theatre of form and the works of artists such as Tadeusz Kantor, Lupa’s play becomes a symbolic bridge between the theatre The plays to be shown at this year’s Divine Comedy Festival were announced on October 28th. Józef Szajna and Leszek Mądzik. of radical experiment and risk and theatre that is deeply rooted This year’s line-up introduces a brand new section titled Starting now it’s possible to book tickets; the festival runs from December 5th to the 13th. The in storytelling and based on psychological believability, using WHEN THEY COME BURN THE HOME DOWN, THE ONE THAT event is organized by the Łaźnia Nowa Theatre and the Krakow Festival Office. numerous strategies to engage the audience into the world of YOU LIVE IN, part of a festival cycle called PURGATORIO. A frag- ment of Władysław Broniewki’s poem, which today comes across 2 theatre fiction. This group of plays includes Agnieszka Glińska’s 3 A Couple of Poor, Polish-Speaking Romanians. almost like a platitude or an empty cliché, is an open invitation to Glińska follows the text closely and explores not only its comical reflect on contemporary threats and social fears. But more than external threats, we want to draw attention to our private phobias and tragic dimensions, but also its intelligently conveyed critique and obsessions. Maybe an external danger is just a projection of a IVINE COMEDY is a prestigious theatre festival that pre- that provides a platform for new talent to emerge. Our interna- of the capitalist system. A coherent story and classically construct- fear that’s deeply rooted within us? This cycle presents three pre- sents Polish theatre and its current trends, both formal tional guests always leave Krakow fascinated and amazed by this ed psychology of the characters are the main assets of Małgorzata miers co-produced by the Divine Comedy Festival: Rats, direct- D and narrative, to the international Jury, curators and the panorama of theatre of risks and freedom, dreams, ambitions and Bogajewska’s Dad. The performance, based on Artur Pałyga’s ed by Maja Kleczewska (Zygmunt Hübner Powszechny Theatre, press. This year, alongside strong, auteur experiments, we showca- courage and I hope that this year’s program will once again seduce play, presents an original take on a subject that still seems to be Divine Comedy Festival), Balladin, directed by Radek Rych- se more conventional plays, in order to reflect an on-going debate both the Jury and our audience” — says Bartosz Szydłowski. a kind of cultural taboo in Poland, namely fatherhood. Grzegorz cik (Wanda Siemaszkowa Theatre, Divine Comedy Festival) and Request Concert about the shape of Polish theatre. This year, The Competition plays are centered around two se- Jarzyna deals in with aging and the passing of time in his play The , directed by Yana Ross, starring Danuta Stenka (Łaźnia Nowa Theatre, TR Warsaw, Divine Comedy Festi- “This year’s program is a signal of compromise between these emingly contradictory tendencies. On the one hand we have the Second Woman, based on John Cassavetes’s Opening val) as well as a Bagatela Theatre premiere:Mephisto , directed two, often contradictory theatre aesthetics. We want to initiate a theatre of radical experiment, on the other, well-made narrative Night. The director skillfully uses the meta-theatrical potential of the script and boldly fights the cultural stereotypes that make by Michał Kotański special meeting, create a platform for the exchange of ideas and theatre. PURGATORIO us all run blindly after youth. Presenting the fear of exclusion re- presents five plays that attempt to build a di- experiences that could never happen anywhere else. More than a As such, the Competition includes Radek Rychcik’s The alogue with the audience using a variety of approaches: Hard sulting from aging, Jarzyna examines the kind of gender-specific battlefield, we want to create a space for a theatre alliance, a con- Forefather’s Eve, which against theatre traditions is set in Gat, Dead World, directed by Eva Rysova, produced by the scious and respectful confrontation”, states Bartosz Szydłowski, the context of American pop culture and brings new meanings ramifications that, despite apparent social and cultural progress Stefan Żeromski Theatre in Kielce; You’ve Clearly Never the main programmer and Artistic Director of the festival, in his to the surface, mainly about racial and class inequalities. Another and women’s emancipation, are still alive. Paweł Passini’s The Been a 13-year-old Girl, dir. By Iga Gańczarczyk (Łaźnia preview. play made within the trend of radical experimentation is Krzysztof Hideout/Kryjówka also confronts the themes of memory, Nowa Theatre); Człapówki-Zakopane, dir. by Andrzej The most exciting part of the festival is its Main Competition, Garbaczewski’s Kronos, which redefines the fundamental the- the passing of time and forgiveness. The director tells a story based Dziuk, produced by the Stanisław I. Witkiewcz Theatre in Za- INFERNO, which presents thirteen different plays from the last atre contract. The director struggles here with an anti-theatrical on recollections by his aunt, Apolonia Starzec, and touches upon kopane, and the directorial debut by Jacek Poniedziałek — The Glass Menagerie season. The winners are chosen by the international Jury and the text, where not a lot happens. The original piece becomes an excu- the trauma of Holocaust. Walking the thin line between realism , produced by the Jan Kochanowski The- atre in Opole. The Festival also offers numerous accompanying main prize of 50,000 Polish zlotys, sponsored by the President of se to reveal the mechanisms of memory production, in both its di- and surrealism, Katarzyna Dworak and Paweł Wolak’s Droga mensions — individual and cultural. Jolanta Janiczak and Wiktor śliska od traw… focuses on the nature of evil. This dark and events: meetings with the artists, discussion panels and the cycle the City of Krakow, Jacek Majchrowski, will go to the theatre that DANTESQUE SCENES IN THE KITCHEN — a unique opportu- Rubin remain skeptical towards theatre traditions and romantic emotionally dense play is at times cut through with coarse humor. produced the winning play. Individual awards for the artists are nity to talk to distinguished Polish theatre artists while cooking funded by the Minister of Culture and National Heritage, Mał- visions: their play Towianskiites: Kings of Clouds is Black humor, balanced with a dramatic ending, defines the structure of Yakish and Poupche, directed by Piotr Szc- and preparing meals. gorzata Omilanowska. an attempt to de-mystify national images of Polishness that have Like last year, the PARADISO section of the festival is a plat- been haunting us since the Romantic era. Michał Borczuch’s Pa- zerski. Szczerski doesn’t limit his piece to exploiting the comedy This year’s Competition showcases plays produced by theatres embedded in the structure of the text by the Israeli playwright, but form reserved for young talents. This part of the festival showcases radiso presents a slightly different face of a theatre experiment. from Warsaw, Lublin, Wrocław, Legnica, Kielce and Krakow. makes a sudden left turn and confronts the fictional lives of his three plays produced at the Ludwik Solski State Drama School in “INFERNO is undoubtedly the most important part of the The director creates an intense play that destabilizes the act of characters with the hyper-real trauma of the Holocaust.
Load more

Recommended publications
  • Raport Z Działalności 2012 — 2015
    RAPORT Z DZIAŁALNOŚCI 2012 — 2015 1 SPIS TREŚCI 5 33 NOWE OTWARCIE PRASA — KAROLINA OCHAB 39 7 PROGRAM MARZYCIELE, CZYLI WYJŚĆ ARTYSTYCZNY POZA OBSZAR SPRAW UZGODNIONYCH 141 — KRZYSZTOF WARLIKOWSKI WYDAWNICTWA, PLAKATY 8 NOWE MIEJSCE 163 — SYLWIA CHUTNIK FINANSE 11 166 BUDOWA MCK INSTYTUCJE NOWY TEATR FINANSUJĄCE, PATRONI MEDIALNI 13 OTWARTOŚĆ I ZMIENNOŚĆ 168 — MACIEJ CZEREDYS INSTYTUCJE WSPÓŁPRACUJĄCE 16 KRONIKA BUDOWY 169 2012 — 2015 WSPÓŁTWÓRCY WYDARZEŃ 19 WYJAZDY KRAJOWE 173 I ZAGRANICZNE ZESPÓŁ 27 175 NAGRODY AUTORZY ZDJĘĆ I ILUSTRACJI 3 NOWE OTWARCIE Karolina Ochab — Dyrektor Nowego Teatru Po ośmiu latach działalności otwieramy dla Państwa Międzynarodowe Centrum Kultury Nowy Teatr – zarówno obiekt jak i program, przygotowany został przez zespół Nowego Teatru. MCK jest zwieńczeniem naszej pracy i praktyki oraz ucieleśnieniem wyobrażeń o tym, czym powin- na być dzisiaj instytucja kultury. Osiem lat temu Krzysztof Warlikowski dostał propozycję objęcia teatru, zaprosił mnie, aby- śmy wspólnie stworzyli nowe miejsce na mapie Warszawy. Na naszą siedzibę wybraliśmy halę warsztatową Miejskiego Przedsiębiorstwa Oczyszczania przy ulicy Madalińskiego. Przez te osiem lat konsekwentnie budowaliśmy program i staraliśmy się o środki na wyremontowanie zabytkowej hali wraz z otaczającym ją placem i budynkami. Po wielu perypetiach udało nam się zdobyć fundusze EOG oraz norweskie, środki z budżetu państwa, dotację stołecznego miasta Warszawy i odrestaurować piękny warszawski przemysłowy zabytek. Projekt rekon- strukcji był prosty i skromny, zakładał wierność zastanej formie i dobór wysokiej jakości mate- riałów pierwotnie użytych przy budowie hali. Naszą największą interwencją w tej przestrzeni było otwarcie jej na miasto oraz wyposażenie w nowoczesny sprzęt, tak aby mogły być tu prezentowane różnorodne formy artystyczne. Projekt ten jest sumą naszych doświadczeń, naszej wspólnoty gustu i spojrzenia na świat.
    [Show full text]
  • BOAK 9780719088186 PRINT.Indd
    Introduction : really existing democracy What was to be the function of political theatre in Poland aft er 1989? Following four decades of Soviet-enforced communism, which included mass censorship, anti-democratic bureaucratization, systemic corrup- tion, imperialist militarization and the brutal disciplining of political dissidents, this question formed a vital part of the ten-year anniversary celebration in 2013 of Warsaw’s Instytut Teatralne (Th eatre Institute). Th is cultural institution houses the largest physical and digital archives of contemporary theatre in Poland and is intended to support research and education and prompt public debate. Teatr , one of the country’s leading journals, devoted a special issue to mark the anniversary, includ- ing a number of interviews and articles considering the Institute’s role in the formation, analysis and documentation of contemporary and historical Polish theatre. Teatr ’s chief editor, Jacek Kopciński, criticized the Institute’s director, Maciej Nowak, for instigating ‘a permanent cul- tural revolution’ in his unconventional programming and commission- ing of publications, seminars and workshops. By this, Kopciński meant that theatre studies at the Institute has been defi ned since its inception primarily on the grounds of feminist, gender and queer theory, which was exemplifi ed in the Institute’s fl agship publication series Inna Scena (Another Scene). Kopciński suggested that such strands of philosophy, theory, activism and criticism were too restricted and that the Institute should also refer to mainstream modes of thinking about the theatre and the world that are ‘less eccentric and, for many, less ideologised’ ( 2013 : 8). 2 After ’89 In this argumentation, Kopciński articulates popular anxieties around Polish cultural and national identity through an exclusionary process of community formation that implies an ‘authentic’ audience that represents a general population who do not face matters relating to gen- der and sexuality as central to their experiences of social marginalization.
    [Show full text]
  • Didaskalia 1 / 2012 3
    GAZETA TEATRALNA English Issue 1/2012 2 / I 3 Dorota Ogrodzka. OCCUPATION AS ART. PUBLIC SPACE FOR CREATING 10 Małgorzata Dziewulska. CULTURE, STUPID! THE MEDIA PERFORMANCES of Artur Żmijewski Dramatyczny Theatre in Warsaw: Mass, project by Artur Żmijewski 13 Joanna Jopek. i wAnt You out of mY sight, fAggot Polski Theatre in Wrocław: Rainbow Stand 2012, director: Monika Strzępka 18 Anna R. Burzyńska. S/T komuna//warszawa and Liquid Theatre: Railway Opera II 22 Krystyna Duniec, Joanna Krakowska. DiDn’t theY mourn them? 31 Marta Bryś. Art Does not Come from justiCe. An interview with Bożena Umińska-Keff III 36 Julia Hoczyk. PhYsicalitY, iDentitY, or: five YeArs of solo ProjeCt 41 Marta Michalak. A few minor subjeCts. An interview with Mikołaj Mikołajczyk IV 48 Agata Adamiecka-Sitek, Weronika Szczawińska. THE GENDER OF THE PERFORMER 56 Monika Kwaśniewska. A study of AbsenCe: oPheliA, gertruDe, AnD jAnulkA face historY, mYth, AnD PolitiCs in jAn klAtA’s H. AND …FIZDEJKO’S DAUGHTER 62 Contributors 62 List of Photos didaskalia 1 / 2012 3 / DOROTA OGRODZKA OCCUPATION AS ART Public Space for Creating n an interview for Krytyka Polityczna in February 2012 Claire with art, and to place it on overriding level, stressing its reality. If it is Tancons – an American curator and art historian who has been effective, is it still – or was it ever – art? researching and describing the Occupy Wall Street movement, Majmurek directly asks for and marks the need to gain irrevocable was asked by Jakub Majmurek whether “these protests and the solutions – are the protests and all their equippage art, or not.
    [Show full text]
  • On Guilt and Ghosts
    PRESENTATIONS PAMIĘTNIK TEATRALNY 2020/4 (276) ISSN 0031-0522, e-ISSN 2658-2899 INSTYTUT SZTUKI PAN DOI: 10.36744/pt.567 Ruthie Abeliovich University of Haifa ORCID: 0000-0003-4121-9693 ON GUILT AND GHOSTS O winie i duchach RUTHIE ABELIOVICH Abstract: This paper reviews Grzegorz Niziołek thought-provoking book The Polish Theatre of the Holocaust (London: Methuen Drama Press, 2019), and the key questions and issues it addresses. Focusing on Polish perspectives, theatrical representations and performative reactions to the extermination of the Jews during WWII, the book analyzes six decades of theatrical creation. Within this scheme, the victims and perpetrators are casted in the role of actors, while the Polish people are allotted the role of passive specta- tors, witnesses to the atrocity. This review sheds light on the ethical and aesthetical impli- cations of Niziołek’s study, by attending to the material aspects of the catastrophe, and its theatrical representations. It seeks to recuperate and integrate the Jewish perspective into the theatrical analysis. Keywords: Polish theater after 1945, Holocaust, Shoah, Dybbuk, Szymon An-sky Abstrakt: Tekst omawia prowokującą do myślenia książkę Grzegorza Niziołka The Polish Theatre of the Holocaust (London 2019; oryginalne wydanie: Polski teatr Zagła- dy, Warszawa 2013) oraz kluczowe pytania i problemy, które zostały w niej poruszone. Koncentrując się na polskich perspektywach, przedstawieniach teatralnych i performa- tywnych reakcjach na Zagładę Żydów podczas II wojny światowej, książka Niziołka analizuje sześćdziesiąt lat historii polskiego teatru. W ramach przyjętej przez autora perspektywy ofiary i sprawcy są aktorami, a Polakom przydzielona zostaje rola biernych widzów, świadków okrucieństwa. Artykuł rzuca nowe światło na etyczne i estetyczne implikacje badań Niziołka, zwracając uwagę na materialne aspekty katastrofy i jej te- atralnych przedstawień.
    [Show full text]
  • Publikacje Pracowników Wydziału Polonistyki W Roku 2013
    Marian Zaczyński Wydział Polonistyki Uniwersytetu Jagiellońskiego Wykaz publikacji w roku 2013 1) Monografie a) Autorskie b) Zbiorowe c) Prace edytorskie d) Przekłady monografii naukowych e) Podręczniki f) Redakcje naukowe 2) Publikacje w wydawnictwach zbiorowych a) Sensualność w kulturze polskiej (dostępne pod adresem: www.sensualnosc.ibl.waw.pl) 3) Publikacje w czasopismach naukowych a) Publikacje w czasopismach z list MNiSzW b) Publikacje w czasopismach naukowych, kulturalnych i literackich, dziennikach krajowych c) Publikacje w czasopismach zagranicznych d) Publikacje w „czasopismach internetowych” 4) Druki ulotne 5) Serie wydawnicze redagowane i współredagowane przez pracowników Wydziału, w ramach których ukazały się publikacje w roku 2013 1) Monografie a) Autorskie 1) Antas Jolanta, Semantyczność ciała. Gesty jako znaki myślenia. Seria Nauka o komunikowaniu, Primum Verbum, Łódź 2013, s. 324 Na CD; ISBN: 978-83-62157-75-4 2) Burzyńska Anna, Dekonstrukcja, polityka i performatyka. Redaktor naukowy Małgorzata Sugiera. [Seria] Horyzonty Nowoczesności. Komitet redakcyjny: Michał Paweł Markowski, Ryszard Nycz (przewodniczący), Małgorzata Sugiera. [Tom] 103, Towarzystwo Autorów i Wydawców Prac Naukowych Universitas, Kraków 2013, s. 668, 13 nl. Zawartość: Indeks skrótów. Wstęp. Dekonstrukcja „post mortem”, czyli dlaczego zdecydowałam się jednak napisać tę książkę? Część I. Odpowiedzialność myśli; Zwrot etyczny; Od krytycyzmu do aktywizmu; Etyka w czasach niepewności; Od etyki czytania do moralności czytelnika; Jacques Derrida: „prawo Innego”; Paul de Man: „etyczność alegorii”; Joseph Hillis Miller: „dobre czytanie”; Derek Attridge i etyka praktyczna; Inność idiomu; Etyczny warunek polityczności. Część II. Polityka (w) dekonstrukcji; Zwrot polityczny; „Żegnaj, dekonstrukcjo”; „Moralna i polityczna bigamia”; Polityczny spór o dekonstrukcję; Ostatnie bastiony; Ameryka między Derridą a Foucaultem; Przeciw „metafizycznej poprawności”; Dekonstrukcja i „New Sense of the Political”; Inność Innego; Polityczność dzisiaj.
    [Show full text]
  • Race and Othello in Poland
    Multicultural Shakespeare: Translation, Appropriation and Performance vol. 22 (37), 2020; https://doi.org/10.18778/2083-8530.22.10 Anna Kowalcze-Pawlik The Moor’s Political Colour: Race and Othello in Poland Abstract: This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes. Keywords: Othello in Poland; blackface in theatre; brownface in theatre; race in translation. “Affer” Tales: Othello in Poland Othello is a play, whose staging history in Poland is not particularly rich, with around 40 premieres listed since the beginning of the 20th century on www.encykopediateatru.pl, the Polish theatrical database focusing on the history of professional theatrical troupes.
    [Show full text]
  • Polish Culture Yearbook 2016
    2016 POLISH CULTURE YEARBOOK 2016 POLISH CULTURE YEARBOOK Warsaw 2016 INTRODUCTION Professor Piotr Gliński, PhD, Deputy Prime Minister, 2016 Minister of Culture and National Heritage 5 PUBLISHER’S NOTE, Mateusz Werner, PhD, Deputy Director for Culture Research and Strategy at the National Centre for Culture, Poland 6 1. FIELDS OF CULTURE AND NATIONAL HERITAGE 9 STATE ARCHIVES (ed. The Head Office of the State Archives) 10 LIBRARIES (ed. The National Library) 19 CULTURAL CENTRES* 31 CINEMATOGRAPHY (ed. The Polish Film Institute) 42 MUSEUMS (ed. The National Institute for Museums and Public Collections) 51 MUSIC (ed. The Institute of Music and Dance) 57 PUBLISHING MARKET (ed. The National Library) 66 PROMOTING POLISH CULTURE ABROAD – CULTURE.PL (ed. The Adam Mickiewicz Institute) 76 POLISH CULTURE YEARBOOK POLISH CULTURE BOOK MARKET (ed. The Book Institute) 83 ART EDUCATION (ed. The Centre for Art Education) 93 DANCE (ed. The Institute of Music and Dance) 101 THEATRE (ed. The Theatre Institute) 107 MONUMENTS (ed. The National Heritage Board of Poland) 116 2. CULTURE FUNDING AND CULTURAL ECONOMICS 133 CULTURE FUNDING BY THE MINISTRY OF CULTURE AND NATIONAL HERITAGE (ed. The Department of State Patronage of the Ministry of Culture and National Heritage) 134 LOCAL GOVERNMENT SPENDING ON CULTURE* 142 EMPLOYMENT AND PRODUCTION IN THE CULTURAL SECTOR* 155 3. PUBLIC MEDIA 165 POLISH TELEVISION (ed. Polish Television) 166 POLISH RADIO (ed. Polish Radio) 174 * Edited by the National Centre for Culture, Poland FIELDS OF CULTURE AND NATIONAL HERITAGE 2 4. CULTURAL PARTICIPATION 185 2016 READERSHIP (ed. The National Library) 186 CULTURAL ACTIVITIES* 198 COLLECTIVE MEMORY* 207 THE INTERNET USE FOR CULTURAL PURPOSES* 217 5.
    [Show full text]
  • Migratory Aesthetics in Krzysztof Warlikowski's and Paweł
    [ Theatralia 24 / 2021 / Special Issue (121—138) ] https://doi.org/10.5817/TY2021-S-8 Meaningless Acts: Migratory Aesthetics in Krzysztof Warlikowski’s and Paweł Miśkiewicz’s Dystopian Adaptations of The Tempest Anna Kowalcze-Pawlik Abstract This essay discusses two post-1989 adaptations of Shakespeare’s The Tempest in the Polish theatre that use text distortion, fragmentation, and intertextuality as ways of addressing the difficult heritage of World War II. Applying the notion of migratory aesthetics in a theatrical context mobilises the interpretive potential of contemporary theatre as an act of recalling a traumatic past. Generational trauma is addressed and processed through the productions of Krzysztof Warlikowski’s Burza (2003) and Paweł Miśkiewicz’s more recent Burza Williama Szekpira (2018). These two productions are analysed according to strategies typical of trau- matic recall, i.e., dissociation and repression, to reflect on the dystopian elements inThe Tempest, aspects already addressed by Jan Kott in his pre-1989 interpretations of the play. Key words Shakespeare and the Holocaust, Shakespeare and World War II, memory studies, contemporary Polish theatre, Krzysztof Warlikowski, Paweł Miśkiewicz 121 Anna Kowalcze-Pawlik Meaningless Acts: Migratory Aesthetics in Krzysztof Warlikowski’s and Paweł Miśkiewicz’s ... Reenactments of traumatic experience take the form of drama, not narrative, and are thereby dependent on the time frame of the ‘parts’ scripted in the drama. All the manipulations performed by a director-narrator, who can expand and reduce, summarize, highlight, underscore, or minimize elements of the story at will, are inaccessible to the ‘actor’ who is bound to enact a drama that, although at some point in the past it happened to her, is not hers to master.
    [Show full text]
  • THEATER JOURNAL English Issue 2/2015 2
    THEATER JOURNAL English Issue 2/2015 2 / 3 INTRODUCTION GROTOWSKI, WOMEN AND HOMOSEXUALS 4 Agata Adamiecka-Sitek. GROTOWSKI, WOMEN AND HOMOSEXUALS: ON THE MARGINS OF A “HUMAN DRAMA” 17 Agata Adamiecka-Sitek, Leszek Kolankiewicz. CORRESPONDENCE ATTEMPTS AT NEGATIVE PERFORMATIVITY 28 Joanna Jopek. THE PRACTICE OF FAILURE: ATTEMPTS AT NEGATIVE PERFORMATIVITY 37 A COMPELLING GAME: BLENDING FICTION AND REALITY. Oskar Dawicki in conversation with Piotr Kosiewski 43 “A COMPELLING GAME THAT BLENDS FICTION AND REALITY,” OR: ANOTHER FAILED SELF-PORTRAIT. OSKAR DAWICKI in conversation with Katarzyna Nowaczyk And Angelika Topolewska EMBARRASSING PERFORMANCES BY LOSERS 47 Marcin Kościelniak. EMBARRASSING PERFORMANCES BY LOSERS: COUNTERHISTORIES OF POLITICAL THEATER 55 IN THE SPIRIT OF POSITIVE DISGRACE. Justyna Wasilewska in conversation with Katarzyna Lemańska PERFORM OR… 60 Małgorzata Dziewulska. COVERED / UNCOVERED: GAMES WITH MEMORY IN THE PROMISED THEATER 67 Monika Kwaśniewska. FROM A REBEL TO AN EXPERT: THE MEDIA IMAGES OF JAN KLATA A CHORUS 78 Ewa Guderian-Czaplińska. [h 'reı] 82 Agata Łuksza. A CHORUS LACED WITH BRONIEWSKI 85 I SING THE BODY ELECTRIC. Marta Górnicka in conversation with Justyna Stasiowska 88 LIST OF PHOTOS 89 CONTRIBUTORS didaskalia 2 / 2015 3 / Introduction In 2012 we published the first English-language edition of Didaskalia. We now present the sec- ond issue, containing a selection of texts printed in our magazine between 2011-2013. The articles and interviews chosen for publication present the key phenomena in Polish theater, as well as the current academic interests and methodological approaches to theater history and today’s theater in contemporary theater studies. We begin with texts that deal with the reinterpretation of the Jerzy Grotowski’s work.
    [Show full text]
  • Nowy Teatr Raport Z Pierwszych Lat Działalności 2008–2011 Nowy Rozdział
    NOWY TEATR RAPORT z pierwszych laT działalności 2008–2011 nowy rozdział Karolina Ochab Dyrektor Naczelna Przedstawiam Państwu raport z pierwszych czterech lat działalności Nowego Teatru. Były to lata prób, sukcesów, porażek, nauki i walki. Przez ten czas staraliśmy się proponować nowe działania, wsłu­ chiwać w potrzeby widzów, szukać nowych form i rozwiązań, nie usypiać, kwestionować nasze dobre samopoczucie i utrzymywać wysoki poziom napięcia. Jesteśmy dalej teatrem bez miejsca, pokazującym przedstawienia i organizującym działania artystyczne i debaty w halach, na dworcach, na uli­ cy, w kawiarni czy w mieszkaniach. Podróżujemy nie tylko po mieście, ale i po świecie, w ciągu tych czterech lat zagraliśmy w 19 miastach za granicą. Stan zawieszenia jest trudny zarówno dla widzów, jak i dla artystów, „wszyst­ ko jest ruchome”, z drugiej strony daje wolność — wolność eksperymentu. Przez cztery lata mieliśmy szansę badania ludzi, tematów i miejsc. Mieliśmy nieograniczoną i nieodpowiedzialną fantazję, powstało z niej wiele różno­ rodnych projektów, akcji i spektakli. Publiczność nas polubiła i doceniła. Ten raport jest tego dowodem i dokumentacją. Dzisiaj stajemy przed zada­ niem wybudowania centrum artystycznego, zaczynamy budowę za kilka mie­ sięcy, równolegle tworzymy przyszłą strukturę tego miejsca, wykorzystamy wszystkie nasze doświadczenia i postaramy się zaproponować nowe miejsce. 1 NOWA SZTUKA Krzysztof Warlikowski Dyrektor Artystyczny Myślę, że cztery lata działania Nowego Teatru wpisują się w moje rozważania o niemożliwym, które prowadzę w swoich spektaklach. Nasza praca na pozór zdaje się równie niemożliwa jak przywrócenie do życia Alkestis w tekście Eurypidesa i (A)pollonii, a jednak teatr jest miejscem umoż­ liwiającym cudowne zjawiska, czego najlepszym dowodem jest to, że Nowy funkcjonuje nie tylko jako kompania realizująca moje spektakle, ale także instytucja kulturalna mocno wpisująca się w warszawski pejzaż.
    [Show full text]
  • Of the Laboratory Theatre
    50th AnnivErsAry Of thE foUnding of the Laboratory Theatre The year 2009 marks the 10th anniversary of Jerzy Grotowski's death, 50 years since Ludwik Flaszen and Jerzy Grotowski took over the Theatre of the 13 Rows in Opole (later the Laboratory Theatre) and the 25th anniversary of the dissolution of the Laboratory Theatre. In November 2007, in recognition of these events, the General Conference of UNESCO added the founding of the Laboratory Theatre to the list of anniversaries to be celebrated within its 2008–2009 programme. The Grotowski Institute is the initiator and the principal co- ordinator of the worldwide, Grotowski Year 2009 celebrations. The co-hosts of the Grotowski Year inauguration are co-found- ers of the Laboratory Theatre: Ludwik Flaszen, Rena Mirecka and Zygmunt Molik. Jerzy Grotowski, 1994. Photograph: Maurizio Buscarino When machines dominate, look instead for the living. All of life is a complex phenomenon of counterpoise. It’s not a matter of having a conceptual image of that, but of asking yourself the question: This life that you are living, is it enough? JERZY GrotowsKI Jerzy Grotowski (1933–1999) Polish theatre director, cultural practitioner and thinker, researcher of The insignia human behaviour under ' meta-daily conditions '. of the Laboratory Theatre, Along with Ludwik Flaszen, Grotowski took over the Theatre of the adapted from the insignia of the Reduta Theatre, 1966. 13 Rows in Opole in 1959. Together, they transformed it into the Laboratory Theatre, in which they realised their conception of ' poor theatre ', most extensively articulated in the classic volume Towards a Poor Theatre, edited by Eugenio Barba (1968).
    [Show full text]
  • Krzysztof Warlikowski's Theatre and the Possibility of Encounter
    KRZYSZTOF WARLIKOWSKI’S THEATRE AND THE POSSIBILITY OF ENCOUNTER A thesis submitted to the University of Manchester for the degree of PhD in the Faculty of Humanities 2012 JUSTYNA DROBNIK-ROGERS School of Languages, Linguistics and Cultures CONTENTS Abstract………………………………………………………………………………..4 Declaration………………………………………………………………………..…...5 Copyright Statement………………………………………………………………….5 Acknowledgments ……………………………………………………………… …...6 The Author ……………………………………………………………………………7 Introduction …………………………………………………………………………...8 Rationale ………………………………………………………………………………..8 Research questions and organisation of the thesis ……………………………………...19 Krzysztof Warlikowski’s work in Polish criticism ……………………………………....22 Methodological and theoretical framework …………………………………………......28 Chapter 1 Krzysztof Warlikowski and the driving forces of his work: key issues and topics…………………………………………………………………………………...38 Displacement and belonging: the personal and socio-cultural context …………………..39 Hybrid identity: ‘Polishness’ and ‘foreignness’ at play …………………………………...57 Chapter 2 Preconditions of performance ………………………………………………………...78 Discovering a personal way of theatre-making ………………………………………......78 Creating the ensemble …………………………………………………………………..89 Organic nature of the ensemble ………………………………………………………..105 Chapter 3 Actors as co-creators or shared creative practice…………………………………...110 Training the interpreters of the text …………………………………………………....111 2 From interpreters to creators …………………………………………………………..117 Between life and acting ………………………………………………………………...128 Work
    [Show full text]