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Historia wymyślana

Author(s): Klaudia Laś / Language(s): Polish Issue: 121-122/2014

A review of Sebastian Majewski's monodrama created with Lidia Duda – The Question of Victory (Narodowy Stary Theater in Krakow, premiere: 27.03.2014). A member of the Polish Communist Party and later dignitary of the Polish United Workers' Party, concealed behind a mask of consecutive figures, draws viewers into the tangled web of recent history. The incoherent and episodic narrative she spins based on associations prompts us to reflect upon whether or not it is objectively possible to call anyone a hero. Laś points out the major impact of this minimalist production, and how its effect changed when it was transferred from the building on Józefa Street (where the premiere was held) to the cellars of the Stary Theater (where the play is presently performed).

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Kręgi realnych utopii: Z Grzegorzem Laszukiem rozmawiają Katarzyna Lemańska i Karolina Wycisk

Author(s): Karolina Wycisk,Katarzyna Lemańska / Language(s): Polish Issue: 121-122/2014

A transcript of a conversation held with one of the creators of the independent komuna//warszawa theater, Grzegorz Laszuk. Wycisk and Lemańska ask about organizational issues (financial sources and promotion), ideology (the philosophical aspect of the performances), and artistic approaches (including the Future of Europe project, and the play Terry Pratchett). A great deal of attention is devoted to the RE//MIX project, which was created with other artists, and brought about a change of profile for komuna//warszawa, as well as the newly created Institute of Performance Arts.

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Wspólnota euforii Rzeczywistość-teatr„Solidarności”

Author(s): Paweł Sztarbowski / Language(s): Polish Issue: 121-122/2014

Paweł Sztarbowski describes artistic events connected with the strikes against the Socialist powers in Poland. He describes concerts and plays, often improvised and performed in spaces of protest (shipyards, factories). The text also describes numerous artistic and more or less successful plays created in the theater repertoire on the wave of the political and activist society. He devotes particular attention to the audiences, often composed of workers, whose euphoric responses affected the choice of repertoire, but who were also initially embittered with Tadeusz Kantor's play Wielopole, Wielopole, which it believed to run riot over too many sacred cows.

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Upiór w cmentarnej krypcie i genius z w golfie

Author(s): Joanna Walaszek / Language(s): Polish Issue: 121-122/2014

An extensive review of Genius in a Turtleneck, directed by Weronika Szczawińska (Stary Theater in Krakow, premiere: 11.04.2014). The author analyzes the performance in the context of "Swinarski Season" and, by way of an introduction, describes the other plays created during this period. She also points out that watching Genius in a Turtleneck requires an entirely different approach to theater than what we have been accustomed to during the last season at the Stary Theater. Walaszek sees this as an important play, which requires no knowledge about the history of art or Konrad Swinarski.

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Protokół pewnego zebrania: „Otworzył się wentyl”

Author(s): Maryla Zielińska / Language(s): Polish Issue: 121-122/2014

A transcript of a meeting of actors from the Polski Theater in Wrocław on 3 September 1980 concerning the creation of a new professional stage artists' union. Postulates are raised to restore the legal and social status enjoyed by the Polish Stage Artists' Union prior to World War II. The basic issue is to redefine the sphere of competencies and duties of a stage director and the theater direction toward the ensemble; an essential issue is the limitation of their authority over the actors. The subject of the clear discrimination between the administrative and artistic functions of the theater is also raised.

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De l’entropie à la résistance: la rythmique du vivant

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De l’entropie à la résistance: la rythmique du vivant

Author(s): Sylvie Rollet / Language(s): French Issue: 11/2012

De tous les films de Béla Tarr, il en est un qui, parce qu’il est quasiment invisible, n’a jusqu’ici fait l’objet d’aucune véritable analyse: Macbeth, réalisé en 1982, donc à la charnière entre les deux « époques » de l’oeuvre du cinéaste. Cette « adaptation » du texte de Shakespeare – une commande de la télévision offre pourtant un éclairage surprenant sur toute l’oeuvre du cinéaste hongrois. Lors de cette première confrontation avec un texte littéraire bien avant l’entrée dans sa vie du romancier László Krasznahorkai – apparaît quelque chose du rapport entre le Texte et les corps qui va se jouer dans tous ses films ultérieurs.

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Two Irregular Fairy-Tales

Author(s): Yvette Bíró / Language(s): English Issue: 11/2012

The genre of fairy-tales is seldom to be found nowadays in “normal” films, yet suddenly they appeared here and there, displaying new latent reserves. Both films we paid attention to excelled in a sense of wonderful humor, “fluidity” in its original meaning, renewing not only the serious message, but obviously the tone and spirit as well. Gus Van Sant shaped Restless in the mood of a tender, lyrical light-grievous comedy, – Aki Kaurismäki, in his Le Havre, turned to the sarcastic kind of parody, accenting precisely through the unexpected application, the real weight of his vision.

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Waiting for the Eternal Return – Béla Tarr’s Film Philosophy

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Waiting for the Eternal Return – Béla Tarr’s Film Philosophy

Author(s): Jarmo Valkola / Language(s): English Issue: 11/2012

The Hungarian director Béla Tarr (born in 1956) is one of the truly original filmmakers of our time. His special use of time, space, and extremely long takes puts him into the front row of European pictorialism, a way of stylizing narrative. In that field his closest cousins are another Hungarian Miklós Jancsó, Russian Andrei Tarkovsky and Greek Theo Angelopoulos. Through philosophical connections we can find traces of Gilles Deleuze’s, Friedrich Nietzsche’s, and Jean-Paul Sartre’s thinking inside Béla Tarr’s universe.

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Różewicz wielokrotnie i wieloznacznie

Author(s): Aneta Mancewicz / Language(s): Polish Issue: 109/110/2012

Homage à Różewicz is the newest production by Piotr Lachmann and Videoteatr Poza (premiere: 30.03.2012). The main subject of the performance is the work of Tadeusz Różewicz (currently through the use of recordings), presented in the context of the earlier productions by Videoteatr and fragments of Stars by Helmut Kajzar. A key role is played by the actors Jolanta Lothe and Jarosław Boberek, who act out a poem of birth and death, eroticism and filth. According to Aneta Mancewicz: “Prompting extremely diverse associations and constructing the script of Homage… like a collage, Lachmann opens up this production to many possible interpretations.”

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Równanie na wszechświat

Author(s): Anna Róża Burzyńska / Language(s): Polish Issue: 109/110/2012

Anna R. Burzyńska reviews Monika Pasiecznik’s book The Ritual of the Superformula: Stockhausen Licht published by Krytyka Polityczna (Warsaw 2011). The publication is an ambitious monograph on Karlheinz Stockhausen that focuses on the composer’s opus magnum: the opera Licht. Die sieben Tage der Woche. Burzyńska notes that his works could be a very interesting source of inspiration for theatrologists, as they hold examples of performative thinking about music, profound literary inspiration and operatic verve. Pasiecznik’s book is a brilliant introduction to the subject and an invitation to further discussion.

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Trash-Hamlet

Author(s): Agnieszka Marek / Language(s): Polish Issue: 109/110/2012

The title of the play, Au moins j’aurais laissé un beau cadavre (premiere: Festival in Avignon, July 2011) is a verbatim quote from a Quentin Tarantino film. In his modernised production of Hamlet, director Vincent Macaigne acknowledges pop-culture readings of Shakespeare. The “process of constructing the play itself and the ostentatious deconstruction of its many sources and narratives” is more important than the interpretation of the drama. The artists consciously use threadbare and overused strategies – deconstruction, collage, installations, happenings – to build their “recycled Hamlet.”

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Egalitarystyczna rewolucja 2016

Author(s): Katarzyna Lemańska / Language(s): Polish Issue: 109/110/2012

The Watergate Affair, the quality of meals in a cafeteria near Poznań, Amy Winehouse’s suicide – these are the main topics discussed during therapy at the City Social Help Centre, where the action is located in Strzępka and Demirski’s newest production, Oh Goodness (Dramatyczny Theatre in Wałbrzych, premiere: 27.04.2012). It takes place in the year 2016, after an egalitarian revolution and the overthrow of capitalism. The artists dedicate this play to “people of good will” who are interested in the situation in Polish art theatre, and the repercussions of the activities of decision-makers and the media in public life.

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Marsz w intencji komedii

Author(s): Piotr Olkusz / Language(s): Polish Issue: 109/110/2012

In his review of the play Polonia March, directed by Jack Głomb (Teatr Powszechny in Łódź, premiere: 21.01.2012), Olkusz analyses the show within the context of the Polish Comedy Centre created in the Powszechny Theatre, and of Jack Głomb’s counter-revolutionary manifesto and the Legnica theatre company. He remarks that “Polonia March […] is –deliberately or not – an answer to a question that has been posed at the Łódź Powszechny Theatre for a long time: How to revive Polish comedy.”

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Kryterium rzeczywistości

Author(s): Natalia Jakubowa / Language(s): Polish Issue: 109/110/2012

akubowa follows the artistic path of Árpád Schilling, who has stretched the boundaries of documentary theatre. He creates it not out of material or living evidence, but as a result of creative co-operation with other artists. Thus, he has formed a kind of reality based on shared experience. He uses the idea of Dramapädagogik in his work with children, teaching them through theatre. In all of his performances he seeks sincerity amongst the spectators, and it is perhaps from here that the rather simple form originates. He tries to grasp reality changing through the influence of theatre.

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Po-twarz mitu

Author(s): Ewa Guderian-Czaplińska / Language(s): Polish Issue: 109/110/2012

In her review of Orestes, directed by Maja Kleczewska (Narodowy Theatre and Wielki Theatre – Opera Narodowa in Warsaw, premiere: 14.04.2012), Guderian-Czaplińska states that Kleczewska uses Aeschylus’s text to explore the topic of the modern family, “whose members […] have transgressed every possible kind of conventional and socially desired family behaviour.” This extreme topic results in an excess of devices, from which no one clear message emerges. Guderian-Czaplińska wonders whether this lack of cohesion was intentional. Then, analysing further layers and scenes in the performance (for example, the function of the Greek chorus), she tries to discover why this form was chosen.

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Kto nie kochał kotka?

Author(s): Monika Kwaśniewska / Language(s): Polish Issue: 109/110/2012

In her review of Michał Buszewicz’s Crime, directed by Ewelina Marciniak (Polski Theatre in Bielsko-Biała, premiere: 12.04.2012), Kwaśniewska traces the changes that were made to Gombrowicz’s short story, A Premeditated Crime, which was the primary inspiration for the text and performance. She draws attention to the reversal of perspective in the survey of events, the play on the detective novel convention, and how family relations and female characters are brought into the foreground.

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Ramotka

Author(s): Łukasz Grabuś / Language(s): Polish Issue: 109/110/2012

Jan Klata did not exploit all the potential in musical forms of theatre in his production of Jerry Springer – The Opera (Capitol Music Theatre in Wrocław, premiere: 24.03.2012). Klata focused solely on assessing the impact of television on our view of the world. Therefore, instead of a musical he directed a performance “as revealing as an outdated television talk show.”

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Sztuka protestu

Author(s): Aleksandra Konopko / Language(s): Polish Issue: 109/110/2012

In her review of the Wrocław-based performance Will You Be Reading That for Good? (Polski Theatre in Wrocław, premiere: 12.04.2012), Aleksandra Konopko compares the staging by Michał Kmiecik (director) and Marzena Sadocha (playwright) to a hybrid docudrama and rally. The artists use a collage of authentic statements and texts published in the media to discuss the state of theatre in Lower Silesia, the protest in the arts community, and the stormy meetings between theatre people and decision-makers. The performance is meant to change “depending on what will happen in the real-life world of theatre.”

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Wyszedł z siebie i nie wróci

Author(s): Anna Róża Burzyńska / Language(s): Polish Issue: 109/110/2012

The text is devoted to a Danish artist who formerly appeared under the name of Claus Beck-Nielsen, but who decided to eradicate his identity in 2000. Gradually achieving his goal, he began to function as Nameless, the Person Known as Nielsen, while also impersonating real live people. Burzyńska places this artistic act within the context of Greek philosophy, the ideas of Ernest Kantorowicz, and Giorgio Agamben’s concept of homo sacer. She also describes the activity of Das Beckwerk, a company founded by Nameless, which blurs the boundary between art and reality.

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To nie teatr, a jednak teatr. Zaangażowane społecznie teatry na Węgrzech

Author(s): Gábor Takács / Language(s): Polish Issue: 109/110/2012

The author describes Hungarian theatre as being socially involved and interactive. This derives from the twenty-year history of theatre education in Hungary. Theatre education and the role of audience participation are closely connected, in his opinion, with the level of solidarity and social empathy in the country, as well as the general democratic situation. He presents examples of two projects of this type which reached out to viewers (for example, theatre groups which travelled to small villages) and touched upon important social problems through performances that involved the audience.

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