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5,6/04/2013 - przedstawienia z angielskimi napisami >< performances with English subtitles

2013-04-05

Przedstawienia z angielskimi napisami >< Performances with English subtitles


5, 6, 7.04 >>> TRYLOGIA / THE TRILOGY

5, 6.04 >>> RODZEŃSTWO / THE SIBLINGS (Ritter, Dene, Vos)


Stary Teatr / Ticket office
+48 12 422 40 40, rezerwacja@stary.pl




Performance with English subtitles
April 5, 6, 7, 2013
THE TRILOGY
according to Henryk Sienkiewicz
direction and musical arrangement: Jan Klata
stage adaptation: Jan Klata and Sebastian Majewski
scenography and lightning: Justyna Łagowska
costumes: Mirek Kaczmarek
choreography: Maćko Prusak
assistant director: Błażej Peszek
cast: Katarzyna Krzanowska / Barbara Wysocka, Bolesław Brzozowski, Jerzy Święch, Tadeusz Huk, Błażej Peszek, Krzysztof Globisz, Małgorzata Gałkowska, Jerzy Grałek, Zbigniew W. Kaleta, Andrzej Kozak, Anna Dymna, Ewa Kolasińska, Juliusz Chrząstowski, Mikołaj Grabowski / Jan Peszek
Premiere: 21 February 2009; The Big Stage (Duża Scena - 1, Jagiellońska st.)
Duration: 4 hours /2 intervals/

The Trilogy by Henryk Sienkiewicz, perhaps the most popular Polish writer and Nobel laureate, was directed in the Stary Teatr by Jan Klata, one of the most renowned creators of Polish theatre over recent years and currently the manager of this stage. The novel was written over one hundred years ago “for strengthening of the hearts” of the Poles, whose country remained under the Russian, Austrian and Prussian occupation. The action of this extremely vivid epic takes place in the 17th century, spectacularly connecting war and love, the defence of Christianity against the barbarians and humour, honour, the fatherland and a picturesque series of the adventurous life of the heroes. This monumental composition in three parts spread throughout six volumes and comprising over 2600 pages, which are read with bated breath, has provided the background for an impressive, funny and bitter performance (adapted by Sebastian Majewski), which has been invariably enchanting the audience and reviewers for four years, encouraging them to reflect on the Poles, Poland and Europe, not only in past times, but mostly here and now.

“The Republic is endangered by the next Islamic flood, the churches will be turned into mosques,” Kamiński, a priest, thunders from the pulpit in the opening scene of the performance. The exhausted people rise from their hospital beds arranged in the chapel/ the fortress (with a picture of the Black Madonna of Częstochowa and straw in the corner) in order to embody the Polish archetypes of a hero once again: I am Skrzetuski, I am Wołodyjowski, I am Kmicic, I am Zagłoba... They play, as much as they can. The famous duels, passionate love affairs, kidnapping of maids, defence of fortresses. Klata is building an impressive, bitter image of Poland as a country under permanent mobilisation, with a myth of the heroic death for the faith (or even against other faiths) and the fatherland, transferred from generation to generation. The defence of Bar turns into the barricades of the Warsaw uprising, Azja murders the smiling Lachs, who is walking towards slaughter, just as the Russians killed the Polish officers in Katyń with a shot to the back of the head, the defenders of the Kamieniec fortress descend to the channels, just as the Warsaw insurgents,” Aneta Kyzioł wrote in “Polityka”.

“Jan Klata, together with the actors, once again, shortly and concisely, goes through the never ending wars, siege, betrayal, chase and escape,” reaffirms Joanna Targoń in “Gazeta Wyborcza”. “The actors gallop on the beds, building the Zbaraż trenches, along which the nurse constantly crawls. Showing the entire Trilogy on stage during a single evening seemed to be a crazy idea. And a crazy spectacle was created. Funny, terrifying, surprising, emotional. The fact that the actors do not correspond to Sienkiewicz’s heroes in terms of age, or appearance, allows for a more critical view, and anything which appeared as an unsophisticated concept is revealed as a poignant interpretation.”

Jan Klata
Born in 1973 in Warsaw. At the age of 12, he wrote his first play The green elephant, published in the “Dialog” monthly and staged by the Witkacy Theatre in Zakopane. He was a student of the Directing Faculty of the
National Academy of Dramatic Art in Warsaw and, subsequently, of the Drama Directing Faculty of State Drama School in Kraków. He worked, among others, as a copywriter, music journalist, talk-show director, newspaper columnist and would-be gravedigger.
He made his debut as a director in 2003 with The Government Inspector by Nicolai Gogol in the Jerzy Szaniawski Drama Theatre in Wałbrzych. Since then he has prepared 30 plays on theatre stages in Wrocław, Gdańsk, Bydgoszcz, Kraków and Warsaw as well as in Graz, Dusseldorf, Bochum and Berlin. In 2005, within the framework of the Warsaw Theatre Meetings, Klata Fest, a review of plays directed by Jan Klata took place. He is a winner of many awards, including the “Polityka” Passport and the Konrad Swinarski Award. Since 2013 – manager of the National Stary Theatre in Kraków.


Performance with English subtitles
April 4, 5, 6, 2013
THE SIBLINGS (Ritter, Dene, Vos)
by Thomas Bernhard
direction and scenography: Krystian Lupa
music: Jacek Ostaszewski
cast: Agnieszka Mandat, Małgorzata Hajewska-Krzysztofik, Piotr Skiba
Premiere: 19 October 1996; The Chamber Stage (Scena Kameralna - 21, Starowiślna st.)
Duration: 3 hours /2 intervals/

Two sisters and a brother. Actresses and a philosopher. Prisoners of the overwhelming tradition of a “wealthy home”. One could think this quite a simple model. Here is a generation repaying the centuries-old debt towards the violation of Nature; the women – with neurosis and loneliness; the man – with insanity and sick creativity. This output, the subsequent philosophical treaties, are born in a mental institution. However, another return home of the brother, confrontation with the sisters, reveals new, surprising motives.

Thomas Bernhard has derived his drama from some specifics from the biography of the famous philosopher, Ludwig Wittgenstein, providing his hero with many of the personality traits of this philosopher; however, he was simultaneously writing the individual roles having his favourite actors (Ritter, Dene, Voss) in mind, using their privacy freely. Thus, the genealogy of the characters is complicated and difficult to explain. Nevertheless, as usual in the case of Bernhard, everything is infiltrated with an extreme personal trend, expressed by his obsessive motives, obsessive rhythm and the peculiar language which turns the drama into a piercing and paralysing study of the spiritual deformation of a contemporary man.

“In Krystian Lupa’s play, the table occupies the central place: this is the place to eat, to talk, to keep silent... the middle class space of the dining room has been framed by the director – stage designer, in a thin red frame, separated from the audience with a thin red line – as a high voltage wire. Thus, in the box of the traditional stage, we can see the box of the world of this performance. And Lupa looks at it as if through a magnifying glass – I apologise for this trivial comparison [“Lupa” – the director’s surname means “magnifying glass” in Polish]. And the family dialogue proceeds lazily, unintentionally, like in Chekhov’s plays: between undergarments and philosophical treaties, between a necessary appointment with a doctor and unavoidable insanity, between the percentage of share in the theatre and the theory of arts,” wrote Ewa Obrębowska-Piasecka in “Gazeta Wyborcza”. “Under the skin vibrates not only Chekhov’s longing for the impossible, lost life, despair, but also total nonsense, hopelessness, a lack of any reason. This is how the dining room of a certain home was turned upside down. Totally uncovered, including its inhabitants. And the same applies to us, the audience.
(...)
When the last sentence is spelled out on the stage, about a rainy evening which is best spent in bed, we can return to our worlds, homes, dining rooms, tables – equipped with the awareness of stresses written in red and enriched by the distance towards them. Maybe we are more willing to appreciate what we have – a shitty period which will be followed by only by an odour». However, nothing else can be expected.”

Krystian Lupa
Born in 1943. Studied painting and graphics at the Academy of Fine Arts in Kraków and then directing at the Łódź Film School and the State Drama School in Kraków. After his studies, he became associated with the Stary Theatre in Kraków, where he made his debut with Iwona, the Burgund princess, followed, among others, by the plays he directed: Dreamers by Musil, The Brothers Karamazov by Dostoyevsky, Malta by Rilke, Kalkwerk and The Siblings by Bernhard. The two parts of The Lunatics by Broch presented a synthesis of reflexions concerning the spiritual transformation of man in the European-Christian formation.

After 2000 at the Chamber Stage (Scena Kameralna) of the Stary Theatre in Kraków (where all the Cracovian plays of the director have been staged, and where he used to conduct workshops with a group of actors), Lupa prepared three great stage productions: The Master and Margarita (based on the book by Bulgakov), Zaratustra by Nietzsche and Schleef and Factory 2 (a collective fantasy inspired by the works of Andy Warhol), a play with a plot based partly on the actors’ improvisation.
Krystian Lupa, winner of many prestigious awards, acts as director on many stages in the country and abroad, and since 1983 he has been working as a lecturer of the State Drama School in Kraków.


The project  is co-financed by the European Union as part of The Malopolska Regional Operational Programme 2007-2013


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