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maj 2013 > przedstawienia z angielskimi napisami >< performances with English subtitles

2013-05-06

Przedstawienia z angielskimi napisami >< Performances with English subtitles

Ticket office: +48 12 422 40 40, rezerwacja@stary.pl

18 and 19 May 2013, 7:15 p.m., the Big Stage
(Duża Scena, 1 Jagiellońska Street)
ILLUSIONS (ILUZJE)
Ivan Vyrypayev
Translation: Agnieszka Lubomira Piotrowska, Karolina Gruszka
Director: Ivan Vyrypayev
Set design: Anna Met
Costumes: Katarzyna Lewińska
Music: Cazimir Liske
Cast:
Anna Dymna
Katarzyna Gniewkowska
Juliusz Chrząstowski
Krzysztof Globisz
and Marta Mazurek (the Ludwik Solski State Drama School in Kraków)
Premiere: 27 April 2012

Duration of performance: 1 hour 25 minutes, without intervals, the Big
Stage (Duża Scena, 1 Jagiellońska Street)

In the performance entitled “Illusions”, shown in the Stary Theatre in Kraków,
Vyrypayev proposes a new manner of observing the world. “The most
important thing for him is to look from above, as if from a cosmic perspective,”
wrote Łukasz Drewniak in Przekrój. “In the middle of the performance, the
curtain is lifted and we see multi-storied structures made of loudspeakers
and equipment, creating a panorama of a crowded city seen from a distance.
The actors/ narrators (Anna Dymna, Katarzyna Gniewkowska, Krzysztof
Globisz and Juliusz Chrząstowski) enter the stage one after another,
holding microphones. They seem to be participating in a discussion panel,
where every expert has five minutes to present his theory. The director
also included a fifth person, a young and natural DJ/ director. Marta Mazurek
controls the music and lighting from the stage, activates the narrators and
explains to the spectators what is going on. At the same time, her body and
gestures say: this is all beyond me, and maybe even beyond you; let’s not try
to understand. Maybe the only redeeming illusion is ignorance? “There surely
should be something constant in the universe,” demand Vyrypayev’s characters.
But nothing is given forever: neither God, love, humanity nor sense. Everybody
is given what he or she believes in. Even when they have never been able to
define it and even if they were not brave enough to utter their desires aloud.

Anna Dymna: After the first reading of the text, I thought that it is really
good that in our aggressive and nervous times, such plays are created where,
without aggression and anger, we can talk about the most important things in
life, about the sense of what happens to us. Whilst working on a performance,
in the process of recalling moods and naming transient things, we often refer to
scenes from well-known films. Yet, I do not associate the stories told by us with
films; most often, they remind me of events from my own life.

Krzysztof Globisz: I think that what Ivan Vyrypayev proposes in his theatre is
related to a very long theatre tradition; I’m thinking about Brecht and his alienation
effect. As it is known, it appears when the actor as if relates something that has
happened. The simplest way to explain it is to use Brecht’s example – when, as
witnesses of an event, we recount what happened, at the same time quoting, in
the first person, the statements of the event’s participants. I play this man, and,
at the same time, I maintain distance. In the case of our performance – I am not
the character; I only speak about this character.

Ivan Vyrypayev
Playwright, director and scriptwriter. Born in 1974 in Irkutsk. Graduate of the
Faculty of Acting at the Theatre Academy in Irkutsk, studied direction in Moscow. Founder of a theatre studio called “Play Space” in Irkutsk (1998); the Irkutsk premiere of the play entitled “Dreams”, written and directed by Vyrypayev, brought him international success, but also caused the theatre to be closed by the authorities. In 2001, the director started to cooperate with Teatr. doc; he is also the co-founder of the Praktika Theatre. The drama “Oxygen”, directed by the author, received the most awards. In Poland, Vyrypayev has directed three of his plays so far: “July”, “Delhi Dance”, “Illusions”, as well as Gogol’s “Marriage”. His dramas were staged in Poland
by Agnieszka Olsten, Małgorzata Bogajewska and Aleksandra Konieczna (“Oxygen”), Łukasz Kos (“Dreams”), Michał Zadara (“Genesis No. 2”), Agnieszka Glińska (“Illusions”). The most popular play is “Valentine’s Day”, which has been staged several times. Vyrypayev is also an acclaimed scriptwriter and director of artistic films which have received many awards, including “Euphoria” (2006) and “Oxygen” (2008).


17, 18, 19 May 2013, 7:15 p.m., the Chamber Stage
(Scena Kameralna, 21 Starowiślna Street)
MILK OPERA (OPERA MLECZANA)
by Stanisław Radwan
on the basis of Andrzej Mleczko’s drawings
Direction and dramaturgy: Mikołaj Grabowski
Libretto and music: Stanisław Radwan
Set design: Barbara Hanicka
Computer animation: Piotr Białas
Cast:
Ewa Kaim, Anna Radwan-Gancarczyk, Zbigniew W. Kaleta, Jakub
Przebindowski (guest performance)
Voices of animals: Iwona Bielska, Anna Dymna, Ewa Kolasińska, Dorota
Segda, Jan Frycz, Krzysztof Globisz, Jan Nowicki, Jan Peszek, Jerzy Trela
Musicians: Mieczysław Mejza, Józef Michalik, Jacek Wać
Premiere: 9 March 9 2003

Duration of performance: 1 hour and 15 minutes, without intervals, the
Chamber Stage (Scena Kameralna, 21 Starowiślna Street).

This unique “opera” was dramaturgically tuned and directed by Mikołaj
Grabowski, a mocker of national sins. Four excellent performers gracefully
fill in this created world of gigantic humour, dragging the spectators into
a “sketched” reality, whereas the set design and the costumes of Barbara
Hanicka co-create a climate of “ridiculousness” and absurd.
“It has to be admitted that the idea was quite unusual. To write a play in
an operatic form on the basis of satirical drawings known throughout the
entire country,” Jacek Wakar recounts with delight. All the commotion is
caused by the excellent composer Stanisław Radwan and Andrzej Mleczko
[“Mleczko” – the illustrator’s surname means “milk” in Polish]. The libretto of
the performance is based on the stories drawn by him. The “Milk Opera” is
a true opera. The actresses, Ewa Kaim and Anna Radwan, sing in alto and
soprano, and their stage partners, Zbigniew W. Kaleta and Jakub Przebindowski,
in tenor and bass. However, there is no operatic pretentiousness. The authors
have managed to translate the humour of Mleczko’s drawings into the language
of theatre. Radwan’s music is a gesture of respect towards all the people who
still remember the golden age of Polish cabaret, primarily Piwnica Pod Baranami.
Facetious songs and cantatas from the “Opera” are maintained in this specific
climate.

Łukasz Drewniak, critic: The black-and-white drawings of Mleczko contain a
paradox: they tell us that the world is not black-and-white. Ethical principles
and the prose of life are two separate areas. Grabowski discovers not so
much the praise of smartness in them, but the bitter exposure of the effects
of its national and international triumph. Mleczko does not think of people
highly, but a sense of humour protects him from misanthropy; there’s a natural
capacity of forgiving weaknesses and all of our small dirty tricks.

Mikołaj Grabowski
Actor, director, teacher, professor at the Faculty of Play Directing at the Ludwik
Solski Drama School in Cracow; director of the National Stary Theatre in Kraków
between 2002 and 2012. He started working as a director together with Krystian Lupa in Jelenia Góra. Since then, he has worked as an actor, director or manager in theatres in Kraków, Łódź, Opole, Poznań, Gdańsk and Warsaw. In the Stary Theatre, he directed such plays as Gombrowicz’s “Tango”, “The Milk Opera” of Radwan and Mleczko, “One Hundred Years of Cabaret” (part of “In Michalik’s Cave”), Wyspiański’s “Liberation”, Moliere’s “Tartuffe”, Gombrowicz’s “Trans-Atlantic” and “Night” and “Waiting for the Turks” by Stasiuk.

He worked for the Television Theatre many times (inter alia “Who Let the Journalists In?”, “The Anthropos-Spectre-Beast”, “November”, “Memoirs of Soplica”, “Quartet for Four Actors”, “Iridion”, “Scenario for Three Actors” and “Trans-Atlantic”, as well as for German-language theatres. The three parts of Kitowicz’s “Description of Customs”, where the director made a suggestive attempt at diagnosing the unchanging “Polish nature”, were a huge success. Schaeffer’s “Scenario for Three Actors”, staged since 1987 (with Jan Peszek and Andrzej Grabowski), is also a unique phenomenon. Cooperation with T. Słobodzianek (“Citizen Pekosiewicz”, “Pekoś”, “Prophet Ilya”) turned out to be
very fruitful. The director conducts constant dialogue with Polish myths, which is testified to by his most recent plays: Gombrowicz’s “Diaries” in the IMKA Theatre and “Pan Tadeusz” in the Stary Theatre.



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


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