But it's inactive going on. Wedding... A spectacle of searching for the community in language, experience of life and words, dialog in which this word is meant to mean, in which speech cannot be simply a cry to another from the another bank of the river. It's not laughing, it's... “Poland, its own, its own tears, its own fears, its own crimes, its own dreams, its own filth, its own wickedness, its own lies...”, which comes back again like an echo.
A good wedding is erstwhile we look at the watch and wonder: “This is the time! erstwhile did this pass?” If these categories were to measure adaptation Wedding Stanisław Wyspiański, who premiered on the phase of the Juliusz Słowacki Theatre in Kraków on 16 March (both 123 years after the premiere), could be finished here. Go and see... But it's not that simple. due to the fact that although in the danced Bronovka cottage, where we are invited by the manager of Maja Kleczewska, there is no deficiency of intellectual games and entertainment, it is her imagination Wedding It keeps us in all "now" that we can imagine, while at the same time painfully pursuing the past and moving into the future... not necessarily dreamt by us or the author Wedding.
When actresses and actors were asked what she was to them before the performance WeddingThere were different answers. “Mystery”, “Los”, “Arcidramat”, “Pace”, “Drama that is simply a different drama all time”... In my memory, the words of Agnieszka Judycka, in Kleczewska's performance playing Maryna, were peculiarly memorable: “Wedding It is all that in us Poles the most beautiful and the most beautiful; it is the cord of our longings, desires, fears, wounds. An eternal and unending dream of genuine unification”... And if those words were to measurement Wedding, it's his non-transient actuality that hits a very delicate point. In all of these present in Poland, the “damaged”, the infected, the troubled; those who track all variation from the established “standard”; all breaking out of the scheme; those who “their” have changed to “foreign”. Within 1 society, 1 community digging a deep ditch, without blinking an eye renamed to trenches in which you could hide. Only from who? But from what? ♪ 'Cause erstwhile you watch ♪ Wedding in this "new" erstwhile again, and yet so painfully unchanged Poland, unity, consent and community return like echo.
In the Bronov inn, there's noise, movement, fun, food and drink. Dance to the fall, conversations glued together with words and calls, with banter and seriousness, with the harassments of a somewhat wrapped and authentic curiosity. Everything in dance and at the table, though at angles sometimes, so nobody would notice. But at a wedding, although even through the fog, usually everyone sees everything and even more. These wedding flirtices of urban virgins with country boys, harassing and tensions between Czepce (Marcin Kalisz) and writer (Rafał Szumer), starched rigidity guarding status quo Radica (Lidia Bogaczówna), intertwined with the drama of the words and gestures of the Poet (Mateusz Janicki). All this at the suto set table – between vodka and snack, between which to push hard and uncomfortable, and yet in those moments between a 100 and a bit there is always the most happening. All of this between a flaming cracker and ghost polonaise. For a moment, “a communicative that is cheerful and highly sad”... From the beginning, we know that happy endu It won't.
In the Bronowice Inn, unity by any dreamed/expected for others turns out to be shaky, apparent or even impossible. And although the Bridegroom (Mateus Bierite) is acclaimed by the Ludomania, on the side it is already experienced in the urban-rural, peasant-intellectual worlds of the Host (here connecting the same function 2 Wedding – fresh Kleczewska and memorable Wedding directed by Jan Klata – Juliusz Chrząstowski). Later, the cold of the second will break Wernyhora, a female figure (Anna Sybru) chanting in Ukrainian the despair of her parent after the death of her son; singing out what is fulfilled, but besides what can come; offering an chance for this union (although present we would alternatively say "reconciliation") which is not unconditional. On the contrary, even if it is simply a promise only a deceptive spirit from the afterlife can make, it requires the will and action of the living. It's not adequate to call, it's not adequate to call, it's not adequate to decision on. Locked in the golden corner, Wernyhora's promise squeezes into her dreams. due to the fact that erstwhile the Bride (Martina Krzysztofik) has already invited Chochoła to the wedding, erstwhile he invites all the ghosts, he does not anticipate anyone to answer the party. In Kleczewska, the first answer comes with Chochoł (Kaya Kołodziejczyk), who appears like a powerful, danced wind to take everything – wedding lovers, us, past – into his possession. Like a manager in the theatre of dreary ghosts/upors/jaws, he gives distant roles that only by naming come from the past. As they enter, walking on a platform set by the mediate of the audience, we do not yet know that their way will have a second bottom. That... that he'd inactive serve. The Phantom (Adam Wierzyński) is inactive unfulfilled with longings, dreams of youth that had to be said goodbye and... live. Shela (Marian Dziędziel) is like the grandpa of today's Chep... erstwhile a executioner, present a matchmaker. Hetman Branicki (Andrzej Grabowski) politically graded, covered with gold, glued to the cell by a businessman who settles his affairs on the side of Russia. And yet Stańczyk (Krzysztof Głuchowski), modern-day jester, embroidered, celebrity, not so mocking, but immersed in appearances. And yet he says: “Poland, its own, its own tears,/own terrors, crimes, dreams,/own filth, vileness, lies;/I know besides well.” We do, too. So erstwhile the writer receives not only a kaduceus, to which this Polish water is to be muddy (although in mythology he had the power to reconcile enemies and make peace), but besides a mock cap – paper, like a drowning origami boat – made of “Polish gazette”, then the tinting takes on a fresh color. These 3 sit at the table, each with a spiced mouth, each with a mockery. They are not even torn off by arrows from food and drink – due to the fact that the Black Knight (Tomash Wysocki) wears a soldier's uniform... of those cursed. He wears a uniform and sows a crime, shamefully murdering Jews. And how can we not join him in this ghastly, marked by Polish flaws, fears, convictions, compromising minds with beliefs, companies?
What do you mean? Wedding, there is besides the singularity of Rachel (Dominique Bednarczyk-Krzyżowska). The singularity of anyone who does not fit into this company, who looks for cities carelessly to take the position of who asks and not according to birth/education/education fits straight into 1 of the sides. Who... doesn't fit and who does. In Kleczewski, Rachel pays an even higher price erstwhile she becomes a symbol of those destroyed, humiliated, broken, raped, harmed to all cruel manner of war victims. But not just the war, but the stigmatized courage of the question, the difference, the pursuit of each step of being himself. Rachel's destiny inactive seems a painful question to which we inactive cannot answer in Poland calmly, reasonably and truly.
But it's inactive going on. Wedding... A spectacle of searching for the community in language, experience of life and words, dialog in which this word is meant to mean, in which speech cannot be simply a cry to another from the another side of the river. It's not laughing, it's... “Poland, its own, its own tears, its own fears, its own crimes, its own dreams, its own filth, its own wickedness, its own lies...”, which comes back again like an echo. An echo we'll gotta answer sometime. Otherwise, we will be stuck in this chocholy dance, with a stupid throw: “How current today”. Current as Poland. For erstwhile Janek (Antoni Sztaba) loses the horn, the cities go to agreement, the peasants with the scythes face the Host, the writer and the Poet. What they “would already have, and they don’t want.” Trapped in the cluster for a moment, they look to the future to yet descend from the phase the same way the apparitions came upon her. It's like they're heading to the same place they came from. It's just like the ghosts we call on the phase erstwhile in a while to rip off this masterpiece, due to the fact that possibly 1 time we'll wake up. And that's where it would be worth a dot, due to the fact that the last scene Wedding According to Kleczewska, it is like a separate show that steals something from the show. due to the fact that Chochoł does not appeal to me erstwhile he rips out his heart – this Poland (well, it is expressive, and the store with offal on the Old Kleparz close) and then plucks straw from the shoes, which will yet not burn. The wedding does not give hope – due to the fact that that is not the point. Until – behind Czesław Miłosz – 1 would like to add: “There will be no another end of the world.” But... will there be another Poland? This is simply a different show.
Wedding Stanisław Wyspiański. Dramaturgia: Grzegorz Niziołek, directed by Maja Kleczewska, phase design: Małgorzata Szczęśniak, costumes: Konrad Parol, choreography: Kaya Kołodziejczyk, music: Cezary Duszynowski, lights and multimedia: Wojciech Puś, phase plan cooperation: Marcin Chlanda. Juliusz Słowacki Theatre in Kraków. The premiere was held on 16 and 17 March 2024.
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[1] Unless otherwise indicated, quotes come from Wedding Stanisław Wyspiański.
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Pictures for text: Rafał Szumera
