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Pawe\u0142 Sztarbowski [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text admin_label=”fot. Tomasz Ostrowski” _builder_version=”4.16″ text_font=”||||||||” text_text_color=”#000000″ text_font_size=”1.3em” text_line_height=”1.8em” header_font=”Abril Fatface||||||||” header_2_font=”Playfair Display|700|||||||” header_2_text_color=”#000000″ header_2_font_size=”1.9vw” header_2_line_height=”1.8em” width_tablet=”100%” width_phone=”100%” width_last_edited=”on|tablet” max_width=”50%” max_width_tablet=”50%” max_width_phone=”” max_width_last_edited=”on|phone” module_alignment=”right” custom_margin=”||||false|false” custom_margin_tablet=”-60px||||false|false” custom_margin_phone=”-52px||||false|false” custom_margin_last_edited=”on|phone” custom_padding=”||||false|false” text_font_size_tablet=”2.3vw” text_font_size_phone=”3.5vw” text_font_size_last_edited=”on|phone” text_line_height_tablet=”1.7em” text_line_height_phone=”1.5em” text_line_height_last_edited=”on|phone” header_2_font_size_tablet=”7vw” header_2_font_size_phone=”8vw” header_2_font_size_last_edited=”on|phone” 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module_alignment_last_edited=”on|desktop” text_text_align=”center” locked=”off” global_colors_info=”{}” width__hover_enabled=”off” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text disabled_on=”off|off|off” admin_label=”2-Post-TEXT-Q&A” module_id=”foto-blockquote” _builder_version=”4.22.1″ text_font=”||||||||” text_text_color=”#000000″ text_font_size=”1.2em” text_line_height=”1.6em” header_font=”Abril Fatface||||||||” header_2_font=”Playfair Display|700|||||||” header_2_text_color=”#000000″ header_2_font_size=”1.9vw” header_2_line_height=”1.8em” header_3_font=”Baloo 2|600|||||||” header_3_font_size=”19px” header_3_line_height=”1.3em” text_orientation=”justified” width=”99.9%” width_tablet=”100%” width_phone=”100%” width_last_edited=”on|tablet” module_alignment=”center” custom_margin=”40px||40px||true|false” custom_margin_tablet=”-2vw||||false|false” custom_margin_phone=”0vw||||false|false” custom_margin_last_edited=”on|phone” custom_padding=”||30px|0px|false|false” hover_enabled=”0″ text_font_size_tablet=”2vw” text_font_size_phone=”3.5vw” text_font_size_last_edited=”on|phone” text_line_height_tablet=”1.7em” text_line_height_phone=”1.5em” text_line_height_last_edited=”on|desktop” header_2_font_size_tablet=”7vw” header_2_font_size_phone=”8vw” header_2_font_size_last_edited=”on|phone” header_2_line_height_tablet=”1.7em” header_2_line_height_phone=”1.5em” header_2_line_height_last_edited=”on|phone” header_3_font_size_tablet=”19px” header_3_font_size_phone=”19px” header_3_font_size_last_edited=”on|desktop” header_3_line_height_tablet=”1.3em” header_3_line_height_phone=”1.3em” header_3_line_height_last_edited=”on|desktop” module_alignment_tablet=”” module_alignment_phone=”” module_alignment_last_edited=”on|desktop” text_text_align=”center” locked=”off” global_colors_info=”{}” width__hover_enabled=”off” sticky_enabled=”0″]<\/p>\n Ahead of the premiere of FILOKTET EX MACHINA, directed by Agata Koszulinska, I spoke to Pawe\u0142 Sztarbowski, Deputy Programme Director.<\/em><\/p>\n Pawe\u0142 Sztarbowski: We have already collaborated on previous editions, but they were never co-productions. It was done on the basis of guest performances. This time the plan is that we create the play together and it will enter the repertoire of the Teatr Powszechny.<\/p>\n<\/blockquote>\n Agata Koszuli\u0144ska - this will be her directorial debut - has proposed one of the most important themes that art in general can talk about: the theme of illness, suffering and death, juxtaposing this with the eternal human dream of liberation and overcoming suffering. Agata is interested in the world of cutting-edge technology and scientific discovery. At times, therefore, it will be a strongly futuristic or post-humanist vision about how our lives and deaths are influenced by scientific discoveries. And at the same time, the theatre offers a chance to show very concrete people who, in taking up this struggle, transform themselves into cyborgs, doing everything to go beyond the limitations of their crippled bodies. Technology becomes something like a new god here. The framework for the entire performance is the mythical tale of Philoctetes.<\/p>\n<\/blockquote>\n Yes, he is injured in full force and does not accept his suffering and illness.<\/p>\n<\/blockquote>\n Yes, because this is, as I said, our co-production with the New Epiphanies Festival. When Agata Koszulinska and Pawe\u0142 Dobrowolski and Maciej Omylak, the directors of the New Epiphanies Festival, came to us, this project was already partly ready in the conceptual and casting sense. We were joined by actors from our ensemble, Aleksandra Bo\u017cek and Oskar Stoczynski.<\/p>\n<\/blockquote>\n It seems to me that the crux of Agata's idea and this performance is precisely the participation of Kinga Chudobinska-Zdunik, who has been struggling with multiple sclerosis for several years. In the performance, she talks about her personal experience, her obscure diagnosis, her anxiety, her suffering. She does not shy away from humour in all this, making her confession all the more moving. Suddenly, the acting scenes associated with the story of the myth of Philoctetes are no longer abstract, they find their roots.<\/p>\n<\/blockquote>\n No, Kinga is present live on stage, reading extracts from her diary. The whole world around created by the actors becomes a series of mirror images in which her story will be seen.<\/p>\n<\/blockquote>\n Yes, this is a performance that has already been partly shown as work in progress. As part of an artistic residency funded by the Theatre Institute, artists from Belarus who fled the persecution of the Lukashenko regime worked with us. They were supposed to realise a reading, but the result was actually a finished performance. Thanks to a grant from the Warsaw Office for Culture, for which cooperation and support of migrants is now becoming a key theme, it was possible to turn NASTIA into a full premiere. The director is Yura Dzivakou, previously associated with the Free Theatre of Minsk. This is a very powerful short story by Vladimir Sorokin about a family who celebrate their daughter's sixteenth birthday with a sumptuous dinner where the main course is to be a roast of that very daughter. Especially today, against the backdrop of war and Russia's aggression against Ukraine, this resonates shockingly. It is as if Sorokin, who has been a long-time resident in exile as an opponent of Putin's Russia, has turned out to be a cruel prophet of the whole situation.<\/p>\n<\/blockquote>\n We work with them all the time. This has been part of our mission actually since the beginning of our directorship. Recently (13 January) we had the premiere of the play RADIO MARIIA directed by Roza Sarkisyan, a Ukrainian director. The theatre company includes Oksana Cherkashina, we have Artem Manuilov working with us on an ongoing basis, and as part of the international project \"Face to Faith\" we collaborate with the Jam Factory from Lviv. For 8 years now, we have been tackling topics related precisely to the situation of our neighbours from the East. The current war is also our common cause, which concerns the shape of democracy in Europe.<\/p>\n<\/blockquote>\n The PROSPERO - Extended Theatre group should also be mentioned as a co-production partner. This is a European group of the best European theatres, to which we were invited a few years ago after the international successes of 'The Curse', 'Mein Kampf' and 'Capri'. The play 'Imagine' is therefore being produced as part of a major international collaboration. Of course, times are so uncertain that it is hard to say what will happen, but we are planning a major European tour in the autumn.<\/p>\n<\/blockquote>\n That is the question, what will happen and what will be possible? Krystian Lupa has this idea for a story about the future, about designing the future, about building a utopian vision, but also about what remains of the countercultural utopias of the 1960s and 1970s. The starting point is John Lennon's song IMAGINE and its extremely poignant words, which today resound like a utopian manifesto.<\/p>\n<\/blockquote>\n Already in April we start rehearsals for ORLANDO directed by Agnieszka Blonska. The performance will feature actors from our company and non-professional transgender actors. Virginia Woolf's ORLANDO, which is the starting point for this performance, deals with this very subject. I think it will be a very original form, also in the context of attacks on minorities and on the LGBT+ community. And that it will send an important political message against discrimination.<\/p>\n<\/blockquote>\n We try all the time to meddle in different subjects, in different spaces, although unfortunately I feel more and more. that the current reality surprises us too much. And is capable of leapfrogging our imagination in cruel, often unexpected ways. For when we stage Mein Kampf directed by Jakub Skrzywanek or Capri directed by Krystian Lupa in 2019, which deals with the Second World War, did we expect that the context for these performances would be the contemporary war that is happening right next to us, in which our friends and their loved ones are suffering?<\/p>\n<\/blockquote>\n Yes. This premiere is scheduled for the end of June and with this premiere and RADIO MARIA's trip to Israel we will end the season.<\/p>\n<\/blockquote>\n CREATIVES CAST: Below are photos from the press rehearsal of the performance FILOKTET EX MACHINA<\/p>\n [\/et_pb_text][et_pb_image src=”\/\/i1.wp.com\/photo-oto.com\/wp-content\/uploads\/2022\/03\/SAM_6954X.jpg” title_text=”SAM_6954X” align=”center” _builder_version=”4.16″ _module_preset=”default” custom_margin=”9px||11px|||” custom_padding=”24px|||||” border_width_all=”15px” border_color_all=”#ffffff” box_shadow_style=”preset1″ box_shadow_color=”rgba(0,0,0,0.2)” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”\/\/i2.wp.com\/photo-oto.com\/wp-content\/uploads\/2022\/03\/SAM_6950XX.jpg” title_text=”SAM_6950XX” align=”center” _builder_version=”4.16″ _module_preset=”default” custom_margin=”9px||11px|||” custom_padding=”24px|||||” border_width_all=”15px” border_color_all=”#ffffff” box_shadow_style=”preset1″ 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Interview before the premiere of FILOKTET EX MACHINA directed by Agata Koszuli\u0144ska
<\/em><\/p>\nFILOKTET EX MACHINA, NASTIA, IMAGINE and ORLANDO<\/strong><\/h2>\n
New titles at the Powszechny Theatre in Warsaw<\/h3>\n
Tomasz Ostrowski:<\/strong> We are ahead of the premiere of FILOKTET EX MACHINA. A performance about the complex human condition. The performance is prepared jointly with the NEW EPIFANIE Festival. Is this your first collaboration with this festival?<\/h3>\n
\n
What is this performance about? \u00a0<\/h3>\n
\n
Archer, mortally wounded by a snake.<\/h3>\n
\n
The production features actors from the Powszechny Theatre, but not only?\u00a0<\/h3>\n
\n
Agata Koszulinska invited her friend Kinga Chudobinska-Zdunik for this performance. Going into the details of the script, her presence is very obvious for this performance.<\/h3>\n
\n
He tells his story on screen in a video broadcast?<\/h3>\n
\n
We are talking about the play that will premiere this Saturday, 19 March, but more premieres are coming soon. Already on 7 April, it will be NASTIA.<\/h3>\n
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In the context of these events taking place beyond our eastern border, do you have plans to collaborate with Ukrainian artists?<\/h3>\n
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On 23 April, as part of the International Festival of Pleasant and Unpleasant Plays in \u0141\u00f3d\u017a, the world premiere of the play IMAGINE directed by Krystian Lupa will take place. The production is a co-production between the Teatr Powszechny in Warsaw and the Teatr Powszechny in \u0141\u00f3d\u017a. The Warsaw premiere is scheduled for 7 May.<\/h3>\n
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One trip has already been cancelled. To Moscow.<\/h3>\n
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But IMAGINE it won't be the final premiere of the 2021\/2022 season?<\/h3>\n
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The Teatr Powszechny in Warsaw remains true to the motto of its patron Zygmunt H\u00fcbner: \"Theatre that interferes\".<\/h3>\n
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ORLANDO premiere just before the theatre's summer break?<\/h3>\n
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The end of the season promises to be impressive. All that remains is to invite the audience to these four premieres in the next four months. First up is FILOKTET EX MACHINA directed by Agata Koszulinska as part of the New Epiphanies Festival. Premiere on 19 March, with further performances on 20 and 21 March and 21 April.<\/h3>\n
directing \u2013 Agata Koszuli\u0144ska<\/strong>
drama and text \u2013 Amadeusz Nosal<\/strong>
real objects \u2013 Olga Ryl-Krystianowska<\/strong>
music \u2013 Mateusz Korsak<\/strong>
virtual objects (VR) and video projections \u2013 Mateusz Korsak, Katarzyna Trzewik<\/strong>
choreography \u2013 Micha\u0142 Przyby\u0142a<\/strong>
Light Direction: Piotr Pieczy\u0144ski<\/strong>
costumes \u2013 Sandra St\u0119pie\u0144<\/strong>
stage manager - Barbara Sadowska<\/strong><\/p>\n
Aleksandra Bo\u017cek<\/strong>
Kinga Chudobi\u0144ska-Zdunik<\/strong>
Sylwia Gola<\/strong>
Bartosz Mikulak<\/strong>
Oskar Stoczy\u0144ski<\/strong><\/p>\n
\nPremiere: March 19, 2022<\/strong>
\n"It seems to me that the idea of Agatha and this performance is based on the participation of Kinga Chudobinskaya-Zdunik, who has been struggling with multiple sclerosis for several years. In the play, he talks about his personal experience, about a muddy diagnosis, anxiety, and suffering. She doesn't shy away from a sense of humor in all of this, which makes her confession even more moving. Suddenly, the acting scenes associated with the story of the myth of Philoctetes cease to be abstract, find their roots.", " Kinga is present live on stage, reads excerpts from his diary. The entire surrounding world created by the actors becomes a series of mirror images in which her story will be viewed"\u201d<\/em>
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