31/03/12 wielki gatsby na warszawskich spotkaniach teatralnych

W teatralnej adaptacji powieści Francisa Scotta Fitzgeralda Michał Zadara przenosi widzów w lata 20. ubiegłego wieku w Stanach Zjednoczonych. Życiem rządzą tu przede wszystkim wielkie pieniądze. Zdobycie fortuny staje się głównym celem Gatsby'ego, który dzięki majątkowi chce odzyskać Daisy – miłość z dawnych lat. Za marzenia zapłaci jednak swoją cenę. Opowieść o wielkiej inscenizacji, jaką staje się życie Gatsby'ego, Zadara rozgrywa w rytmie szalonej imprezy z włoskimi przebojami z lat 60. i kompozycjami Beethovena.

27/03/12 próby do MEDEAMATERIAL

rozpoczęły się próby do Medeamaterial. tekst: Heiner Müller, muzyka: Pascal Dusapin

Mueller’s introductory notes: The text needs the naturalism of the scene. DESPOILED SHORE can be shown during the simultaneous operation of a peepshow, MEDEAMATERIAL at a sea by Straussberg, which is a mud-filled swimming pool in Beverly Hills or the bathing facility of a nerve-clinic. Like MAUSER, a society of bordercrossing, in which someone condemned to death can turn his actual death into a collective experience on the stage, LANDSCAPE WITH ARGONAUTS presupposes the catastrophes, on which humanity is working. The landscape may be a dead star, on which a search party from another time or another space hears a voice and finds someone dead. As in every landscape the I in this part of the text is collective. The simultaneity of the three parts of the text can be portrayed any which way.

10,11/12/11 szosa wołokołamska na spielzeit'europa

Wolokolamsker Chaussee: the western entry road to Moscow, the approach route of the German tanks in 1941 and the title of a novel by Alexander Bek about the Soviet defensive struggle. Heiner Müller has woven further historical events and literary sources into his theatre text to create a scenic pentaptych: the uprising of 17th June in East Berlin, the Prague spring, short stories by Anna Seghers, Franz Kafka and Heinrich von Kleist.
In this Polish premiere production, the young director Barbara Wysocka realizes Müller’s complex tableaux of events and texts between Berlin, Moscow and Prague with great clarity. With only three actors she demonstrates the way history discards things and people, finds surprising parallels and opens up a wealth of associations. Not the least of her achievements is to prove the necessity of taking an open and critical approach to history.

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