Issue 10/2019

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Plays

Paralysis. Igor Stachowiak’s case

Jakub Tabisz

A documentary drama based on the big case concerning the killing of Igor Stachowiak, a young man mistakenly arrested by the police and tortured with a stun gun. Stachowiak died at the police station, and the brutal course of his interrogation was covered up by the authorities for a long time. The story is told from the point of view of Igor’s father, who personally engaged in the investigation and the trial to restore the good name of the innocently murdered son and accuse the corrupt system.

Queen Mothers

Aleksandra Zielińska  

A tale written for female voices about two girls, sisters, living in a house by the river. From the beginning, water is a disturbing motif that recurs in the final part when the younger sister drowns unattended by the elder one, who then punishes herself in an extraordinary way. The play is distinguished by its poetic language, the aura of mystery, and terror behind the idyllic images of childhood.

To See Salisbury

Victor Shenderovich

A black comedy about the activities of Russian special services in Great Britain aimed at poisoning Sergei Skripal. Shenderovich mainly recounts television appearances of two agents, who claimed in front of the cameras that the purpose of their visit to Salisbury had been only to visit the cathedral and see the Magna Carta.

28 Days. The Tragedy of the Menstrual Cycle

Olga Shilyaeva

Written for solo voices and choirs, a woman's story of menstruation experienced as her private and the state’s experience at the same time. Personal language mixes here with gobbledegook, and intimacy gives way to official and medical discourse. One of the boldest female statements in the Russian theatre of recent years, which at its premiere at the Teatr.doc led to an outburst of emotions on the part of the audience.

Essays, Studies

Another end of the world is possible

Małgorzata Szpakowska  

There have been plenty of films about disasters - skyscrapers, airports, transatlantic liners, and even nuclear power plants; some also referred to real events. However, it is difficult to make comparisons: Chernobyl is not a feature film. Nor is it a documentary in which talking heads comment on preserved testimonies. It is a documentary drama in the full sense, made with great momentum and with great care.

Documentary dramaturgy?

Krzysztof Kopka

About the documentary theatre workshop conducted at the Grotowski Institute in Wrocław as part of the Open University of Searching. In its course Jakub Tabisz’s Paralysis. Igor Stachowiak’s Case was written.  The aim of the workshop was to independently create a documentary spectacle in the verbatim technique, or a “literal record of reality.”

Pink and blue shade of violence

Konstanty Usenko

Based on two contemporary Russian scenarios, 28 Days by Olga Shilyaeva and To See Salisbury by Victor Shenderovich, one could outline the image of Russia as the theatre of absurd generated by stoned copywriters working for state agencies, and patriarchal concepts, where femininity is reduced to cosmetic, aesthetic, sexual, reproductive and demographic functions.

Unsealing

Joanna Krakowska

On  Marcin Kościelniak’s book  Egoiści. Trzecia droga w kulturze polskiej lat 80  [ Egoists. The third way in the Polish culture of the 1980s]. It is devoted to the anarchist circle and its artistic activities, jointly referred to as "Culture of Discharge", which makes it possible to deconstruct the then way of performing the national community, expose the mechanisms of involvement in the church and religious order, and analyze patterns of political thinking that survived longer than needed.

Mary, the pope, the cross and fear

Marek Beylin

Marcin Kościelniak’s book  Egoiści. Trzecia droga w kulturze polskiej lat 80  [ Egoists. The third way in the Polish culture of the 1980s] is not to be missed by anyone who wants to take a look at the 1980s and at the same time interpret the present day. The author of the article does not agree with the thesis about the subjection of Solidarity to the Church and national ideology, but he considers it important, because it points to the impulse among Polish intelligentsia today to break free from the shackles of such oppressive patterns of behaviour.

(Dis)comfort controlled

Magdalena Lachman

Although Aleksandra Zielińska, the author of the play Queen Mothers, has often emphasized that she does not want to make the message of the text obvious, that is, she prefers to end with understatement and leave the margin to the reader. And yet her work is hardly determined by opening strategies. From the beginning, it was marked by recurring motifs and consistency. This is aided by critics, eager to explore the clues she points to in her auto-commentaries and interviews.

1980s: Jadwiga Jankowska-Cieślak and Krystyna Janda (2)

Ewa Hevelke

Another feature within the "Faces" series - history told through the prism of the characters and roles of actresses emblematic of their time.

Columns

Tadeusz Bradecki, Tadeusz Nyczek, Piotr Morawski

Varia

Notes on plays: Lola Blasco Canícula (Evangelio apócrifo de una familia, de un país); Edward Dewereński Ikar; Rajiv Joseph Describe the Night.  Playbill

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