Ewa Mikuła, Piotr Froń
A dramatic record of an interview with Ewa Mikuła’s parents about their work in a factory, a mine, and a paint shop, touching upon such themes as satisfaction, rest and pleasure. The text is written largely in the Silesian dialect and deals with the confrontation of two generations and two classes. Whereas the father and the mother have been blue-collar workers without a guarantee of permanent employment, the daughter as a playwright deals with something less measurable. And yet she fights for stability as well. Not only is Work, work a family portrait full of tenderness, but it is also an attempt to bring together two worlds, offering a material for reflection on the mode of employment, the situation of exploited workers and young representatives of the precariat.
Olga (Horror Stories from Hrádeček)
A play inspired by the biography of Olga and Václav Havel. The action takes place in Hrádeček, a village where the married couple lived in the seventies, hosting many Czech dissidents. When describing colourful events from the history of this place, the author manages to show an intimate story of the Havels, especially Olga’s, who is usually remaining in the shadow.
Housing Community (Vlastníci)
A comedy whose characters are the residents of a post-war multi-family house in Prague, who meet at a housing community meeting. The discussion about administering the property quickly reveals hidden emotions and personal traits of the characters, leading to outbreaks of new conflicts. Democratic management of the house turns out to be beyond the control of the inhabitants, who eventually willingly renounce their right to self-determination.
Work in the theatre. Representation - body – institution
Presenting work on stage is always a tautology, because doing the work is inherent of the stage situation, although employee relations are usually not disclosed. This does not mean that work has never been the subject of the emerging performances.
It Seems As If I Am Dead: Zombie Capitalism and Theatrical Labor
Translated into Polish from “TDR: The Drama Review, A Journal of Performance Studies” 56, no. 4, 2012.
Overproduction results from the penetration of market mechanisms to all areas of our lives, fields of creativity, and institutions in which we work. It is an element of the system preying on our activity, because it is primarily this mobility - not content and sense - that generates profits. When we stop, get tired or stand aside - we become redundant for the system.
Because it’s us. On Sopot Non-Fiction Festival
The festival's formula is based on the invitation of artists from all over Poland to participate in a seven-day artistic residence, which consisted of a five-day workshop and presentation of work results (in the "work in progress" form) during a two-day marathon.
The queen of crooked mirrors
Václav Havel as depicted in Anna Saavedra’s Olga (Horror Stories from Hrádeček) reminds someone who, against his will, found himself in a cabinet of crooked mirrors. In contrast, Olga appears as the main character of the “upright” mirrors cabinet. While he is being constantly demythologised here, she, in turn, becomes a bronze figure. She is as ordered, stable and predictable as Havel is shaky, defenseless and helpless.
Czech non-acting, or theatre in the search for freedom
For several decades in the Czech Republic two theatres have been playing, in which only non-actors perform, and their creators are people who have never studied at art schools. One of these theatres, Divadlo Járy Cimrmana, is so successful that people wait for two days in a queue for tickets, and the shows have been on for fifty years and have been played a thousand times. The second theatre, Divadlo Na tahu, plays only occasionally, and hardly anyone knows about its existence.
Transformation. Katarzyna Figura and Adrianna Biedrzyńska
Another feature within the "Faces" series - history told through the prism of the characters and roles of actresses emblematic of their time.
„Long live Gorky!”. Tributes paid to the 'storm harbinger' in 1905
Maxim Gorky took an active part in the 1905 revolution from its very beginning. He was arrested and imprisoned in the Peter and Paul Fortress. Prominent representatives of the arts and sciences of many countries demanded his release. Also in Poland, there was a wave of solidarity with Gorky. How long did this kindness persist for the author of Children of the Sun, and thus for Russian theatre art? Short, extremely short.
Tadeusz Nyczek, Marek Beylin, Tadeusz Bradecki
Notes on plays: Katarzyna Szarla Gruss aus Buenos Aires, Alice Birch [ BLANK ], Lydie Parisse Manuel de l’amour moderne. Playbill