A drama about an adult son who visits his parents in a small town and goes hunting with his father. During this visit, we see customs that support a traditional family: at the table, by the glass, in the bedroom we are dealing with clearly defined roles and power relationships. Hunting in this world is a test of masculinity, a field of competition, but also a situation that allows violence and repressed emotions to get out of control. The tension builds up to catharsis. The psychological dimension of this play and the realistic dialogues refer to the tradition of the 20th century American drama.
Dark Stone (La piedra oscura)
The story of the last moments of the life of Rafael Rodríguez Rapún, companion of Federico García Lorca. Locked up in a cell of a military hospital near Santander, Rapún will probably be executed the following morning. During an emotional conversation, he tries to convince the guard to hand over personal documents to Lorca. Alberto Conejero creates an intimate tale of love entangled in political turmoil.
Empty Nest (Una gossa en un descampat)
Julia and Paul are expecting a baby. After the fifth month of pregnancy, it turns out that as a result of the mother's health complications, the child may be born disabled, and Julia's life is at risk. The theme of the play is the choice between evil and evil, and a later attempt to understand the past.
A short essay for the end, i.e. for the beginning
The last chapter of the book Trojanki. Dziesięć prywatnych rad dla początkujących w chemioterapii potrójnie ujemnego raka piersi [The Trojan Women. Ten Private Tips for the Beginners in the Chemotherapy of Triple-Negative Breast Cancer] about to be published by Media Rodzina in Poznań.
Reading articles, books and critical texts by Ewa Guderian-Czaplińska, we hear that the things are good and bad at the same time. It is bad and good news about us, about the theatre, about the world, because although we have made mistakes, the spectacle has been miserable and the world will end soon, our efforts have been appreciated, the spectacle has provided food for thought, and maybe we could stave off a disaster together? This complexity of seeing and perceiving negativity and appreciating positivity are the result of true intellectual recognition, benevolent criticism, categorical disagreement with the mean, patient faith in the sense of action, and the ability to recognize real possibilities and determine one's own duties.
Imagined spaces of Teresa Żarnowerówna’s theatre
Teresa Żarnowerówna may seem a peculiar object of theatrical considerations, since the data on her actions in the field of theatre are less than scarce. However, she was the author of several stage designs - her Theater Models made of wood and the watercolor entitled Theater Project went to the Berlin gallery Der Sturm in 1923. Only two modest theatre projects remained.
Stanisław Godlewski, Marta Keil, Monika Kwaśniewska, Paulina Skorupska and Weronika Szczawińska talk about Ewa Guderian-Czaplińska.
Tales about hunting and revenge
What actually drives hunters? What are they talking about with each other and with their passive wives? From Olga Tokarczuk's novel Drive Your Plow Over the Bones of the Dead, we will not learn much about their home and personal life. Instead, Ishbel Szatrawska's play printed in this issue poses questions that Tokarczuk leaves unspoken.
Playwriting of the Romanesque countries differs from playwriting of the German-speaking countries and – more broadly – of the countries of Northern Europe. All generalizations are dangerous, but it is hard not to notice that the countries of the North are more likely to turn to complex narrative structures today, while in the South is more eager to write about emotions, the dramatic construction based on tragic choice being also important. Writers of the Romanesque countries write with less respect for "rhetoric" - but they still believe in the truth of human experiences.
An Andalusian from Madrid
Alberto Conejero believes in deeply humanistic theatre. It appreciates the noble work of theatre artists who gather men and women in a common space to experience a story together. In his opinion, theatre should present conflicts and adversities that mark our existence. It cannot become a shelter for people who are foreign to doubt, nor a place where you can only see bright and comforting images.
Lorca: present absence
Federico García Lorca and his work were not fortunate in Poland. Until 1936, the year of the tragic death of the poet, Lorca had remained practically unknown here, despite his well-established fame as the greatest Spanish poet and playwright, both in the Iberian Peninsula and Latin America.
In one of the key scenes of Gentlemen (2019), Fletcher (excellent Hugh Grant), who for almost the entire film tries to blackmail Raymond (Charlie Hunman), shows him the materials he has gathered and directly recalls the Conversation by Francis Ford Coppola. This reference works on several levels, constituting the key to the method Ritchie undertook in his new film. Gentlemen are in fact a film-onion, which hides its core under several layers of talkativeness, narratives, false clues, understatements, ambiguities and mirror images.
Marek Beylin, Barbara Klicka, Tadeusz Nyczek, Pedro Pereira
Notes on plays: Alejandro Jodorowski Escuela de ventrílocuos; Josep Maria Miró El Principio de Arquímedes; Joséphine Serre Data Mossoul. Playbill