“The Friends of Mr Kant” is a sort of philosophical trip. Jacek Papis tries to reveal the last years of the life of Immanuel Kant, one of the greatest European thinkers, who developed cognitive study and set modern standards for it, stating that in a cognitive process there matters not only a subject and an object, but also forms. In the final scenes we witness the silent genius. He is in bed with a group of faithful friends around him. Papis succeeds in presenting how anonyms of pure reason described by Kant influenced his own life choices.
Using a simple and vulgar language, Chotkowski gives the audience a realistic insight into the life of the street people. The action takes place amongst the juveniles. The author presents a chain of impressive pictures of the young losers who live nowhere and deal with stealing and mugging. Their rudeness towards each other results from a state of being lost. Their emotions are childish.
Andżela works in Ikea and dreams about going to Sweden. In a chat room she establishes a relationship with Lars and decides to go to him. She doesn't know that there may be danger waiting for her in Ikea's land. Mint Boy, a guy from Grodzisk, is already there, but is that what he really dreamed about? Sven, a journalist, is writing a story about neo-Nazis. They all meet at the Ultima nightclub in Malmö, where a terrorist attack occurs.
Since the girl does not get up, the slippers are free and can have a super-slipper day. A teddy bear, bald Joe, shaved by the girl, which mainly says "mmm", but also knows the most about what happened to the girl, emerges from under the bed - she is said to have ended up in Sad Bed, that is, in hospital. Now the items from the girl's bedroom have to be packed into a bag and go where she is. Without a girl who has sometimes been cruel to her objects, their lives have no meaning.
A play for adults by Malina Prześluga written in 2013-14 starts off on Christmas Eve - a holiday on which we promise ourselves harmony and joy, and often go to sleep with a sense of greater emptiness than usual. The situation at the Christmas table shows, in a nutshell, the family's relations: lack of understanding, quarrels over the smallest things. The only person representing the old order, peace, confidence, and warmth is grandma.
Children are usually presented with an oversimplified explanation of the world. Those who deserve it go to heaven, and sinners are left in a sad corner (or a bubbling cauldron) in hell. Has anyone ever wondered what might happen if an unruly mum - a DJ who died in an accident and did not manage to say goodbye to her beloved son were to enter the afterlife?
She is an attractive, athletic thirty-year-old. He is a charismatic hypnotherapist of German origin. They meet in a park; he stands up for her and saves her from oppression, she takes the bait. In a plot that could develop into a simple story with a happy ending, the true characteristics of the two quickly become apparent. The protagonists are not the people they want to be seen as. The game begins with the discovery of dark secrets, mental health and even life at stake.
In this play we travel to the world known from Dworak and Wolak's previous plays. It is a bloody tale stylized as a folk ballad about two families taking turns to send their male descendants to serve the Church. When there is a shortage of men and only daughters are born in the town, the order is disrupted. It is supposed to be restored by giving up Anthony's youngest daughter, Joanna, to the monastery. The girl has been raised to be a saint since childhood, but she rebels against taking on this burden.
She and He want to get divorced, but unfortunately, as is often the case now, their mortgage ties them together forever. He tries to write a computer game that will conquer the world and allow for the repayment of the loan, but she does not have that much patience and decides to take the matter into her own hands. One day she shows up at the apartment with a safe that was robbed from a bank. Now the spouses are joined also by a common crime.
Artur Pałyga's play, maintained in a quasi Różewicz's style, with motives from Franz Kafka's Letter to Father, is an anti-apotheosis of paternity as an authority of violence.
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