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Plays

Słobodzianek, Tadeusz

The art of intonation presents two trips to Moscow of Jerzy Grotowski: the first during his student years in 1956 and the second as a globally acclaimed director in 1976. Under the moniker “Apprentice”, Grotowski engages in two conversations with the “Master”, a figure unmistakably resembling Yuri Zawadski – a Russian actor and director whom the Polish creator regarded as one of his masters.

Słobodzianek, Tadeusz

In his most well-known*, Nike Literary Award-winning and most frequently staged play, Słobodzianek explores Polish-Jewish relations. Our Class, however, doesn't so much attempt to join the dispute among historians, politicians and publicists about Polish antisemitism and the Jedwabne pogrom. Instead, he addresses what these discussions usually have no room for: the individuals affected by, as Leonard Neuger described it, “the curse of fate.”

Dańczyszyn, Aleksandra

Aleksandra Dańczyszyn's play is a poetic record of the subsequent days of the Russian invasion of Ukraine. It begins with a quote from Stanisław Barańczak's poem “Nigdy naprawdę” (Never Really), which raises the question of the moral right to write about experiences to which the poet has no access due to the fact that they never experienced them themselves. Dańczyszyn's "Inhuman tragedy" serves as a response to the question posed by the poet. The author is convinced that writers have a moral obligation to talk about the suffering they witness.

Chotkowski, Łukasz

Women often (and men less often) desire to be reduced to just a body. A body – a piece of flesh – a commodity. To willingly surrender, to be discarded, to be a victim of rape and mutilation. At times, this is socially conditioned masochism, the desire to heighten sexual sensations or, as in Leśmian's short poem, an unconscious consequence of a virgin tempting fate. In Burning My Mouth there is a woman consumed with grief for her deceased lover, who was her entire world.

Babicki, Mariusz

For years, a young architect, Michał, has been trying to curry favour with his right-wing boss by pretending to be someone he's not. He deceives him by ostentatiously showing his faith, political views, and the fact that he has a fiancée - when in fact he is gay. His elaborate scheming is driven by the ultimate goal of succeeding his boss or, in other words, having the company passed onto him from his childless superior.

Chotkowski, Łukasz

The play is created in a postmodernistic, “barbarian” aesthetic, referencing the controversial tendency of contemporary theater (postdrama). Artists of postdrama, a notion long established in the West and pioneered by figures such as Heiner Müller, Werner Schwab, Elfriede Jelinek, are referred to as “murderers of sanctity” or simply “barbarians”. It is a theater of risk, a game with the audience and oneself.

Burzyńska, Anna

This Italian town can only be under the control of one of them. Bruna Fabbri and Rita Conti, the titular black widows, are mob bosses. Neither dissolving corpses in acid nor putting bullets in inconvenient people's heads intimidates them - especially since they can count on the help of their (are they really loyal?) hitwomen. These circumstances are where Maruzzella, Bruna's daughter, and Paolo, Rita's son, grow up like delicate flowers and dream of escaping the world of mafia to live an ordinary middle-class life, and maybe a house with a garden...

Wróblewski, Grzegorz

The author blows the myth about retirement as the time of quiet leisure activities. The case of Joanna and Gunnar shows how different obsessions – like analysing a painting or dreaming about a new pair of Italian high heels - become catalysts for life-lasting frustrations. In this intriguing, psychological play we witness Joanna and Gunnar trying to make their dreams come true. Wróblewski gives us a captivating, comic and tragic portrayal of a couple of elderly siblings.

Pałyga, Artur

A theater triptych exploring the problem of Polish anti-Semitism and general xenophobia from three very subjective perspectives: a victim, a witness, an executioner. Each part can actually make a separate whole, and each follows a different literary convention (from a social discourse to a poetical drama). The first one is a contemporary story of a young woman, a public person pursued by gossip about her being Jewish. The second is made up of statements from eyewitness reports concerning the post-war pogroms (Kielce).

Pałyga, Artur

A play about anti-Semitism that remains hidden in Polish society, but is nevertheless still alive. The thing takes place in a declining school in a smaller Polish town. The school is falling apart, it has debts, it is in danger of being closed down. One day the headmaster of the school receives an e-mail from the titular Jew, David Wassersztajn. The man asks for the return of an essay he wrote when he was a student of this school. The headmaster sees in this event a chance to get a big donation that will save the school.