April 12-14, 2018
Nowy Teatr organizes the second edition of the Generation After showcase. It’s an intense presentation of the most recent Polish theatre, a new artistic school of thought attended by representatives and programmers from the most important festivals and theatrical institutions in Europe, Asia and America. In cooperation with the Adam Mickiewicz Institute and the Warsaw theatres Komuna// Warsaw, STUDIO teatrgaleria, TR Warszawa, and Teatr Powszechny, we will present the latest performances by Michał Borczuch, Krzysztof Garbaczewski, Anna Karasińska, Natalia Korczakowska, Michał Libera, Jędrzej Piaskowski, Anna Smolar, Cezary Tomaszewski, Janek Turkowski, Małgorzata Wdowik and Barbara Wysocka.
12th April Thursday
15:00-16.00 Margarete Janek Turkowski Nowy Teatr, Rehearsal Hall
17:00-18.30 Puppenhaus. Treatment Jędrzej Piaskowski TR Warszawa
19:00-22.00 Demons Natalia Korczakowska Studio Teatrgaleria
19:30-21.30 Julius Ceasar Barbara Wysocka Teatr Powszechny
22:30-23.20 Cezary Goes to War Cezary Tomaszewski Komuna// Warszawa
13th April Friday
14th April Saturday
direction, adaptation Natalia Korczakowska
adaptation, dramaturgy Adam Radecki
set design Nicolas Grospierre, Olga Mokrzycka-Grospierre
lighting design Aleksander Prowaliński
costumes Marek Adamski
musik Marcin Lenarczyk, Wojtek Zrałek-Kossakowski
video Marek Kozakiewicz
cast Stanisław Brudny, Irena Jun, Tomasz Nosiński, Monika Obara, Anna Paruszyńska, Marcin Pempuś, Bartosz Porczyk, Halina Rasiakówna, Andrzej Szeremeta, Robert Wasiewicz, Ewelina Żak, Krzysztof Zarzecki, Mirosław Zbrojewicz, Karoline Felich, Artur Karolak, Maria Pisera, Stanisław Przeździęk, Andrzej Słomiński, Elżbieta Smoderek, Julia Szewczyk
Whatever the idol’s name – Lenin, Stalin, Hitler, Mao – tyrant is always a caricature of a devalued Father. Grotesque warriors throw themselves into the whirl of a massacre in order to survive, which just leads to more violence and patricides. Guards from Stalinist lagers, Shoah perpetrators, Red Guards of Mao – all have their Party’s blessing to murder not only their kings but also their own families, and in delusion talk about the “new beginnings”. Demons want to infect our minds with the thought that murder is not a murder anymore and that our liberty reaches as far as to killing ourselves and others. A lesson of totalitarianism and misery.
Cezary Goes to War
director Cezary Tomaszewski
scriptwriter Justyna Wąsik
dramaturg Klaudia Hartung-Wójciak
Set and costume designer BRACIA (Agnieszka Klepacka, Maciej Chorąży)
lighting director Antoni Grałek
music Claude Debussy, Georg Friedrich Händel, Stanisław Moniuszko, Dimitr Szostakowicz
production Komuna// Warszawa
Director draws on personal experience and recalls the time when he had to appear in front of an army conscription committee. This memory serves to carry out a funny, witty and spot-on critique of nationalistic war discourses that resonate with particular force in modern-day Poland. Using Moniuszko and Szostakiewicz’s compositions and The Afternoon of a Faun by Nijinsky, the director engages the audience in a series of subversive identity games which aim not only to undermine gender norms but also to turn the military ethos on its head. Four male performers and a woman pianist perform a music-dance-theatre-performance art deconstruction of patriotism and its values, the meaning of love for one’s homeland, and last but not least the social, psychological and cultural repercussions of war.
The show deconstructs military ethos and pride, making the audience realize their toxic dimension and oppressiveness, strictly linked to the Polish national identity. The director shows not only the excluding factor of soldier images and their crucial role in the process of establishing and performing boyhood, but perversly confronts it with fiercely queer art and style.
direction Małgorzata Wdowik
set design Dominika Olszowy
choreography Marta Ziółek
dramaturgy Joanna Ostrowska
lighting design Aleksander Prowaliński
cast Dominika Biernat, Ewelina Żak, Milena Klimczak, Wiktoria Kobiałka, Pola Pańczyk, Stefania Sural, Jagoda Szymkiewicz
This dream to observe a pure and innocent being that is free of any responsibility, safe and trustful, is an everlasting utopia. The need to retain these representations has become a pillar of safety. We like to look at them and admire them. We like to squeeze them into the pattern of “real beauty” – with no excuses. The only scenario for the future is a “woman”. “Princesses” often define everything that isn’t boyish – always in that context – but simply a beautiful background.
An idea to be someone different seems very risky. There’s always somebody watching. And what is her look like? Is she really afraid of being watched or rather just kind to the observer? How does she build her strength and where does she store it? If it is her who says “enough”, she will cause fear. If she starts to yell, she will cause fright. When she stops being her, she will become a beast.