Jul 16, 2018
Box office closed 16-29 of July
The box office will be closed since 16th till 29 of July. You can book tickets online at bilety.nowyteatr.org
Jul 16, 2018
The box office will be closed since 16th till 29 of July. You can book tickets online at bilety.nowyteatr.org
Jul 27, 2019
The box office will be closed since 27th July till 12th August. You can book tickets online at bilety.nowyteatr.org
Apr 10, 2019
At the beginning of the 2018/2019 season, Schauspiel Stuttgart established a European ensemble together with Nowy Teatr of Warsaw, Zagreb Youth Theatre, and associate partner the National Theater of Greece. Within the firm structures of state theater, the Europe Ensemble will receive ample time and space to be able to establish itself as an independent ensemble and make theater together over a two-year period. Each participating theater will produce two pieces and will show both other directorial works as guest performances. Thematically, the productions will focus on questioning how Europe can be re-imagined, and which socio-political ideals the European project could strengthen. Can numerous western societies’ democratic fatigue be tackled artistically? As the European Project currently sinks into crisis, how can it be reinvigorated?
The official cast of the Europe Ensemble has been confirmed. Joining the group will be one actress and one actor each from three partner countries: Tenzin Kolsch and Claudia Korneev from Germany, Tina Orlandini and Adrian Pezdirc from Croatia, and Jaśmina Polak and Jan Sobolewski from Poland. The selection was made by the artistic director of the Europe Ensemble, Oliver Frljić, together with the participating theaters.
The Europe Ensemble’s inaugural project will premiere on 10 April 2019 at Schauspiel Stuttgart’s Kammertheater: "Imaginary Europe" is written and directed by Oliver Frljić.
A collaboration between Schauspiel Stuttgart, the Nowy Teatr, Warsaw, and Zagreb Youth Theatre (zagrebačko kazalište mladih).
Funded by the German Federal Cultural Foundation.
Jul 4, 2018
In two theatres near the main festival entrance, you’ll get to see the legendary “The Wedding” directed by Jan Klata, “Cezary goes to war”by Cezary Tomaszewski and the vision of people from the future in “2118. Karasińska”.
The Wedding 11:00 – 14:15 (05.07. – 07.07.2018)
Director: Jan Klata, Stary Teatr im. Heleny Modrzejewskiej w Krakowie
Cast: Juliusz Chrząstowski, Beata Paluch, Radosław Krzyżowski, Monika Frajczyk (gościnnie), Ryszard Łukowski (gościnnie), Zbigniew W. Kaleta, Roman Gancarczyk, Bartosz Bielenia (gościnnie), Krystian Durman, Andrzej Kozak (gościnnie), Jaśmina Polak (gościnnie), Anna Radwan/Małgorzata Zawadzka, Ewa Kaim, Katarzyna Krzanowska, Grzegorz Grabowski, Maciej Charyton, Krzysztof Zawadzki, Anna Dymna, Elżbieta Karkoszka (gościnnie), Mieczysław Grąbka, Edward Linde-Lubaszenko (gościnnie), Zbigniew Ruciński, Małgorzata Gorol (gościnnie), Zbigniew Kosowski , Michał Kuźniak (gościnnie)
Cezary goes to war 13:00-14:15 (04.07. -06.07. 2018)
Director: Cezary Tomaszewski; Komuna// Warszawa
Cast: Michał Dembiński, Weronika Krówka, Oskar Malinowski, Bartosz Ostrowski, Mikołaj Karczewski/Łukasz Stawarczyk
2118. KARASIŃSKA 15:00 – 16:00 (04.07. – 06.07.2018)
Director: Anna Karasińska, Nowy Teatr
Cast: Magdalena Cielecka, Dobromir Dymecki, Monika Frajczyk, Bartosz Gelner, Magdalena Popławska
THE THEATRE PROGRAMME WAS CONCEIVED IN COOPERATION WITH NOWY TEATR IN WARSAW
Dec 15, 2017
The open call is aimed at theatre makers up to the age of 35 years who are committed to socio-political issues, regardless of their discipline (directing, acting, design, dramaturgy, writing, music, video, performance, media, choreography, theatre education and many others). As a creative field for experimentation and an open space for thought, the forum provides performative and discursive exchange where the boundaries between performing and visual arts or academic and socio-political discourse become more and more fluid. With its 18-day fellowship programme, the International Forum supports the invited artists in the development of their aesthetic signature, promotes transnational networking and sees itself as a self-critical element of reflection on the Berlin Theatertreffen.
To the open call
The deadline for applications is 15 December 2017.
Contact: Necati Öziri, Aurore Werniers
Sep 7, 2017
That's what you've been waiting for. We are happy to announce that tickets for the new season events in the Nowy Teatr can now be purchased online, via the website: bilety.nowyteatr.org
Jun 28, 2017
This year Nowy Teatr will curate the theatre programme of the Open’er Festival for the sixth time. We have already shown 13 plays, including "Angels in America" and "Kabaret warszawski" by Krzysztof Warlikowski, "Nancy. Interview" by Claude Bardouil, "Courtney Love" by Monika Strzępka (Teatr Polski in Wrocław), "Winter’s journey" by Maja Kleczewska (Teatr Polski in Bydgoszcz), "The Queen’s Peacock" by Paweł Świątek (Narodowy Stary Teatr in Kraków), "Ewelina’s crying" by Anna Karasińska (TR Warszawa), "Zrób siebie" by Marta Ziółek (Komuna// Warszawa), "The Solitude of Cotton Fields" by Radosław Rychcik (Teatr im. Żeromskiego in Kielce).
This year we’ll bring you "(A)pollonia" directed by Krzysztof Warlikowski, "Henrietta Lacks" by Anna Smolar and "White Power, Black Memory" by Piotr Ratajczak, retrieved by Teatr Dramatyczny in Białystok.
More info: www.opener.pl
Jan 30, 2017
Krzysztof Warlikowski, the outstanding European director of theater and opera, is one of the greatest artists of our time. From the start, he incorporated video art into his scenic language as an essential dimension of his aesthetic. His collaborator, video artist Denis Guéguin, has been part of this adventure for many years. Based on interviews with Guéguin, set designer Malgorzata Szczesniak and Krzysztof Warlikowski himself, this monograph explores the director’s scenic work for the first time, both from a dramaturgical perspective, revealing how the productions are prepared, and from a technical perspective, narrating key moments in rehearsals.
Auteurs: Leyli Daryoush et Denis Guéguin
Sur base d'entretiens avec: Krzysztof Warlikowski, Malgorzata Szczesniak, Denis Guéguin.
Avec le soutien de La Monnaie/ De Munt, Bayerische Staatsoper, Festival d'Aix-en-Provence, Ruhrtriennale, Comédie de Clermont-Ferrand, Instytut Adama Mickiewicza, Nowy Teatr
Apr 14, 2016
The Nowy Teatr International Cultural Centre will open in April 2016. After eight years of operation, and almost two years of modernization of the buildings at Madalińskiego 10/16, the team led by director Krzysztof Warlikowski will finally begin work in-house in Warsaw's Mokotów district. The opening will include a performance of Warlikowski's Francuzi (The French), screenings of operas directed by him, tours of the buildings guided by the actors of Nowy Teatr, and the international Opening Forum with distinguished guests from all over Europe.
The Nowy Teatr International Cultural Centre is an interdisciplinary institution open to many fields of art. World-class artists will be invited to prepare premieres specifically for a Polish audience and to present their most recognized works. The first guest of this upcoming season will be Markus Öhrn, l'enfant terrible of the European theater, film director and visual artist, who earned his renown at Berlin Volksbühne.
Nowy Teatr will also host Polish artists, those who courageously expand the battlefield of modern theatre. Nowy Teatr ICC will also be open to grass-roots artistic initiatives, festivals, workshops and discussions.
The new space means new challenges for the Nowy Teatr team. The first things that come to mind are questions like: does that mean anything to me as an artist? Will I start thinking differently about theatre? I wonder how this new space may inspire me, push me into new areas. Each of the recent shows by Nowy Teatr, '(A)pollonia', 'Kabaret Warszawski' and 'Francuzi', was intended to inaugurate this place. Yet it is an entirely different thing to prepare a show having just the idea of the new space in mind, and then to actually start working in the finished theatre hall and completing the show – says Krzysztof Warlikowski, artistic director.
Francuzi premiered last year on October 3 and will be staged again between 14 and 17 April. The show has traveled extensively, representing Polish theatre in the world, and this is going to be the first performance in Warsaw since its premiere. On the weekend of 16 and17 April, guests may visit the new Nowy Teatr together with the artists from Krzysztof Warlikowski's team.
April 18 will begin with screenings of operas directed by Krzysztof Warlikowski. The audience will have the opportunity to see his international projects including King Roger, Medea and Don Giovanni. The screenings will follow the introductions of Jacek Hawryluk and Piotr Gruszczyński.
22 and 23 April will see the Opening Forum, a debate in the form of an art installation, focused around the slogan SUBMISSION//RAGE//FREEDOM. The debate will be attended by; Hungarian theatre director and artistic director of the Kretakor group, Árpád Schilling; Polish director Krystian Lupa; one of the most interesting representatives of contemporary Russian theatre, Konstantin Bogomolov; director of the Bozar / Belgian Centre for Fine Arts, Paul Dujardin; German literary scholar writer and journalist of Ukrainian origin Katja Petrowskaja; opera playwright Christian Longchamp; Lebanese writer, actor and director Wajdi Mouawad; Russian theater critic and the theatrical curator of this year's Wienef Festwocheb, Marina Davidova; artistic director of the Prague Quadrennial, previously associated with the Institute of Art and Theatre in Prague, Sodja Lotker; and the former director of the international Theatre Festival in Avignon, now director of the Théâtre Vidy-Lausanne, Vincent Baudriller. The discussion will be moderated by Beata Stasińska and Max Cegielski. The Forum will be accompanied by concerts, screening of Walser by Zbigniew Libera and presentations of his video works.
April 26 will see the performance of one of the most interesting Polish compositions of recent years: Passion according to St. Mark by Paweł Mykietyn (musical director of Nowy Teatr ICC) for soprano, reciting voice, choir and chamber orchestra. This piece was commissioned by the International Festival Wratislavia Cantans in 2008.
The construction of the Nowy Teatr International Cultural Centre was founded with a grant of PLN 19,115,511 from Iceland, Liechtenstein and Norway under EEA and Norwegian Grants, as well as from the Polish national budget and the City of Warsaw.
Nowy Teatr is a municipal cultural institution.
Mar 27, 2015
World Theater Day Message 2015
The true masters of the theater are most easily found far from the stage. And they generally have no interest in theater as a machine for replicating conventions and reproducing clichés. They search out the pulsing source, the living currents that tend to bypass performance halls and the throngs of people bent on copying some world or another. We copy instead of create worlds that are focused or even reliant on debate with an audience, on emotions that swell below the surface. And actually there is nothing that can reveal hidden passions better than the theater.
Most often I turn to prose for guidance. Day in and day out I find myself thinking about writers who nearly one hundred years ago described prophetically but also restrainedly the decline of the European gods, the twilight that plunged our civilization into a darkness that has yet to be illumined. I am thinking of Franz Kafka, Thomas Mann and Marcel Proust. Today I would also count John Maxwell Coetzee among that group of prophets.
Their common sense of the inevitable end of the world—not of the planet but of the model of human relations—and of social order and upheaval, is poignantly current for us here and now. For us who live after the end of the world. Who live in the face of crimes and conflicts that daily flare in new places faster even than the ubiquitous media can keep up. These fires quickly grow boring and vanish from the press reports, never to return. And we feel helpless, horrified and hemmed in. We are no longer able to build towers, and the walls we stubbornly construct do not protect us from anything—on the contrary, they themselves demand protection and care that consumes a great part of our life energy. We no longer have the strength to try and glimpse what lies beyond the gate, behind the wall. And that’s exactly why theater should exist and where it should seek its strength. To peek inside where looking is forbidden.
“The legend seeks to explain what cannot be explained. Because it is grounded in truth, it must end in the inexplicable”—this is how Kafka described the transformation of the Prometheus legend. I feel strongly that the same words should describe the theater. And it is that kind of theater, one which grounded in truth and which finds its end in the inexplicable that I wish for all its workers, those on the stage and those in the audience, and I wish that with all my heart.