Polskie sztuki na liście TOP Europejskiej Konwencji Teatru

 

Dramaty Między nami dobrze jest Doroty Masłowskiej, Nad Mariusza Bielińskiego i Nasza klasa Tadeusza Słobodzianka znalazły się wśród najlepszych europejskich sztuk wybieranych co dwa lata przez European Theatre Convention – „120 najlepszych sztuk europejskich”. Poslkie sztuki na liste „120” rekomendował Tomasz Miłkowski.

 

Zgodnie z założeniem projektu, wybrane sztuki mają odznaczać się wysokim poziomem artystycznym oraz odzwierciedlać istotne tendencje w europejskim dramacie. Celem konkursu jest promocja europejskiego dramatu i zachęcenie teatrów do wystawiania wyróżnionych tekstów.

European Theatre Convention powstała w 1988 roku. Skupia 41 ekspertów w 24 krajach. Głównym zadaniem ETC jest wspieranie wielokulturowości, wymiany intelektualnej i artystycznej w teatrze oraz promocja europejskiego dramatu na świecie. Więcej informacji o ETC na stronie: http://www.etc-cte.org/bop/

Nasza klasa Tadeusza Słobodzianka miała prapremierę w Teatrze Narodowym w Londynie (The National Theatre), gdzie reżyserował ją Bijan Sheibani. Polska prapremiera w perfekcyjnej reżyserii Ondreja Spišaka odbyła się w Teatrze na Woli w Warszawie.

Między nami dobrze jest wystawił z powodzeniem Grzegorz Jarzyna w TR Warszawa (zachwycająca Danuta Szaflarska w roli osowiałej Staruszki) – prapremiera odbyła się Berlinie, a sztuka objeżdża Europę.

Nad w reżyserii Waldemara Zawodzińskiego wystawił w ubiegłym sezonie Teatr im. Stefana Jaracza w Łodzi.

Nasza Klasa

Our Class

Tadeusz SŁOBODZIANEK

The characters of „Our Class” — Poles and Jews born around 1918, classmates — reflect the events of the 20th Century in their lives. In their adulthood they became witnesses to, and participants in, traumatic events that entangled their fates: the dawning of pre-war communism, the outbreak of World War II, extermination of Jews, the new Stalinist order and the smear campaign against people of Jewish descent in the 1960s. As governments and power systems change, those of the characters who were persecuted become persecutors, those who were torturers are now tortured. Ultimately, all of them — in the words of Art Spiegelman — „bleed with history”. The play consists of twenty ‚lessons’ and is structured around school situations, such as reciting poems, grammar tests, singing simple songs. These simple activities create a dissonance with events in which the characters have taken part. They also provide an ironic commentary. The characters function on two levels: as school-children, pupils who are being tested on certain subjects; and as adults who are gradually ageing in the course of the play. Tadeusz Kantor’s „Dead Class” quite obviously comes to mind, but that does not deprive the play of its artistic originality.

Available translations: English (by Ryan Craig)

Awards: One of the five plays shortlisted in the R@port New Play Competition.

Male characters: 7

Female characters: 3

 

Między nami dobrze Jest

No Matter How Hard We Tried

There is no action in the traditional sense. Instead, we have incoherent conversations. We hear the grandmother’s elegantly formulated reminiscences of the day the war broke out; Helena babbling about all the things she can’t afford; and the pop-culture slogans of the Girl, who finds the past unreal, and who rejects attachment to tradition. „We aren’t Poles,” says the Girl, „Just ordinary people.”

Three women, the heroines of the play don’t even try to understand each other — they each use a different language: Grandmother speaks like someone from the nineteenth century and only talks about the war; Mother speaks like a reader of women’s magazines; Daughter speaks like a member of metal band. This is a tragicomic analysis of Polish society and its relations with its neighbours, especially the Germans. We can hear an echo of the war (Warsaw Resistance), we can see the ironic portrayal of artists, and a satirical picture of Polish Catholicism.

 

Available translations: German, Swedish

Male characters: 2

Female characters: 7

 

NAD

Above

Mariusz BIELIŃSKI

 

The starting point of this play is the life story of Jacob, sentenced to prison fifteen years before for a crime of passion – the cruel murder of a neighbour. Despite the annulment of the sentence, the hero can’t start his new life and keeps coming obsessively back to the past. The playwright is interested in the psychological consequences of the sentence and the social rejection that is prolonged even when he becomes acquitted. Maybe the most important problem in this play is connected with the difficult question of guilty and innocence. The unique aspect of this story consists in that it was his father who accused him of that fatal crime, and now he must pay the price of that tragic fault. His son kills him.

An additional value to the play comes in the form of a mystic perspective from one of the prisoners — the old man is a mysterious person (maybe he is a God or an angel?) who observes and comments on the events.

 

Available translations: German

Awards: Winner of The Best Play Prize in a competition in Gdynia 2009;

Male characters: 5

Female characters: 2

 

Reading Committee

Tomasz Miłkowski, Critic and President of the Polish section of IATC/AICT

 

 

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