Teatr Współczesny (Wrocław)

William Shakespeare “King Lear”

12. 11. 2009 – Thursday
8 pm
Powszechny Theatre, ul. Legionów 21

About Christian Culture Festival

Christian Culture Festival was organized for the first time in 1997 on 10th Anniversary of the Logos Theatre. In a sense, it extends the idea of Christian Culture Weeks organized in Poland in 70s and 80s of the last century, which were to become counterpoise to lay media model promoted by the State. Lodz Christian Culture Days were organized in churches all around the city, so as to accommodate the artists, spectacles, exhibitions and projections.

One of such places was the John Paul lecture theatre in the vault of the Assumption of Holy Mother Church in Kościelna Street. This is where the Logos Theatre started, before it was moved to the church in Maria Skłodowska-Curie. It was this church that Archbishop Władysław Ziółek gave to the Lodz artists in 1993, and in which the Centre of Creative Communities’ of Lodz Archdiocese was appointed. It is here that the ‘logistic’ centre of the Festival is located, and where some of the Festival events take place.

Traditionally, the Festival takes place in November, on the first Sunday after All Soul’s Day. It usually lasts for two weeks, during which various event take place – spectacle premiers, other theatres come to Lodz, there are exhibitions of invited artists, performances of choirs and musicians, very often not to be seen anywhere else in Poland at any other time. The Festival programme is the result of the whole year’s work of rev. Waldemar Sondka, the Festival Director, who – using his contacts – invites artists who are interesting, out of the ordinary, noteworthy and creating art perhaps not always religious, but always searching and at the highest level. Care for the level of the Festival offers is a permanent rule, the Logos environment has always wished to provide the Lodz citizens with the possibility of contact with art deprived of parochialism, open to the man and as perfect formally as possible.

The Festival is not an activity that brings profit. Any entrance cards are issued as invitations that are free of charge, and the team of the Logos Theatre and all the people engaged in the Festival organization, act as volunteers. This does not mean that Christian Culture Festival costs nothing. On the contrary, to organize such a cultural event at appropriate level is always connected with costs. Rev. Waldemar Sondka deals with organizing means to secure the Festival events all year round. He manages to gain sponsors (without whom the Festival would not exist) and subsidies from institutions that deal with funding culture (without which the Festival could not develop). All that in order to realize the basic idea of the event that derived from the Lodz Christian Culture Days – to enable anyone who wishes and needs that, to live the Mystery through art. This idea assumes a free of charge participation in all the artistic events, which has been the case since the very beginning of the Festival until today, the only condition is that on the day of the Festival opening, one must queue as long as it takes to get invitations. The only limit to the number of invitations is the capacity of rooms in which the events are organized every day throughout the two weeks of the Festival.



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William Shakespeare — “King Lear”

Jan Kott wrote about King Leare by Shakespeare as if it was a grand grotesque and not a tragedy. He read that drama through the texts of the theatre of the absurd, particularly Fin de partie by S. Beckett. In the story of Lear, the Jester, he saw Gloucester as a man’s fate, Everyman who comes from the medieval theatre of Theatrum Mundi. What does this story about an old man who suddenly decides to split the kingdom between his three daughters mean today? The Lithuanian director who has been leading his own theatre group for many years now, decided to demolish the linear plot ‘read’ Lear from the ending, but most of all he decided not to hide the fact that this is a story done on stage and the main characters are also the actors. Director is particularly interested in this metha-matter perspective and creating the spectacle that would be evidence of certain process, a journal of a theatre voyage, the writer proof of a fight between the memory and time.

Translation: Maciej Słomczyński
Directed by: Cezarijus Graužinis
Stage decoration: Marijus Jacovskis
Music: Martynas Bialobžeskis

Bogusław Kierc,Maria Czykwin, Anna Kieca, Katarzyna Z. Michalska, Marta Szymkiewicz, Krzysztof Boczkowski, Tomasz Cymerman, Szymon Czacki, Tomasz Orpiński, Bartosz Woźny, Krzysztof Zych.

Premiere: 5 June 2009

A fragment of a review by Grzegorz Chojnowski

“We find ourselves more in an asylum than in a palace. The weird daughters of Lear recite the text they had learnt by heart. Everyone, except for the king, sounds unnatural from the start. Gloucester (Szymoc Czacki) could take part in the puppet show where he could give voice to some squeaky character. Edgar and Edmund seem to be boys who require special care. Not something byt everything seems out of place and the viewer is of two minds about this play: is it going to be like this till the end, or will it, at some point, become any more natural, and Lear will deliver his famous speech? That Kent will not appear, the only sensible person in that Shakespearean gallery of characters, is clear from the start. There is not much space here for compassion, common sense, honesty and commitment. We are faced with a jester, who does not leave the stage for a moment (though in the original text he disappears in the third act). It is him (she, Maria Czykwin), who deals the cards, showing the king his stupidity, lust, hatred, revenge, jealousy. In Graužinis’ version, Lear has little to say, which does not oppose the original at all. Since he deprived himself of power and influence, silence remains. (…) This is a contemporary story about us having to face the royal element when we decide to step out of our role. This is always the element of life.”

Cezarijus Graužinis

Born in 1967. Graduate of Moscow Institute of Theatre Art (GITIS). In 1993 he studied Suzuki Actor’s Training in Toga, Japan. He lectures to actors and directors in Lithuanian Theatre and Music Academy in Malmö and in Helsinki. Between 1995 and 1998 he led the theatre group called Lithuanian New Generation Theatre Community. Since 2003, he manages the group he established — Cezaris Group. He directed over twenty spectacles, e.g in Lithuania, Finland, Sweden and Greece.