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Wrocław Pantomime Theatre (Wrocław)

“The Judgement (triptych)”

16. 11. 2010 – Tuesday
7 pm
OPUS Film, ul. Łąkowa 29

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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“The Judgement Day”

Jerzy Kalina / Leszek Mądzik / Paweł Passini

Jerzy Kalina — director, stage design
Zbigniew Szymczyk — choreography
muzyka: Porter Ricks, Thomas Koener, Andy Mellwing,
Brian Eno, Aphex Twin, Richard David James, Jacek Wierzchowski

Paweł Passini — director, music
Maria Porzyc — visualisation

Leszek Mądzik — director, stage design, choreography
music: Arvo Pärt

cast: Artur Borkowski, Izabela Cześniewicz, Maria Grzegorowska, Paulina Jóźwin, Agnieszka Kulińska, Mateusz Kowalski, Anna Nabiałkowska, Marek Oleksy, Radomir Piorun, Aneta Piorun, Monika Rostecka-Komorowska, Krzysztof Roszko, Katarzyna Sobiszewska,
as a guest Maciej Wyczański (neTTheatre).
Also participate Agnieszka Dziewa, Krzysztof Szczepańczyk, The Pantomime Studio students.

JERZY KALINA:
This is the second time I’m facing the subject of the Judgement Day. At the turn of the 20th and 21st century, on the metal evacuation stairs of the Warsaw residential building, I realized a performance entitled ‘The Prague winter’ devoted to Jan Palach. His heroic act of self-immolation confirmed dramatically the apocalyptic emotions that are part of our lives. Ten years later I decided to undertake this difficult subject again and this time I wish to realize it in the most personal manner possible. The state of spiritual destruction expressed in my spectacle is an individual experience. There is no division into heaven and hell, and purgatory. There is the state of depressive loneliness at times of final settlements. There is also my disagreement for the verdict of eternal condemnation. ‘The Court is coming’ expresses all my fears and weaknesses, but also faith in pardon.

PAWEŁ PASSINI:
In Memling’s painting everything takes place in silence. There is also scream — a silent one. The Judement Day from human perspective is taking place in the blink of the eye. Suddenly, in a fraction of a second, the whole life, every movement and gesture — are placed in a sequence of zeros and ones that becomes the final score. Up/Down. For a moment, everything is only good or bad. Then there is just eternal suffering and the boredom of eternity. By the year 2020 car accidents will have become the most common cause of premature death. Since car has been invented, 30 million people died in car crashes. Every thirty seconds dies another. Every day there are 15 people dying in Poland. This is how many you’ll see in the spectacle.

LESZEK MĄDZIK:
THE JUDGEMENT DAY — not necessarily final, more every day like, placing on scales what is a good and bad in life, but more often what is just a prick of conscience. Justice interferes with the peace and quiet of our behavior. Time brings us closer to the vision that is so hard to believe in when you look at one wing of Memling’s painting. The more we see it in ourselves, the less anxiety it will bring to our minds. Dream is always a rest, it would be good if this eternal dream was like this, too. It is at night, with no words but with music of Arvo Part that we participate in the mystery of climbing the ladders of life not knowing when we may fall off them on a Judgment Day.

Triptych “The Judgement” by Wrocław Pantomime Theatre

Triptych “Judgement” by Wrocław Pantomime Theatre is one of the latest repertoire propositions of the Theatre. The subject of the judgement day depicted in the painting of Hans Memling was undertaken by three Polish directors, artists of different generations, aesthetics and dealing with different theatre conventions. Because of that it was possible to confront not only various artistic qualities on stage but also show the most important directions in the Polish theatre: its performative aspect that dwells on the traditions of the theatre of the poor, multimedia stage and drama solutions and symbolic visuality so characteristic for the theatre of art.

The motif of existential ending of humankind gained a form of a metaphisical journey in this theatre collage. The directors managed to make use of the possibilities and specificity of Polish pantomime. The performance is a very artistic, well constructed narration of movement that is drawn by the skills of WTP team.

I.
Jerzy Kalina remains faithful to the aesthetics of performance. That is why he created the image of a human life from birth until the death as a loose chain of associations. Numerous quotes and pictures of culture and humankind history are interlarded here, creating specific rhythm and tension. Kalina's experience in the field of art allows him to freely operate with signs to such degree that individual stages of human life become closed within frames of a certain image. Obvious and purposely done correspondence to tradition in this discourse about condition of a man who is entangled in social and cultural schemata is a very clear voice.

II.
Choreography for this part of the triptych was prepared by Zbigniew Szymczyk who transformed the performance into movement resulting from gesture and body position. Part directed by Paweł Passini is making the judgement day individual. By getting rid of loftiness and solemnity, Passini focuses on one specific human being and physical drama. The key of Passinsi's interpretation of Memling's painting was body position and their form. The director searches for judgement in a car accident where, at first sight, there is no time for examination of conscience. Reaching out for such an event is evdence of strong sensitivity of Passini. Interlarding everything with multimedia images builds a very oroginal space on the one hand, at the same time giving this part of the triptych a touch of post-accident nightmare. Including a word in the performance not unly emphasises the actors' movement, motivates it or designs, but also creates ironic distance to everything.

III.
The body of a Wrocław mime is confronted with textures characteristic for Leszek Mądzik: roughness and patina. The director himself admitted in an interview that while working here I discovered something very important for my theatre experience — I consciously confront the purity of a human body with texture of sin, dirt and patina. Possibilities and the power of all of that with a human body that is wonderful not only in the way it looks but also in movement and dynamics — it is yet another challenge for me. Throughout my theatre experiences I first took away a word from a man and then his body. And it is for the first time here that I confront the naked human body with texture through which I have so far done everything to kill it.