Directed by Maja Kleczewska
Composer: Michał Gorczyca
Scenography: Katarzyna Borkowska
Music Adapted by Michał Gorczyca
Zofia Bielewicz, Aleksandra Cwen, Arleta Los-Pławszewska, Judyta Paradzińska, Ewa Wyszomirska, Adam Ciołek, Andrzej Czernik, Bartosz Dziedzic, Andrzej Jakubczyk, Leszek Malec, Grzegorz Minkiewicz, Maciej Namysło, Michał Świtała, Łukasz Schmidt, Krzysztof Wrona, Michał Czernecki, Jarosław Dziedzic
In one of the most significant films in the history of cinema, Luchino Visconti has created a story about the downfall of a great von Essenbeck family during the rise of Nazism in Germany. For Maja Kleczewska, this text has a universal value and allows to ask timeless questions on fundamental matters - humanity, power, family, and above all, on the mechanisms of revealing of evil. The events are set in the present day. In the play, the Essenbecks do not support the Nazis but a political party. Their only goal is power, money, profits and satisfaction of pragmatic needs. The director intensively tracks the reasons and motives of their actions: deep narcissism, which, disguised as a seemingly innocent call for self-fulfillment, fulfillment of ambitions, and assertiveness, seems to be especially dangerous today. She warns of the danger, when a family, community, or even the entire society, can yield to a kind of illusion, a contemporary group hypnosis. This vision of the world is even more radical and cruel than in Visconti‟s film. In this vision, one can kill, rape, mutilate, and just go away. There is a crime, but there is no punishment. The classic concepts of tragic lose their value, the strength of storytelling. In this world, it makes no sense to mention God. He is not a keystone of any meanings anymore. So what is?
“…The world where things become more important than feelings, wealth prevails over conscience and wisdom, and image becomes more important than dignity, is not bearable to everyone….
…To put the world back on the right track, the crime should meet its punishment, the wickedness its penance, the transgression its shame. In the world of the von Essenbecks, there is neither punishment nor penance nor shame, they have gone with the collapse of the old order, or rather in the process of each of the family members establishing their own laws. Values have been replaced by money and power. This is what the show by Maja Kleczewska is about. From Luchino Visconti‟s script, she has left the plot and shown a dysfunctional family, so fashionable today and far from being so exotic as it could seem. She has abandoned the description of Nazism in order to speak about modern times more clearly. Even if only to warn and make the audience think by means of exaggeration. Contrary to what might seem, in our theatre, socially engaged to a high degree, there are few shows with so strong moral message.
Elżbieta Baniewicz, "Twñrczość…”
Duration : 2 hours 47 min.
In recent seasons the Opole Theatre in Poland has undoubtedly become a place of meeting and dialogue for the young Polish theatre, a space where everything which is novel, creative, risky, crossing borders and questioning canons in theatre finds its place and justification.
It is here where performances are created by the directors who, for several years, have been setting the standard and forming the style of the Polish theatre (Maja Kleczewska, Michał Borczuch, Krzysztof Garbaczewski) – the style which, however, as represented by each of them is an individual creation, their own, autonomous theatre language.