konfrontacje teatralne

konfrontacje teatralne

konfrontacje teatralne

konfrontacje teatralne

I Iphigenia

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“Agamemnon, wanting to ensure that the battle of Troy is successful, decided to make sacrifice of his own daughter. He lures her into the city promising to arrange a marriage for her. When Iphigenia discovers the intrigue, she agrees to sacrifice her life for the sake of her country’s order. This highly dramatic version of a family story is only the staffage, an ironic presentation of the world order, in which God’s will reveals itself not in his “rescue” intervention, but in the power of a gossip. Why does Iphigenia arrange her own death? Maybe a lie is the best way to demonstrate the mechanism of entering into the role of a sacrifice, agreeing to compromise in order to save one’s own life.”
(Marta Olejniczak – Teatr Nowy in Lodz)

“A struggle to find out the truth about yourself. Confronting with what we hide inside. Justifying a lie by the need to save one’s own life. If we bear in mind that the truth – our image of ourselves is relative, how can we trust ourselves to make the right decisions about us or our loved ones. The place where the truth meets the lie becomes a matter of individual choice. Everyday we all have to sacrifice pieces of ourselves, making decisions concerning ourselves, the world and other people. One day of a life, a situation involving one person, a situation of isolation.”
(Tomasz Bazan – director)

“Nuclear family. Love clashes with the egoism of individuals who fight for survival. In a disintegrated society very often only sacrifice has the ability of making our life meaningful. Even though so many people believe life is in fact meaningless, we are determined to discover the sense of our existence. It does not have to be heroic. There are no heroes. In our fear of dying we remain lonely throughout our life. Iphigenia finds her way out of the dead ends. But can we call her theory faith? And if so, does having faith mean being naïve?”
(Szczepan Orłowski – playwright)