konfrontacje teatralne

konfrontacje teatralne

konfrontacje teatralne

konfrontacje teatralne

The Beautiful Lucinda

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In this unpretentious comedy time planes interpenetrate continuously – Hemar imposed on Bielawski’s comedy (The Intruders) a double theatre parenthesis, making use of a construction scheme of the play, as well as the circumstances of its production. Talia, a muse of comedy, in Bielawski’s play reciting peons to the glory of the king, in Hemar’s version will also refer to the king, but at the same time to the great romantic theatre, playwright Gabriela Zapolska, pre-war theatres and … contemporary playwright Slawomi Mrozek. Hemar perceives no limitations in introducing allusions and quotations, language and situation jokes, which became particularly charming as soon as you can recognise a motif, song or figure they refer to. (…) This fantastic theatre game is animated by Muses, who either get incarnated into various characters (like Terpsichore), lead the action, or prompt a phrase when necessary. A type of theatre proposed by Hemar requires a sense of humour of all the parties involved.’