konfrontacje teatralne

konfrontacje teatralne

konfrontacje teatralne

konfrontacje teatralne

The Wedding. Witold Gombrowicz

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– The performances of the Theatre are best characterised by the absurdity of the world in which our quest for the Absolute is reflected in empty rituals or in negation of all norms. If we understand Gombrowicz in this way, we would make him a moralising author who denounces the contemporary times as full of nonsense. The attempts to create social order of human values end in a catastrophe or a political terror. Gobrowicz had been understood that way before. It seems that Marcel Kochańczyk looked at “The Wedding” through the eyes of Dostoievski and Nitzsche who preached the death of God and the collapse of all virtues.
Mirosław Haponiuk “Gazeta Wyborcza”

– Out of the main protagonists of the drama, Henryk Sobiechart – the central figure (Henryk) – is enriched with wisdom of numerous classical protagonists that the actor embodied before. Sobiechart’s art of acting flourishes with the progress of the action, and the “Shakespearean” motives let him reach the top. Even better is the Drunkard played by Cezary Karpiński. It is difficult not to be impressed by the demonic, fixed look of the person that he plays (…) Karpiński made it so truthful that we are fully justified when we are afraid of his Drunkard.
Andrzej Molik “Kurier Lubelski”