Another Princess of Burgundy

Scenery of the royal court. Everyone here wears masks of appearances, hiding their true faces and intentions. But one day she appears — mysterious, silent, alien, who is the only one who rejects the mask, is real. Neither her appearance nor her behavior fit into the standards of court customs. Her character disrupts the entire existing order. Iwona is a kind of mirror in which the inhabitants of the manor do not want to look at themselves at all.

As an alien piece of the puzzle, the woman arouses hostility and becomes the object of ridicule and even bet. Prince Philip decides, as it were, against everyone, to marry Ivana. An unpleasant joke, however, turns into an unexpected feeling. Iwona's authenticity intrigues him. Will the nascent love win against the pressures of the environment and overcome conventions? Can these two worlds coexist?

The satirical image of society is reflected in Harlequin's proposal in a new reading. The theatrical mask here is not only an element of scenery and costume — it performs a function that defines and defines the characters of the characters. The convention of artificiality that we adopt in our relations with others is conquered by the functional use of the theatrical mask and remains faithful to the vision of Gombrowicz himself — his concept of “mouth” and “form”, so strongly present here.

The show touches on many important topics, including tolerance, openness to others and change. It asks questions about what constitutes the essence of humanity and whether, especially in today's age, the value of man is determined by his appearance and his mismatch with established, comfortable patterns and expectations.