Curse

In a rural community hit by drought, a priest's romance with a young woman becomes the beginning of tragedy. Wyspiański poignant portrays in “The Curse” the mechanisms of collective violence and fear that grow into the need for sacrifice.

The play, directed by Anna Augustynowicz, will draw out current questions about fanaticism and collective mentality from Wyspiański's text. The creators will read the text of the drama focusing on its original rhythm and musicality, which carry meanings beyond words. The whole will become a story about a society dominated by fear and the need for domination, about the tension between nature and culture, the collective and the individual, the sacred and the profane.

Mark Braun's scenography will be a minimalist shorthand and metaphor for realistic space. The costumes were designed by Tomasz Armada. Jan Kamiński composes a soundtrack that goes beyond traditional illustrations — based on noise music, building an atmosphere of tension and transcendence. Wojciech Kapela is responsible for the video projections; they will perform symbolic, immersive and deforming functions of the stage space.

Listen to what the director Anna Augustynowicz and actress Julia Szczepańska (in the role of the Young One) tell us about the Toruń staging.

Priest — Arkadiusz WalesiakMother — Anna MagalskaŁoda — Julia SzczepańskaSoltys — Paweł PabisiakBell and parobek — Michał DarewskiDaughter — Maja Kalbarczyk (guest) Hermit — Paweł Kowalskichór

stage foreman — Robert Nowak,

sound director — Michał Jakubowski,

multimedia — Wojciech Sobczak,

wardrobes — Anna Krajewska, Agata Zalewska,

characterization — Joanna Kozłowska,

props — Barbara Poczwardowska

Przemysław Czapliński offers a new perspective on Wyspiański's drama, focusing on language as a force that simultaneously organizes and breaks up the order of the Galician countryside.

The show is not easy, but really well thought out. The use of tulle is not irrelevant here, because Augustynowicz's “Curse” seems to be constructed in such a way that it cannot be experienced, only to be viewed from a distance — without emotion or cheap sentimentality; so that you can watch it, wondering along the way how it happens that we transform (transform) ourselves into monsters.Tomasz Domagaj DemagalasiaCulture

Against the background of this homogenized collective, Young is particularly expressive. Julia Szczepańska gives it an expressiveness that combines boldness with tenderness. In relations with the group, Young is tough — she can stand up, she does not accept the guilt imposed on her thoughtlessly, and her look and tone clearly suggest that she sees the usurpation of the power of the crowd. Piotr Dobrowolski, Culture Time

Everyone is at odds with everyone, the community remains internally fractured — polarized, in today's language. This rupture is emphasized not only by the scenography, light and music, but also by the diction of the actors. Some speak harshly and imperiously, others retreat defensively and immediately go to counterattack. [...] Verbal aggression, underlined by intense, emotional declamation. The rhythmicity and poeticism of the phrase do not build the meaning of the expression here — it is Wyspiański's text that strengthens and enhances the actors' emotions.Eryk Maciejewski, Dwutygodnik

Photo from the session and on the poster: Marek Zimakiewicz