MAGIC WOUND

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In “The Magic Wound,” Maslowska uses loosely related stories to repaint the fates of several characters, mostly allowing them to express themselves from a first-person perspective, their own, individual, but not entirely independent of the environment in which the heroes find themselves. As a community of these statements, the author establishes Warsaw — an archetypal megapolis, where on one street the paths of various actors of life, coming from seemingly different worlds, intersect.

They adopt masks, culturally defined poses, languages and newspeak, acting out their own drama as part of a political co-presence. Its protagonists seek solutions to the unspoken and often unconscious ethical dilemmas that create the labyrinth of post-modern capitalist reality. A reality that failed to live up to its promise of ultimate fulfillment, offering only pain and disappointment in return.

The focus on individual dramas, a lively and uncompromising language, a precise diagnosis of the theatricalization of social roles and narration, conducted from a first-person perspective — all this makes “Magic Wound” a text particularly interesting from the perspective of theatrical art. After all, the power of the latter is based on empathy, which is an emergent quality that arises exclusively at the level of encounter. Masłowska's vivid and convincing linguistic creations are an excellent pretext for it, and their different perspectives — by way of counterexample — inevitably offer a chance to cure the problems of our coexistence.

Radosław B. Maciąg, winner of the last edition of the Gdynia Dramaturgy Award for the drama “Longing for Home” proves that psychologism, skillfully complemented by social commentary, is an extremely powerful and moving path for the theatre following the present.