Terribly funny...

“Terribly funny based on Terribly sad”

The adult becomes a child again (...), the pleasure is given by the possibility of freely disposing of the course of thought, without having to respect the compulsion of logic, which would perhaps remind us of something too painful to dwell on.

Sigmund Freud

A flimsy thread connects farce with life. It is nothing more than a game and like all games it is subordinated primarily to the accepted agreement.

Henry Bergson

He and She meet in a strange place at an unusual time. She came here to “bask” in the moonlight, He - as if he had never left here. A place on the precipice, what place is that? She says that she wants to breathe in silence, and then she does not stop uttering words from herself. He doesn't want her presence, doesn't want dialogue, and then turns her words into a crazy clown. Sometimes mercilessly: “Comism, in order to produce its proper effect, requires a momentary anesthesia of the heart.” For quite some time, it's just terribly funny — there's a strange farce going on between Him and Her. As the night progresses, however, the comedy begins to unravel, revealing its true reasons, the despair of mastering something that all other modes of domination have failed over.

“We have built a whole new world around Fred Apke's performance. His play served us to ironically approach two people grappling with the drama of loss. We ask questions about the possibility of returning ties, closeness, tenderness. Through the comedy aspect, we're talking about a very difficult, maybe the most difficult, moment in their lives.”

Eva Kaim

“A story from the past confronts us with a tragedy: too many young people don't love this world enough to stay in it.”

Marta Konarzewska

“Terribly funny” in Ewa Kaim's performance is what results from the meeting of two very different people in surprising circumstances — at night, on the precipice. “Terribly sad” is what brought these people to the meeting place and the fact that it is not accidental. It takes place under the convention adopted by these two, which allows them a moment of understanding and closeness, which they had given up many years before, deciding to separate. [...] The redundancy of Segda's creation, built by the rapid passage of text and violent movements, contrasts with the means characteristic of Kaleta's acting. Minimizing verbal expression, the actor communicates to the audience his states and reactions to the actions of a woman through small body movements, gestures, expressions, interjected half-words.

Zuzanna Berendt, teatralny.pl

The show is dedicated to viewers from the age of 16.

Prizes and trips:

2024 — Poland at IMCE 12 Unusual Theatre Festival, Scena Kocjana, Warsaw

2023 — Festival of the European Theatre Union no. 20 The Hungarian Theatre of Cluj, Romania