Wedding

The beginning of the performance will mark the lifting of Wyspiański's curtain.

The secret of Stanisław Wyspiański's “Wedding” is primarily the way it is influenced, because at the Wedding — as Jan Błoński once jokingly put it — the Polish audience never gets bored. The image of the nation contained in Wyspiański's drama was agreed by almost everyone: socialists, nationalists, democrats and conservatives. Yet the Wedding presents a social and class conflict, an ongoing and ever renewed, irremediable, antagonistic field of politics in many ways — underpinned by anger, rage, sense of hurt and desire for revenge.

The grand finale of the drama, aiming for long periods of time to a state of dormancy, disarming, to a mullet dance, used to be read as a bitter, shocking truth about social impotence, marasmus, anomia. Or is it the other way around? Maybe this perverse, triumphant and monumental scene of the killing of social energy triggers a sense of relief, frees from the fear of bloody violence, provides a blissful feeling of sublimity and sinlessness? Is the threat of unleashing revolutionary elements, pulsating in the drama, stifled by the illusion of community and the symbolic violence that always accompanies it? Is Wyspiański's drama haunted by the specters of the national subconscious, as we used to think, or rather by the corpses of history with a much greater scope of destruction?

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