After the wonderful Grandfathers and the Wedding, director Maja Kleczewska closes the national triptych with the Liberation of Stanisław Wyspiański. Once again, precisely on the 123th anniversary of the premiere, we return to the struggle with Polish myth, with Poland and what is terrible, painful and — sometimes — marked by an optimistic notion of hatred. Because we hate each other. And it doesn't have to be our worst bad at all.
So Konrad will again enter the big, empty stage to tear down the old, ossified theater, to watch contemporary Poland and contemporary Poles, to argue with masks, to fight Genius, to repel Erina and to... liberate. From what? With whom? What?
Cast:
Tomasz Augustynowicz — Karmazyn/Choir/Erynia Mateusz Bieryt — Konrad/Konrad VII/Mask VIII/ Konrad XIX/Choir Sara Bieryt (guest) - Choir Lidia Bogaczówna — President/Mask XIV/Speaker/Actress/Choir/Erynia Krzysztof Głuchowski - Director Dorota Godzic — Konrad IX/Mask X/Choir/Erynia Mateusz Janicki/Paweł Smagała (dub) — Solitnik/Konrad VI/Genius/Choir/Erynia Agnieszka Judycka-Cappuccino — Mask XVI/Konrad XVII/Choir/Erynia Marcin Kalisz — Primate/Mask XV/Choir/Erynia Karolina Kamińska — Konrad XV/Choir/Erynia Karolina Kazoń — Muse/Konrad VIII/Conrad XVIII/Choir/Erynia Martyna Krzysztofik — Konrad II/Konrad XIII/Konrad XI/ Mask XIX/Choir/Erynia Tomasz Międzik — Old Actor Wojciech Skibiński — Preacher/ Mask VI/Choir/Erynia Natalia Strzelecka — Mask IX/Konrad XI/Choir/Erynia Anna Syrbu — Hestia/Konrad X/Choir/Erynia Rafał Szumera — Forefather/Konrad III/Mask VII/Mask XVIII/Actor/Choir/Erynia Marta Waldera — Mask III/Choir/Erynia Tomasz Wysocki — Director/Hołysz/Mask XI/Mask XVII/Choir/Erynia Katarzyna Zawiślak-Dolny — Mask II/ Conrad XII/ Choir/Erynia
The license for the use of text development, choreography, illustrative music and musical illustration was granted by the Association of Authors ZAiKS
Teatr im. Juliusza Słowackiego – Duża Scena
Liberation
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After the wonderful Grandfathers and the Wedding, director Maja Kleczewska closes the national triptych with the Liberation of Stanisław Wyspiański. Once again, precisely on the 123th anniversary of the premiere, we return to the struggle with Polish myth, with Poland and what is terrible, painful and — sometimes — marked by an optimistic notion of hatred. Because we hate each other. And it doesn't have to be our worst bad at all.
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