upcoming performances: May 29th-31st, 2019
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The spectacle (‘David Is Going to Israel’) by Jędrzej Piaskowski and Hubert Sulima is a theatrical fantasy referring to centuries of Jewish history and culture in Poland. The starting point is the celebration of the 50th anniversary of the events of March '68 and the gesture of creating a parable story in response to political events, similar to the one based on the novel by Andrzej Szczypiorski Mass for the city of Arras from 1971.
The performance begins with the reconstruction of the realities of March 1968. Anti-Semitic campaign is on. Polish parents who bring up an adopted boy decide to restore his previously hidden, Jewish identity. The thematic axis of the performance is the cultural figure of a Jew, present in Polish collective memory. The overlapping time plans create a fairytale reality of the Polish-Jewish universe, in which a typical Polish family from the period of the PRL meets, among others, with Władysław Gomułka, Kazimierz Wielki, his wife Aldona and a Jewish lover Esther, and even with the Queen of Poland, Mary of Nazareth.
FROM THE CREATORS OF THE PERFORMANCE: We want to adopt a connecting perspective that would elude the existing narratives. In our opinion, the nature of the discussion on ‘Polish-Jewish topics’ very often generates only divisions. Therefore, we deliberately undermine the clichés present in these discourses, and we also deny the common cult of memory and national suffering for both nations. We want our play to be classified as a statement on ‘Jewish subjects’, in addition, it is also supposed to touch ‘Polish themes’, including Polish patriotism, national identity or commemoration of the hundredth anniversary of independence.
premiere: September 8th, 2018 (Museum POLIN, Warsaw)
tickets: 60 zł (regular), 40 zł (reduced), 30 zł (last minute)
duration: 1 h 30 min (without interval)
Performance co-produced by Museum POLIN and TR Warszawa.
From March to September 2018 POLIN Museum of the History of Polish Jews carries out the project ‘Estranged. March ‘68 and Its Aftermath’, which reminds of the causes, course and results of the anti-semitic campaign from 50 years ago. The program is aimed at encouraging reflexion on what can pasivity bring about when it comes to discrimination, xenophobia and human rights violation. Apart from temporary exhibition ‘Estranged. March '68 and Its Aftermath’ POLIN Museum together with TR Warszawa announced a closed competition dedicated to young theatre creators for a theatrical performance inspired by the Jewish experiences from March ‘68. In July and October 2017 the forst two stages af the competition took place. The outcome was five project presented in October 2017 as workshop shows. As part of Warsaw anniversary events connected with ‘Estranged. March '68 and Its Aftermath’, in March 2018 the audience watched three final performances - ‘SECOND HAND ‘68’by Patrycja Kowańska, ‘FOUR WEEKS’ by Aleksandra Jakubczak and Krzysztof Szekalski as well as ‘JURDEN R(AUS) ARRAS’ by Jędrzej Piaskowski and Hubert Sulima. The winning project was ‘JURDEN R(AUS) ARRAS’. The premiere of the play ‘David Is Going to Israel’ is held in September 2018 in POLIN Museum of the History of Polish Jews. POLIN MuseumAfter the premiere the performance will be showing in TR Warszawa and POLIN Museum.
curators of the theatre project ‘Estranged. March '68 and Its Aftermath’
Karolina Sakowicz (POLIN Museum), Roman Pawłowski (TR Warszawa)
curatorial cooperation Paweł Kulka (TR Warszawa)
project coordinator: Iwona Oleszczuk (POLIN Museum)
producers: Katarzyna Białach, Marta Bielska, Magda Igielska, Natalia Starowieyska (TR Warszawa), Ewa Opawska, Iwona Oleszczuk (POLIN Museum)
13. Contemporary Polish Theatre Festival R@port
The jury of the Festival (Iwona Kępa, Zbigniew Majchrowski, Radosław Paczocha) gave the following reasons for their decision: '...we decided to appreciate the challenge faced by the audience and those who prepared the play; the play which presents the uncomfortable issues. This spectacles gives a say to those absent from the official historic narration who had the right to try and survive following their own (non)heroic terms. At the same time, the form of the spectacle attracted our attention as it is far from being literal and it familiarizes us with the atrocities presented step by step in a gentle manner. By revising our memories, the creators of the play undoubtedly sensitize us to nowadays threats.'