Magdalena Rydzewska, Jacek Telenga
April 9, 2017
70 PLN – regural
40 PLN – concessionary
30 PLN – rush
From the director:
“While working on the show, we have focused on this particular activity of the imagination, that allows us to understand how other people feel, to feel connected with them and to see their situation without judgement.
You can say that in the theater room we have organized a meeting of a certain number of people who would never have met otherwise or would – but wouldn’t notice it.
It’s difficult to say that they are theatrical characters or fictitious people. These people appear on the crossroads of the imagination of the viewers and the actors, they interact with each other, accompany each other and disappear. During the performance we can also observe the mechanism of actors taking on their roles.
We hope that during this encounter a certain sense of intimacy and joy arises and that the mechanism of unselfish perception of others can be “taken from the theater’ by the audience”.
For organized post-gymnasium school groups we offer introductory workshops to the performance (please contact the education department firstname.lastname@example.org for more details).
text and direction: Anna Karasińska
dramaturgy: Magdalena Rydzewska, Jacek Telenga
set and costume design: Paula Grocholska
choreography: Magda Ptasznik
lightning design: Szymon Kluz
director’s assistant, stage manager: Malwina Szumacher
production manager: Katarzyna Białach
fot. Magda Hueckel
“A simple performance in its’s sophisticated simplicity. Insanely witty. At times – poignant. With the abstract “Fantasia” Anna Karasińska – author of the hit “Ewelina cries”, makes her comeback to TR Warszawa.”
“Her austere shows still have what Polish theatre needs like air – unpretentiousness and a sense of humor. Additionally, “Fantasia” directly challenges audience’s imagination. While looking at the stage, they have to create a separate performance for themselves, create all that is not provided by the director, fill in the blanks in the heroes’ biographies – give them the past and the rest of their existence. They need to allow themselves to fantasize, as the title suggests.”
“Karasińska fantasizes with actresses and actors on all kinds of subjects – theatrical and non-theatrical. For example, Zofia Wichłacz is to become this girl, who sprays the timetables on your bus stop. Adam Woronowicz and Rafał Maćkowiak tell a weird story about a fishing excursion – twice. The only limitation of the theatre is the limit of our imagination – claim the producers and they are right, of course. Plasticity od a performance is based also on presenting something that one never even thought about. It’s the imagination that creates the theatrical fiction, and that’s where the creators of “Fantasia” come into play.”
“ Karasińska is following the footsteps of the creators of theatre of the absurd. The stage action is not an objective in itself but a prism that allows us to take a look at our everyday projections – at the way that we are experiencing the reality. Seemingly facetious character of the performance and our indifference towards the multitude of worlds – so fragmentary and fleeting – presented in “Fantasia” is in fact a stroll on a thin ice. That is exactly how we operate every day – zapping TV channels, scrolling Facebook posts. (…) An evening ritual of gliding across the global reality screen may be – like “Fantasia” – a kind of an attempt to return to oneself. It’s possible, that at that time, we do not watch the TV, per se, but rather observe the TV being watched, performing for ourselves the act of perception and understanding.”
“’Fantasia’ consists of a multitude of micro-stories, singled out from everyday routines. While imagining some people or animals does not seem difficult, Karasińska does not stop there and proceeds with an attempt to imagine emotions and feelings. She paints their hues and colors very subtly, creating emotional landscapes in the audiences’ minds. She describes experiences that, seemingly, cannot be described.”
“A stage idea to test the power of imagination, openness and communication skills with very limited resources is fresh, surprising and unique. Very humorous, intelligent, connotation-based. It provokes the imagination.”
The new talents line / Young TR
The performance was produced within the frame of Young TR project that is an element of the New Talents Line programme. TR Warszawa for many years now has been promoting new artistic talents through such projects as: Warsaw Area [orig.: Teren Warszawa], TR/PL, Field TR [orig.: Teren TR], Young TR [orig.: Młody TR], TR Debut [orig.: Debiut TR], artistic residencies, guest showings of diploma works and performances, repertoire showings of performances co-created by new artists and production of selected projects in cooperation with foreign partners. TR Warszawa provides artistic shelter, where artists may experiment and implement their ideas for theatre.
Within the New Talents Line in the past artistic seasons, the following directors presented their productions: Wojciech Blecharz (“Soundwork”), Klaudia Hartung-Wójciak (“The Chinese”), Grzegorz Jaremko (“Woyzeck”), Katarzyna Kalwat (“Holzwege”, “Rechnitz. Opera – The Exterminating Angel”, “Maria Klassenberg. Ecstasies”, “Staff Only” – coproduced by Biennale Warszawa and TR Warszawa), Anna Karasińska (“Ewelina’s Crying” and “Fantasia”), Katarzyna Minkowska (“Stream”), Jędrzej Piaskowski (“Puppenhaus. Treatment”, “David Is Going To Israel”), Piotr Trojan (“Grind/r”), Magda Szpecht (“The Possibility of an Island”, “Always Coming Home”), and Małgorzata Wdowik (“The Footballers and Fear”).