{"id":160956,"date":"2016-04-02T14:29:00","date_gmt":"2016-04-02T11:29:00","guid":{"rendered":"http:\/\/devrri.freshlemon.ro\/news-and-current-affairs\/newsflash\/news-from-polska-romanian-polish-cooperation-160956.html"},"modified":"2024-02-19T14:48:50","modified_gmt":"2024-02-19T12:48:50","slug":"news-from-polska-romanian-polish-cooperation","status":"publish","type":"post","link":"https:\/\/www.rri.ro\/en\/features-and-reports\/world-of-culture\/news-from-polska-romanian-polish-cooperation-id160956.html","title":{"rendered":"News from Polska – Romanian-Polish Cooperation"},"content":{"rendered":"


\n <\/p>\n

Five of the most
\nremarkable and original Polish artists of the moment came to Bucharest in late
\nFebruary and early March to attend a micro-festival named News from Polska
\nheld by the National Centre of Dance and the Polish Institute in Bucharest.
\nVarious theatre shows, dance shows and performances included in the festival
\nreflected themes that are representative for the contemporary Polish theatre
\nand for theatre in general. All the themes approached were related to the idea
\nof personal, artistic, national and human identity.<\/p>\n

<\/p>\n


\n <\/p>\n

For instance, a monodrama called ‘And Christmas Will Come’ has been
\ninspired by the 2010 plane crash in Smolensk, which killed 96 high-ranking
\nPolish officials on board, including the country’s president Lech Kaczynski.
\nThe idea belongs to the protagonist of the show, actress Agnieszka
\nPrzepiorska.<\/a><\/p>\n


\n <\/p>\n

<\/p>\n

Agnieszka Przepiorska: There was a
\ntime in Poland, after the Smolensk catastrophe when I was like in between jobs.
\nI was sitting at home, I was reading newspapers and everywhere were these women
\nlooking at me, looking at all Poland and talking about how they suffer. They
\nwere everywhere, these overnight widows in Poland, wives of big politicians.
\nAnd I asked myself why they were allowing journalists coming into their lives
\nso much because they were opening their doors inviting them into their houses
\nand talking about what happened. Some of them did, some others didn’t and I was asking myself why some women open the
\ndoors and some don’t. And that was the beginning of my thinking about these
\nwidows. It’s not like into politics this solo performance. It’s more connected
\nto the emotions of a woman who lost her husband who was a big politician and
\nshe didn’t have her own life. I don’t know if I am right but politics is like a
\nbackground of this solo performance.<\/p>\n


\n <\/p>\n

<\/p>\n

According to Iulia Popovici, a curator of the News from Polska
\nfestival, one of the reasons for staging this event in Bucharest was to
\nintroduce the Romanian theatergoers to performances that aren’t commonplace in
\nRomania, such as the monodrama. This genre is very appreciated and very
\nrepresentative for the Polish stage. Three such monodramas were presented
\nduring the News from Polska festival: And Christmas Will Come, Diva,
\nID-ance.<\/p>\n

<\/p>\n


\n <\/p>\n

Closing the
\nfestival was a show that brought several artists together. The Dolphin Who
\nLoved me is a performance combining documentary theatre, new media and
\nphysical exercise. The project is based on John C. Lilly’s NASA-funded experiment
\nin the 1960s, whose purpose was the teach English to dolphins. The focus is on
\nthe heartrending relationship between Margaret Howe Lovatt and the dolphin
\nPeter. Directed by Magda Szpecht, the show is a real challenge for the public,
\napproaching theatre as a place that broadens imagination. <\/p>\n

<\/p>\n

Here is the stage
\ndirector herself: I took eight moments from
\nthe experimental which were the most important. And about these moments are the
\nsegments of the performance. Every scene is based on one important moment in
\nthe experiment. But it’s not exactly the story. But every single scene is an
\nimpression about what we knew, about very concrete moments in history and what
\nhappened in the laboratory. I think the main topic is communication in this
\nperformance. Not only between the performers, but also between what happened on
\nthe stage and what happened, what does the audience feel. Because I had such an
\nidea that on the stage are dolphins, and on the audience are humans. So we had
\nto make everything to give in the beginning this feeling, like, hmm, we have
\nsomething in common, so maybe we can communicate, but we are not the same
\ncreatures.<\/p>\n

<\/p>\n

These are not the first such events to bring Polish theatre and
\ndance to the fore of the Romanian audience. There is already a public for such
\nevents, looking forward to new proposals. Curator Iulia Popovici told us more
\nabout the News from Polska festival:<\/p>\n


\n <\/p>\n

So far, the Polish Institute
\nhas organized either monodrama shows or small dance festivals. For this reason
\nwe wanted to bring these two areas together and focus on an extremely important
\nreality in Poland today, namely women’s creativity. We presented shows in
\nvarious forms written and interpreted by women, focusing on various
\nperspectives on the lives of women, stepping outside the discourse of what a
\nwoman would usually tell another woman, or without being openly feministic in
\ntheir approach. The shows actually gave a voice to women artists, who are very
\ninfluential right now in Poland, shaping the public’s perception on mainstream
\ntheatre and dance. <\/p>\n

<\/p>\n


\n <\/p>\n

Romanian-Polish cooperation is very rich, also transparent in the
\nproduction Steel Mothers, a Romanian-Polish project spearheaded by Madalina
\nDan and Agata Siniarska, presented recently at the second edition of the Bazaar
\nInternational Festival of Independent Performance in the Czech Republic. <\/p>\n


\n <\/p>\n

<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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