Direction: Krzysztof WARLIKOWSKI
Adaptation: Krzysztof WARLIKOWSKI, Piotr GRUSZCZYŃSKI, Jacek PONIEDZIAŁEK
Set design and costumes: Małgorzata SZCZĘŚNIAK
Music: Paweł MYKIETYN, Renate JETT, Piotr MAŚLANKA, Paweł STANKIEWICZ
Lighting design: Felice ROSS
Dramaturgy: Piotr GRUSZCZYŃSKI
Songs / lyrics and vocal: Renate JETT
Cast: Andrzej CHYRA, Magdalena CIELECKA, Ewa DAŁKOWSKA, Bartosz GELNER, Małgorzata HAJEWSKA-KRZYSZTOFIK, Wojciech KALARUS, Marek KALITA, Zygmunt MALANOWICZ, Maja OSTASZEWSKA, Jacek PONIEDZIAŁEK, Anna RADWAN-GANCARCZYK, Maciej STUHR, Tomasz TYNDYK, Agnieszka ŻULEWSKA
Musicians: Paweł BOMERT, Piotr MAŚLANKA, Paweł STANKIEWICZ, Fabian WŁODAREK
Video: Paweł ŁOZIŃSKI, Kacper LISOWSKI, Rafał LISTOPAD
Assistant director / video projections: Katarzyna ŁUSZCZYK
Technical director: Paweł KAMIONKA
Set construction: Marcin CHLANDA
Stage manager and camera: Łukasz JÓŹKÓW
Sound: Mirosław BURKOT
Light: Dariusz ADAMSKI
Make up and hair: Monika KALETA
Accessories: Tomasz LASKOWSKI
Stage: Kacper MASZKIEWICZ, Maciej ŻURCZAK
Costumes: Elżbieta FORNALSKA, Ewa SOKOŁOWSKA
Assistant of the actors: Adam KASJANIUK
Subtitles: Zofia SZYMANOWSKA
Premiere May 16th, 2009
Financed by the Ministry of Culture and National Heritage of the Republic of Poland
(A)POLLONIA – Krzysztof Warlikowski’s project is based on classical and contemporary texts, primarily excerpts from Euripides’ Alcestis, the Oresteia by Aeschylus, and Hanna Krall’s Apolonia. The erudite script also includes fragments of Jonathan Littell’s Les Bienveillantes, J. M.
Coetzee’s Elizabeth Costello, Marek Edelman’s memoirs Love in the Ghetto and Rabidranath Tagore’s drama The Post Office. By bringing together these texts, Warlikowski seeks to shed light on the ambiguous and sombre history of sacrifice, and self-sacrifice – giving up one’s life
for another – in particular. Stories of mythological characters ruled by Fate are complemented and reflected in twentieth-century experience, with its helplessness in the face of the Holocaust. In the act of sacrifice the executioner becomes no less important than the victim. “I have decided to make this a journey across the 20th and 21st centuries‚ from the beginning of World War II until present times, guided by the heroes and heroines of Greek tragedies. (…) The notion of sacrifice is extremely complex – a voluntary sacrifice can be made in the name of love, duty, or simply a wish to commit suicide when in a state of unfathomable despair. (…) However, we will never be able to learn about the deep reasons for such sacrifices, particularly that in the antique reality gods were just as absent as they are today, despite the fact that they were more often referred to or called upon so as to justify human deeds. They are nothing but alibis, and that is not enough to understand,” said Warlikowski.
“ In (A)pollonia, Warlikowski brings together several motifs which have preoccupied him for years. In Dybuk, also based on Hanna Krall’s text, he had confronted the memory of the Holocaust. The motif of the quiet nurturer turning into a mother-monster has repeatedly
surfaced in his work ever since his production of Hamlet and the Bacchantes. But his latest work surprises, despite those familiar elements. His most eclectic, most fragmented work thus far, pieced together out of texts ancient and modern, the production provides a coherent testimony to the failure of rationality and language in the faceat times satirical work about the ambiguity of all definitions: of crime, of justice and of guilt.
—Joanna Derkaczew, Gazeta Wyborcza
KRZYSZTOF WARLIKOWSKI (1962) – Born in Szczecin, Poland. After graduating in history, philosophy and Romance languages in Krakow, as well as history and theatre studies at the Sorbonne in Paris, he finished the Faculty of Theatre Directing at the State Drama School (PWST)
in Krakow. While at the school, he assisted with plays by renowned directors such as Jean-Pierre Garnier, Krystian Lupa and Peter Brook. After completing his studies, Krzysztof Warlikowski worked as a director in various theatres both in Poland and abroad (Hamburg, Tel
Aviv, Milan, Amsterdam, Hanover, Stuttgart and Paris among others.). In collaboration with set designer Małgorzata Szczesniak, Warlikowski creates outstanding theatrical images. Shakespeare has an important place in his work, with another area of interest being ancient theatre, including revolutionary interpretations of Greek tragedies (such as Sophocles’ Electra!). Another field of interest is productions of plays by contemporary authors, such as Bernard-Marie Koltès and Sarah Kane – the success and enthusiastic critical reception of his production of Kane’s play Cleansed at the Avignon Festival in 2002 and the Festival of the Americas in Montreal won him recognition and a place on the international scene. His productions are regularly invited to esteemed international festivals like the one in Avignon. He has also regularly directed operas on Europe’s most prestigious stages (including Paris, Madrid, Munich etc.). In October 2008 Warlikowski, together with a group of colleagues, opened his own theatre, Nowy Teatr. He has won a number of awards, including the prestigious Meyerchold Prize in
Moscow, an Obie Award in America for his production of Enoch Levin’s Krum, which he showed at the festival in New York, the Golden Mask for the best foreign production at the festival in St. Petersburg, while in Thessaloniki he received the New Theatrical Realities award from the Union of European Theatres as part of the European Theatre Awards. In 2013 he was decorated with the French title of Chevalier de l’Ordre des Arts et des Lettres.
NOWY TEATR, Warsaw – Nowy Teatr was founded in Warsaw in 2008, with Krzysztof Warlikowski as its artistic leader, and a group of his long term colleagues. For the first four and a half years it had no permanent seat, operating according to the formula of an interdisciplinary cultural centre. It has produced so far four of Krzysztof Warlikowski’s performances ((A)pollonia, End, African Tales by Shakespeare and Kabaret Warszawski), coproduced Warlikowski’s
Streetcar together with Théâtre de l’Odéon in Paris, as well as smaller theatre productions, and organised a number of lectures, concerts, and exhibitions. August 2015 will see the premiere of a new show, inspired by the novel In Search of Lost Time by Marcel Proust. Since 2012 Nowy
Teatr has occupied the building formerly used as the headquarter of the Municipal Waste Disposal Enterprise in Warsaw. The construction of the stage began at the end of 2014, the first undertaking on such a scale in Warsaw for many years. The 1927 workshop, recently added to
the register of historical monuments, will contain a mobile auditorium with 450 seats, a stage and theatre facilities. The reopening of the stage is scheduled for autumn 2015. One of the goals of Nowy Teatr is to interact with the lives of Warsaw citizens in order to change their view
of the city. Nowy Teatr is not about giving performances but creating dialogues and initiating conversations about even the most uneasy subjects. It is a place in which to broaden the artistic battlefield.