World about polish theatre

22 Piny2 Obserwujący

-I think that Polish theatre deeply analyses reality. Your artists want to get right to the essence of things. This is certainly the case with Krystian Lupa. We have no one like him in France. Long, laboratory-like work on every performance allows him to look at a problem from all sides. He is bold, honest, mystical, even idealistic. I like the fact that his performances are not too intellectual. Camille Protar, director, France / Teatralny.pl Photograph by Natalia Kabanow, The Woodcutters

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Polish theatre is more politically involved. Politics resonates even in poetic drama, although it is not stated directly. In the US, the audience comes to the play in order to get away from reality. In Poland, by contrast, they want to learn something about the world that surrounds them. Monica Payne, director, USA quoted in Marcin Wasyluk, "Polish Theatre and Foreign Eye" /teatralny.pl

'The most important thing that Polish theatre has to offer are its actors' – Deepan Sivaraman, director and stage designer, the Divine Comedy Festival jury member, India Photo from>http://mytheatrecafe.com/news_n_events/aftcs-workshop-on-scenic-design-with-deepan-sivaraman/

-I'm not an expert in Polish theatre but on the basis of what I've seen during Divine Comedy, I see an intense energy in it. For swiss spectator this energy would possibly appear to be to gruff but this is something that is missing in swiss theatre - says Delphine Lyner, director of the festival #ZürcherTheaterSpektakel, Switzerland

IRISH CRITIC ABOUT POLISH THEATRE -You are distinguished by your wonderful ensembles, large and thoroughly invested in their theatrical work. It is hard to meet their like elsewhere. And on the artistic level, Polish theatre asks many important questions and is never satisfied with easy answers. It is not interested in feeling safe. It is far from being commercially oriented/Peter Crawley, theatre critic and jury member, Ireland

-To me, Polish theatre is very visual. Polish directors often refer to the two greatest Polish directors of experimental theatre – Tadeusz Kantor and Jerzy Grotowski. And even though Polish theatre is still text-based, they try to escape these limitations and move towards physicality and visual effects Deepan Sivaraman, director and stage designer, the Divine Comedy Festival jury member, India. Quoted in "Polish Theatre and Foreign Eye" /teatralny.pl photo from thehindu.com

-Polish actors are very emotional and have good professional skills. I think that they model their technique on German theatre but their blood is a bit hotter. The Hungarians are even more temperamental but Polish actors are better at balancing these two opposed things. I am sure that you benefit from your large network of state-funded theatres. They create a wonderful platform for creative exchange. Yana Ross, director, Lithuania during 2014 Divine Comedy International Festival

- I find it very curious that all over the world experimental theatre is placed on the margins of the mainstream theatrical life. In Poland, it lies at its very core. It is the popular commercial theatre that you disregard. Deepan Sivaraman, director, stage designer, the Divine Comedy Festival jury member, India Quoted in Polish Theatre and Foreign Eye / Teatralny.pl

-Polish artists are more eager to experiment than their French colleagues. They are constantly looking for new forms. I think that this stems from their ambivalent approach to tradition. Still, they are deeply influenced by it. The resulting clash is very interesting. Camille Protar, director, France (photo) Quoted in Polish Theatre and Foreign Eye / Teatralny.pl Photograph by the courtesy of ©Maciej Zakrzewski/Acting Techniques Intensive Seminar (thank you!)

-Being unique is not always a good thing. Sometimes it can have a negative impact. It makes theatre hermetic. And what I miss here is a discussion on current social issues, the every day problems of ordinary Poles. Like people in so many other places in the world, you face a huge problem of poverty touching the victims of liberalism and capitalism. Tanja Miletić Oručević, director, artistic director of Mostar Youth Theatre, Bosnia

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