Foot on the breakthrough time
On the "foot", directed by Anna Augustynowicz Coast Theater waited over a year since the implementation of the performance was moved from the previous season to the present. Austere visual spectacle, despite several great scenes, however, leaves a sense of large niedosytu.
Gdanska somewhat neglected at the Prime Minister of Poland Slawomir Mrozek scenes today, a rare attempt to measure the strength of words. Augustynowicz Anna undertook to transfer to the stage "foot" - the play saying about us in the face of great change. If the director has not abused the formal measures, this would be a very good performance.
The end of the war always associated with the beginning of a new life. Mrozek using a time of great transition, which was the end of World War II has made an important observation in the text about our mentality. How to accept fundamental change in our lives? Are we ready for it?
Anna Augustynowicz is this too has the most. In a characteristic way waives its auditorium to the stage in black and white images. For nearly empty observe a rotary stage drama Mrozek. All being in great anticipation. No one knows what to expect after the new reality - better to wait until the "new" itself comes to us. Therefore, the performance takes place in niespiesznym, in places where more than rozwlekłym rate.
We look forward therefore to the drama, which will appear only when the stone-missile on a rotary stage okrąży it around. Then arise the heroes and with them their personal, but universal story - Baba (successful creative Monica Chomicki) szmugluje bimber in a red trolley, by pulling together the daughter - girl (Dorota Androsz), who is pregnant, because of "who came to he took".
Kindly teacher (Grzegorz Falkowski) suffers from a lack of personality. Snujący pseudofilozoficzne monologues Superiusz aristocrat (Mrosław Baka) and his partner Ms (Dorota Kolak) flee, although they do not know why and from whom. At some time yet przemkną perverted and demobilized former soldiers - Lieutenant Zielinski (playing guest Hubert Zduniak) and Drab (Krystian Wieczorek). Only Son (another very good role Domalewskiego Peter) is the guide in the form of his father (Grzegorz Gzyl). They all stand in line for a new, closer unspecified force.
Anna Augustynowicz not forget to present the text Mrozek footsteps war. To demonstrate, inter alia, deaf sounds wystrzałów, Przyciemnianie light moments in "explosions". Theme of death, however, grows more than a simple combination of the war. Dressed in black characters bring to mind the death of the theater of Tadeusz Kantor, one of the most Kantorowski is Grajek (Piotr Chys) from pobieloną face, holding bow, which all the time like razor blades. The real master of ceremonies, conductor dead demonic world. Its director provides a soldier in physicality.
The text is by Slawomir Mrozek importantly, but it weakens the power of the director with an unnecessary, pretentious chwyty. Through the layer of sound (pohukiwania, jęki, stękania), to play wkrada be unnecessarily patetyzm.
Augustynowicz abusing the stage machinery, which revolves once in the left, once right, or around. It is not enough of the rare cooly from behind which you can see the actors preparing to enter the scene. At some point, the walls of the theater shows, calling into question the power of theatricality to the stage.
Monumental places of pathos zubaża language Mrozek denying him his proper penetrating satire undergrowth absurd. Conscious of shades used seriously, Augustynowicz skillfully assisted by the work of other absurdystów. A scene removed from the stand "Łysej singer" Ionesco, Beckett and borrowed from the paradox of waiting with the "Waiting for Godot" are among the strongest points of the presentation. Great looks and Superiusza meeting with Ms Cleopatra and teachers, where only once in the whole production function comicality Directions.
"Foot" in the interpretation of Anna Mrozek urzeka Augustynowicz plasticity ascetycznego Kantor clearly inspired by the image, while porażając excessive dosłownością forms. The classical programming will satisfy the opponents. young theater. However, it seems that the author becomes a hostage to its own implementation, in which the formal rigor dangerously approaching the normal anachronizmu.