/ Prapremiere:2017 / Great Theatre-National Opera in Warsaw, Fryderyk Chopin University of Music in Warsaw / Eugene Onegin / Musi: Pyotr Tchaikovsky / Director:Ryszard Cieśla / Production design: Karolina Fandrejewska / Costumes: Karolina Fandrejewska / Light Design: Paulina Góral /
Krzysztof Wołek Nici (Needles) Based on the story Jak ocalał świat by Stanislaw Lem, commissioned by Narodowe Forum Muzyki and performed during the 30th Musica Polonica Nova Festival in Wrocław, Poland on April 12, 2016. Used with permission from the Stanislaw Lem Estate.
Seven Deadly Sins / Siedem Grzechów Głównych
music by Kurt Weill,
with libretto by Bertolt Brecht
Premiere: 20 and 21 of November 2015, 19:00
YOUNG STAGE / SCENA MŁODYCH,
Poland, WARSAW CHAMBER OPERA /
Polska, WARSZAWSKA OPERA KAMERALNA,
Luna + Foundation Beata Bierońska-Lach,
Anna I - Monika Łopuszyńska, Olga Rusin
Anna II - Ewelina Grzechnik
Mother - Jasin Rammal - Rykała, Alicja Złoch
Father - Aleksander Kruczek, Moti Vation
Older Brother - Hubert Zapiór, Ireneusz Wojaczek
Younger Brother - Rafal Tomkiewicz, Artem Manuilov
conductor - Grzegorz Wierus
director - Mika Rosenfeld
stage designer / costumes - Karolina Fandrejewska
choreographer - Marta Grądzka
lights designer - Paulina Góral
project coordinator - Grzegorz Hardej
The music of Kurt Weill and complex lyrics of Bertolt Brecht in Seven deadly sins create an allegory of our world where humans are dependant on a system of aggression. Our subject for Seven deadly sins is the world which lacks a mother. A woman divided in two different personalities is the motive, which is as old as prehistoric culture. Light and darkness, life and death both are two parts of the nature of women. We decided to follow these origins and find more in archetypes from previous cultures. Our inspirations take from old myths of Innana from Sumerian myths, Lilith and Salome from the Old Testament, Ariadne and Persephone from Greek Myths, or more modern Beatrice from the Divine Comedy by Dante Alighieri. We are inspired also by prehistoric archeological remains from old cultures of Malta, Crete, Cyprus, Turkey and Israel. Our idea is to build a vision of a world which will not be related to anyone time, but will have relational archetypes which are common to different cultures, and might connect present times to remains and signs from old cultures.
The history of Anna reveals the archetypal journey of a young woman who leaves home to find her place in the world. Every time Anna has the strength to get up she is forced to lie down again. Anna II in our interpretation is a woman in her 40ties. We see her sleeping in a huge bed made from white stone. She can’t get up. She falls asleep, then wakes up, trying to sleep again and again, to run away from reality. We observe a picture of her mind in the process of inner conflict between desire to die, to let everything go or to survive, in order to live again. She is in a state of depression. We are not sure any more if she is dreaming right now or whether she is awake. Next to her bed sits a black lady, Anna I who observes everything and comments, forcing the situations to happen. Anna II is like a living body with its feelings, and Anna I represents intellect, who wants to suppress everything except herself. Their relationship is in constant conflict, and we observe how it develops and changes during the story that happens on the stage. The whole story is a picture of Anna’s mind. She is thrown into the middle of the action, moving smoothly in different places and times. She is surrounded by the same men who take different roles: family, executioners, lovers, fans, narrators. All characters created by Bertolt Brecht as members of the family are male, even the mother. The main antagonist for Anna is her father. She has to find a way to escape his influence and create her independence.
Men are the driving force behind the conflict. They use Anna for their own needs and she allows them to do it, controlled by criticism and aggression. Men organise themselves in a group. They come to her bed tied up in their elegant suits and with masks on their faces. Naked male dancers are expressing the singers hidden bodies and subconscious motivations. Anna changes in scenes regarding the following sins, proving the limits of the destruction of her body. Sloth, Pride, Wrath, Gluttony, Lust, Greed, Envy are the sins she accused of commiting but contrarily they become a reflection of men’s actions. Unaware of how the world works, Anna allows men to govern her. Finally she discovers through her suffering that there is no more fear inside her, it’s the point of jealousy that she breaks free to take control of her own life. Torturers become victims enslaved by their bodies. Men own Anna in our interpretation, they force her to believe their opinions, to behave as they want and serve sexually to fulfil their needs. However even the best organised system is weak when people open up to their feelings. The whole story has a turning point when Anna and the man (younger brother who is afraid of his father) fall in love. From this moment on Anna can’t sleep anymore. A basic need to be loved and cuddled is fulfilled, and the system of aggression loses its power. The system can’t own someone who is aware of it. Anna is an outsider who sees and feels a bigger picture than the pattern of the system she lives in. She is choosing to suffer and follow her individual vision.
Seven deadly sins in our interpretation is focused on the needs of a unloved body. Women and men in our creation are living in a constant repetition of violence towards each other. Every sin is violence toward natural human expression, every conflict is born between sexes and their need for identity. Anna will develop through experience her own strength and the ability to stop the wheel of an imposed male system of aggression and say “no”, to connect with her truth and create a space to live and survive.
We want to create a dreamlike experience on the stage, an abstract world of chaotic subconsciousness. The dreams and memories of Anna will mix together with the reality in the style of Franz Kafka or Bruno Schulz stories. We want to show that every character on the stage is complex, and tragic and develops through the story to feel more, to express the pain separately from the collective thinking. We focus on creating strong emotional relationships in the family where father pretends that he is always strong and omnipotent, where mother hides her femininity to protect herself against constant rape by her husband, the older son who hates his father, the younger son who is afraid of his father, and finally the daughter, who is a servant and sexual victim in the family.
In the final scene of jealousy, when the heroine is separated from the crowd, the characters will establish contact with the audience, looking directly at the viewer. Anna's last monologue is addressed to him, the viewer, as the creator of this world. The heroine integrates with herself internally and makes her choice. The final scene is a victory of the spirit. Perhaps in the beginning the viewer will think that it's a story about madness, but later he will find himself inside it.
GWAŁT NA LUKRECJI opera w dwóch aktach Benjamina Brittena / Stara Drukarnia PAP ul. Mińska 65, Warszawa / premiera 7 luty 2013 / produkcja: Warszawskie Towarzystwo Sceniczne, Akademia Teatralna w Warszawie, Uniwersytet Muzyczny Fryderyka Chopina / reżyseria Kamila Michalak / dyrygent Lilianna Krych / scenografia Karolina Fandrejewska / soliści: Aleksandra Klimczak, Andrzej Marusiak, Jadwiga Niebelska, Piotr Halicki, Magdalena Zaborowska, Małgorzata Bartkowska, Tomasz Raff/Michał Dembiński, Marcin Wortmann, Tomasz Kumięga/
"<Zło zawsze mija, dobro zawsze powraca.>Nowocześni ludzie chcą w to wierzyć. To jest modne i optymistyczne. Białe. Ale jest tez czarne. Na codzień próbujemy nie widzieć - ale jest. W miejscach ogarniętych niepokojem, wojną, cieniem. W ludziach. Te najważniejsze, najtrudniejsze pytania łatwo strywializować. Na szczęście można je zadać i mierzyć sie z nimi poprzez teatr i muzykę. Historia niezasłużonego cierpienia i gwałtu dokonanego na czystej Lukrecji przez ogarniętego rządzą Tarquiniusa jest takim pytaniem. Dlaczego nie ma ubezpieczenia przed niezasłużonym ciosem i dlaczego cierpia na całym świecie przypadkowi ludzie z nieznanego im i nam pwodu - poruszanie takich kwestii jest już pierwszym krokiem w strone światła. Pretekstów do mierzenia sie z tak pieknym i wspaniałym utworem jakim jest operowy "Gwałt na Lukrecji" mamy wiele: nieobecność tego dzieła w całej historii scen warszawskich, przypadająca w tym roku setna rocznica kompozytora - Benjamina Brittena. Sama frapująca materia muzyczna... Najważniejszy pozostaje z treścią opery."