Natalia Zabdyr-Jamróz

An adaptation of Dorota Masłowska's latest novel premieres on the stage of the Słowacki Theatre!

It will be an urban performance about FOMO (fear of missing out) of the residents of modern metropolises. It’ll tell personal stories about the disorientation of modern people, entangled in the reality of simple and one-dimensional messages, so incompatible with the desired image of the modernist European, who is concerned with ecology, progressive, and thinks seriously about the future of the universe. It will be a story about existential loneliness in a world where relationships with other people remain the only reality, although every contact makes you bleed. A story about protagonists who crave to be heard, while simultaneously panicking that they don't really have anything to say.

‘Magic Wound’ will also be a play that delicately diagnoses the awkwardness of functioning in the form of a therapy of our collective fears – more or less acknowledged. So once again we will make it about language – though this time about the language of love.

We all know the first lines of the invocation opening ‘Pan Tadeusz’. Lithuania is Adam Mickiewicz's homeland, which the poet lost just like one would lose their health. In recalling Lithuania, the first thing that springs to the poet's mind are its beautiful farmlands. But is he at all concerned with the stories of the people who cultivated those fields? ‘Pan Tadeusz’ is clearly focused on the story of the nobility, as its title suggests; after all, it tells the story of the last nobleman's foray. The national epic seems to completely ignore the rest of the world. So who is it written for? What do we, as contemporaries, actually have in common with the story of incessantly bickering nobles; a story that ends with the contractual marriage of a fourteen-year-old girl to the titular ‘Pan’? What does this story really teach us today? And what is it actually about? Are we supposed to admire it or hate it?