Plays

1989 is a production directed by Katarzyna Szyngiera featuring formal references to 'Hamilton'. Lin-Manuel Miranda's revolutionary musical introduced rap to Broadway, proposing a novel language of storytelling attractive to both younger and older audiences. The person behind the sound of our musical is one of the best Polish rap producers – Andrzej Mikosz "Webber", known e.g. for his long-term collaboration with "Łona".

1989 is a production directed by Katarzyna Szyngiera featuring formal references to 'Hamilton'. Lin-Manuel Miranda's revolutionary musical introduced rap to Broadway, proposing a novel language of storytelling attractive to both younger and older audiences. The person behind the sound of our musical is one of the best Polish rap producers – Andrzej Mikosz "Webber", known e.g. for his long-term collaboration with "Łona".

A Christmas Carol bears as much relevance today as it did in Dickens' time. A world devoid of compassion and solidarity, in which an indifferent rich man determines the lives of entire families, did not end when humanity entered the post-modern era. Nevertheless, the authors of the play do not want to dwell on this grim diagnosis. Their aim is to look with compassion and understanding at the character of Ebeneezer Scrooge.

The stage setting of this Victorian story of a miser haunted by ghosts serves merely as a pretext to talk about the misery of a man who does not love himself. Because Scrooge, much like the mythical Narcissus, only sees the surface, and is incapable of introspection, and thus of love. In this sense, the central character of A Christmas Carol is more of a victim of the circumstances in which he happens to live than a villain. His transformation is not only a shift from egoism to empathy, but also breaking free of the stereotypical perception of one' s role in the world.

Produced in collaboration with the National Bank of Poland.

A father, a ruler, a husband, a commander. This mythical archetype constitutes a starting point for García in his confrontation with the audience. The title itself makes the protagonist of his text more than just a father, shopping for his family. He resembles Michael Douglas in Falling Down, who lets go of all his inhibitions. He cannot stand the lies, the shallowness and the pettiness of the surrounding reality. He treats all his social and family connections to a brutal therapy.

[...] one cannot be satisfied with the role of an unwitting performer of existential activities. And inself-defence,
one must pursue the meaning of everyday life as if it were a lurking criminal.

We are going to philosophise. Though perhaps philosophising may seem like the wrong term in this case, because it is associated with the mind, and here it's about philosophising with the body, philosophising about what we experience, and how we experience it as carnal beings. As beings in female bodies. Philosophising is mostly associated with the "heights" of the human (meaning: male) intellect, and to many it seems the opposite of a daily routine filled with trivial activities. We, on the other hand, wish to philosophise about the ordinary, the banal, the trivial, about the cleaning up, the busyness, the puttering around and tending to everything. About the daily labour that is the essence of our existence. This is where we’ll be searching for the meaning and properties of our human-female existence. In the existential reality that takes the form of a washcloth, a cherry fruit or a piece of meat.

A premiere on the 120th anniversary of the first performance of ‘Forefathers' Eve’ as staged by Stanisław Wyspiański.

‘Forefathers' Eve’ Anno Domini 2021 is a play about Poland. After 120 years, the Romantic drama returns to the Słowacki Theatre. Remembering the productions directed by Wyspiański, Dejmek, Swinarski, Grzegorzewski, we know that this arch-Polish drama is about our subconscious retrotopia, about the ‘undead’ past and its ‘undead’ demons.

A community of a bloody ritual and the conformist salon are the two faces of Poland, encountered by Wyspiański along with the spectres at the same wedding.

An improvised performance by the Impro Krk Group, based on spontaneity and creating a script in front of the audience.

The Impro Krk Group is a Krakow-based group of improvisers formed in June 2016. It consists mostly of professional actors, graduates of the Krakow's  Academy of Theatre Arts. They base their work on the method developed by Keith Johnstone, one of the pioneers of improvised theatre in the world. Their mentor is Steen Haakon Hansen, Johnstone's long-time friend and collaborator, who has often given workshops at the Łaźnia Nowa Theatre and recently also at Krakow's  Academy of Theatre Arts.

It’s not, however, a story about dying, but about living. About buffoonery, egoism, jealousy, cruelty and pride. As well as about dreams, art and love. Our production is not a glorification of the Fourth Bard.

One of the most controversial figures in Polish politics in recent decades, people's tribune, founder of 'Samoobrona' [Self-Defence] party. His turbulent political activity – from organiser of farmers' blockades and strikes, to the position of deputy prime minister and deputy speaker of the Sejm, through to his mysterious suicide in 2011 – prompts us to take a closer look at his personal story, but also at the situation of the entire social sector he represented, heavily affected by the transformation of the 1990s.

Who is Madame Bovary today? Does she even exist?

She does.

She's a wife, a mother, a woman, a person of high creative potential, a person fulfilling the needs of other people and of society, often believing that they are her own needs.