Plays

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.

Reportedly, a severed head retains consciousness for another 6 to 7 seconds. If one could exchange a few more words with it, perhaps we could learn something important about the motivations of a decapitated head.

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.

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.

A Polish premiere of one of the most important comedies of the 21st century, which scores triumphs on stages all over the world! Its popularity further increased thanks to Roman Polański's star-studded movie titled Carnage.

‘In Poland the mystery of Hamlet is the following: what in Poland is there to think about’.

These are Wyspiański's words from his Study on Hamlet, written feverishly in several days – a work that constitutes a source of inspiration for many Polish directors. Wyspiański contained therein his fascination with the phenomenon of theatre, his love for the brilliant text, and his great desire to read it so profoundly as to shake the conscience of his compatriots.

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.

The country is in turmoil. One can no longer stand by and just watch. Psychological violence turns into physical violence. In pursuit of freedom and independence, no one accepts a compromise anymore.