This time the voice of the CHORUS is directed against market oriented reality. It is the body/voice of society stuck between the terrors of unemployment and requirement of over-strenuous work. The chorus of performers comes on stage in order to present an ecstatic requiem for a system in which freedom is transformed into the technology of power. The libretto draws on Władysław Broniewski’s poems, excerpts of speeches, letters and children rhymes, confronted by the CHORUS with philosophical discourse, advertising slogans, songs of socialism realism and heavy metal. “I am the burnt sacrifice of every system,” Broniewski wrote about himself, revealing the dramatic tension between the devastating pressure of ideology and the faith in the power of poetic word, which was to revolutionize the world and rescue subjectivity. As Marta Górnicka says: “REQUIEMASZYNA is an essay about the relationship between language and power. The point of departure for this work was the rhythmic-robotic language of Broniewski’s poems and his shocking poetic life, which got mixed in my head with Benetton’s advertising campaign “Unemployee of the year”, the Imperial March from Star Wars, the sound of poet’s larynx eaten through by cancer. I was intent on exposing the totalitarianism of modern strategies of supervision and discipline; the mechanisms which transform the inhabitants of a neoliberal paradise into an army of workers/robots.”
MARTA GÓRNICKA is one of the most interesting artists of the young generation in the Polish theatre. Since 2009 she has been cooperating with Zbigniew Raszewski Theatre Institute in Warsaw, directing Chór kobiet – the shows with an original form of chorus theatre. The fundament of this - as the author called it - “modern tragic chorus” is a critical reflection on the human being restricted by cultural, social or religious norms. The premiere of the first project TU MÓWI CHÓR took place in 2010. A year later Magnifikat was created. Requiemaszyna is another, third, part of the series. In the acts of the chorus members, language, the most effective tool of ideological oppression, is presented and transgressed by means of voice, body and musical character.
concept, libretto, direction: MARTA GÓRNICKA
choreography: ANNA GODOWSKA
dramaturgy: AGATA ADAMIECKA
scenography: ROBERT RUMAS
costume design: AREK ŚLESIŃSKI
libretto based on: WŁADYSŁAW BRONIEWSKI
performed by: ANTONI BEKSIAK, JUSTYNA CHABEREK, MACIEJ DUŻYŃSKI, MICHAŁ GŁOWACKI, BARTOSZ GRĘDYSA, MATEUSZ GUDELIS, ANNA JAGŁOWSKA, BORYS JAŹNICKI, EWA KONSTANCIAK, ADAM KONOWALSKI, WIESŁAW KOWALSKI, ZBIGNIEW KOWALSKI, GRZEGORZ KURASZKIEWICZ, PIOTR ANTONI KURJATA, JANUSZ LEŚNIEWSKI, MACIEJ ŁAGODZIŃSKI, KAMILA MICHALSKA, GRZEGORZ MILCZARCZYK, JAKUB MRÓZ, KAMIL PECKA, MAGDA ROMA PRZYBYLSKA, ANNA RĄCZKOWSKA, DOMINIKA STEFAŃSKA, DAWID WAWRYKA, ANNA WODZYŃSKA, ŁUKASZ WÓJCICKI, MARCIN ZARZECZNY
with thank to: Maria Broniewska-Pijanowska and Ewa Zawistowska for granted permission for poet's texts use
production: Instytut Teatralny im. Zbigniewa Raszewskiego
coproduction: La Filature – Scène nationale, The Théâtre National de Strasbourg, Le Maillon – Théâtre de Strasbourg, Ringlokschuppen – Mülheim an der Ruhr
The producers express their thanks to Maria Pijanowska-Broniewska and Ewa Zawistowska for the permission to use Władysław Broniewski's texts in the show.