LIBERATION - according to Stanisław Wyspiański’s drama
Music: Zygmunt Konieczny
The author of the show: Włodzimierz Staniewski
Cast: Mariusz Gołaj,
Joanna Holcgreber, Marcin Mrowca, Anna Dąbrowska, Paweł Kieszko, Jan Żórawski,
Dorota Kołodziej, Tetiana Oreshko - Muca, Magdalena Pamuła, Aleksandra Zawłocka, Kacper Lech, Beata Szymańska
and students of the 14th Gardzienice Academy of Theater Practices
Musical inventions: Volker Biesenbender
Musicians: Tetiana Oreshko - Muca, Rafał Granat, Nikodem Sobek, Przemysław Pacek, Małgorzata Bardak, Jakub Michalak, Adam Lipiński
Light: Paweł Kieszko
Multimedia: Krzysztof Dziwny
Cooperation with costumes: Masha Kapustina
Space composition: WS
For there is no thought so unclear
that someone with a clear mind
would not be able to see through it
and understand it.
(Act II, Konrad to Mask 8th)
Waging a struggle with his own thoughts
To see them clearly as he ought.
(Act II, The Other Decoration)
With that testimony (confession), Wyspiański gives us explanation of „What this Liberation in fact is”.
“What it is”; not: “What is it about”.
It is a thicket of “blurry thoughts, forest full of mysteries and puzzles”.
Their meaning can be understood only by the Author, the Sphinx.
Reverse of his split personality – Konrad persuades that „Liberation” is an Enigma (Puzzle).
Only few can enter this labyrinth of mysteries, and unraveling them demands Oedipus’ acuity.
It is a game.
The courage to enter such game is supposed to ennoble the one who enters (the director, the philosopher, the literary scholar).
To explain Oedipus’ puzzles, to be the Sphinx – these are real tests, that Wyspiański confronts his acolytes with.
Many get carried along by this game and do approach „Liberation” with such seriousness, as if it was a mortal combat.
As if all those dramatic intricacies and charades would be covering some Danteyan depths, as if it was some cosmic essay on Poland and on a Pole, on Prometeyan Hero, History, Art, Faith, Female Issue, Revolution, Historic Justice, Death.
I am not able to find any more accurate general reflexion (neither hint) on “Liberation” than the one, given by the Wyspiańsi’s expert:
There is neither a story in Wyspiański’s writings, nor development of beautiful thoughts, no psychological explanations. Only created images mixed with rhythm, with verse that keeps galloping...
One has to look for this what remains behind the level of common dialogue, what happens behind words; which means rhythmicality, dynamics and energy that is beyond any bubbling.
Is „Liberation” a glossolalia then?
And play in theatre - it’s leitmotif?
If yes – then how awesome is that mirror, that reflects tangles of today’s world articulations.
„Liberation” is not really suitable for contemporary drama of revision of Polish thought and Polish national inclinations.
Hopelessly difficult readability of „Liberation” should not motivate intellectual hubris in promoting over-interpretation of this thicket of blurry thoughts.
Lack of hygiene should rather cause embarrassment and shame.
„Liberation” is a seducing and captivating term.
As the reference books say, this title is ironic and self-ridiculing.
„Liberation” claims to be performed ironically and ridiculously.
Text had been ruthlessly ridiculed after the premiere and in the following decades.
We did not intend to follow this trace. It is too comfortable, however it is so easy.
We intended to dig into Wyspiański’s phrases with zeal of neophyte.
There is no liberation in „Liberation”.
But may there be something more?
Maybe there was such level of tension to be achieved, that would make us experience purification; this holy sensation of pity and fear?
Perhaps, perhaps, perhaps...
PS. One may, of course, speculate whether is „Liberation” groundbreaking towards the theatre of absurd; is Konrad the Kierkegaardian tragic hero of comic play of appearance and existence.
But, that would be a tale for another time.