Education online
Online classes for the Academy for Theater Practices during the pandemic
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przedsiewzięcia
BECKETT’S ‘ELEUTHERIA’
the director’s analytical “biting through”, with the actors’ participation, the enigmatic and unclear texts of the dramas, in line with Wyspianski’s message from “Liberation”:
“For there is no obscure thought which a man, thinking clearly and distinctly,
has not penetrated and understood” (Act II. Konrad to Mask 8)
“Eleutheria” (Freedom) was written in 1947. It is a play in three long acts
with seventeen characters. It was submitted by Beckett to the Paris theatres and was brutally rejected by the well-known directors of the time. Beckett found it deeply affecting.
Following the success of “Waiting for Godot”, he already banned the publication and staging of “Eleutheria”.
The publication ban was later unblocked, but the staging ban was never unblocked. There were some three to four attempts at underground staging, including in Tehran.
The first staging of the project (the result of the first stage of Staniewski’s work with students) took place during the ‘Between.Between’ Festival.
The film featured:
Włodzimierz Staniewski
oraz Studenci XIV Akademii Praktyk Teatralnych “Gardzienice”:
Anna Bielecka
Katarzyna Dudziak
Jakub Kalinowski
Marta Łaska
Maria Matosek
Marta Olech
Rima Sadurska
Anna Maria Słowikowska
Mateusz Suchan
Krystyna Szymura
Zofia Wojtkowska
Anna Złomańczuk
Dobromiła Życzyńska
Adam Chabiera
Sabina Krauze
Przemysław Mrowiński
Eryk Pawłowski
Maria Pilch
Monika Szydłowiecka
Milena Ślósarz
Rita (Margarita) Udovichenko
Patryk Zabielski
Marta Zamora
Listen to (in Polish):
Włodzimierz Staniewski’s story was recalled by Radio Lublin in the programme: “Not just an entertaining radio Sunday”. In the radio programme by Grażyna Lutosławska, we will hear answers to questions such as: Why did Staniewski reach for this text? What do Wyspiański and Beckett have in common? And what was it like rehearsing online and working on the play during the pandemic?
part 1 – Introduction to Cheironomia – Włodzimierz Staniewski
part 2 – Cheironomia, a short introduction by Joanna Holcgreber
part 3 – Cheironomia „Transformation of misery”, gestures without text – Joanna Holcgreber
part 4 – Cheironomia „Transformation of misery”, alphabet of gestures (in Polish) – Joanna Holcgreber
part 5 – Cheironomia „Transformation of misery”, composition of gestures (in Polish) – Joanna Holcgreber
part 6 – Cheironomia „Transformation of misery”, scenes from the performance
part 7 – Cheironomia: Classes with the participants of the “Kaleidoscope”
part 8 – Cheironomia: “Met` emoi” – Alphabet of gestures (in Polish) – Joanna Holcgreber
part 9 – Cheironomia: “Met` emoi” – composition of gestures for Polish text – Joanna Holcgreber
art 10 – Cheironomia: “Met` emoi” – composition of gestures for Polish text in music arrangement – Joanna Holcgreber, Tetiana Oreshko
part 11 – Cheironomia: “Met` emoi” – Alphabet of gestures (in English) – Joanna Holcgreber
part 12 – Cheironomia: “Met` emoi” – composition of gestures for English text – Joanna Holcgreber
part 13 – Cheironomia: “Met` emoi” – composition of gestures for English text with a song, reconstruction of Ancient Greek music – Joanna Holcgreber, Tetiana Oreshko
part 14 – Cheironomia: “Met` emoi” – Alphabet of gestures (in Ancient Greek) – Joanna Holcgreber
part 15 – Cheironomia: “Met` emoi” – composition of gestures for Acient Greek text – Joanna Holcgrebe
part 16 – Cheironomia: “Met` emoi” – composition of gestures for Acient Greek text with a song, reconstruction of Ancient Greek music – Joanna Holcgreber, Tetiana Oreshko
part 17 – Cheironomia: “Met` emoi” – the scene from “Pythian Oratorio” performance





