Premiere of William Shakespeare’s ‘Timon of Athens’ translated by Antoni Libera

William Shakespeare’s ‘Timon of Athens’ translated by Antoni Libera (premiere performances)
Author of the performance: Staniewski, music: Mikołaj Blajda, set design: Marek Chowaniec, costumes: Aleksandra Reda and Weronika Karwowska
The performance is played by an international cast, with subtitles in Polish and English
Jarosław Gajewski in the title role

Thursday, 16 October, 8:30 p.m. / Stage in the Granary
Friday, 17 October, 5:30 p.m.  / Stage in the Granary
Friday, 17 October, 8:30 p.m. / Stage in the Granary


A FEW WORDS FROM THE TRANSLATOR

The drama was probably written between 1605 and 1606 and completed in 1607. It was first published in Folio in 1623, after the author’s death. It was first staged in an adaptation by Thomas Shadwell in 1674, and in the original authored version only in 1761.
(…)
Timon – a semi-legendary figure from the 5th century BC, mentioned in passing by Plutarch in his ‘Lives of the Noble Greeks and Romans’ – specifically in the sixth chapter, where he compares Alcibiades with Coriolanus. He states there that Timon was a citizen of Athens living during the Peloponnesian War (431-421 BC) and that one of the few people with whom he maintained contact was the young, arrogant Alcibiades. Plutarch also mentions that Timon was such an extravagant and controversial figure that he became the subject of ridicule by the playwrights of the time, including Aristophanes.

/ Libera, Translator’s notes to Timon of Athens, in: Greek Dramas. Timon of Athens, pp. 421-422 /

MY NAME IS MISANTHROPE

‘It is the most peculiar of Shakespeare’s tragedies,’ writes philosopher Robert Piłat.

When asked, ‘Who are you?’, Timon replies, ‘My name is Misanthrope.’ But let us trace his story, for no one is born a misanthrope. (…) The protagonist of the play is an Athenian patrician: rich, influential, respected for his services to the city and liked for his generosity and sociability. Timon asks his friends about their needs, past misfortunes and desires. And after listening, he helps them, even when no one expects it. And when someone really needs help, he gives it two or three times over. (…) He experiences deep joy at being able to be so generous and capable of remedying everything. However, he falls into an unhealthy trance – his attitude of constant readiness to help, constantly favouring people, and even exceeding their expectations, turns into an addiction. (…) Tymon’s enthusiasm is so great that when the trustee presents him with the dangers of excessive generosity, not hiding the threat of bankruptcy, Tymon refuses to listen. And finally, trouble comes.
(…)


Director’s note:
The director absolutely identifies with this attitude towards life.

SHAME
In literature on shame, starting with Max Scheller’s classic work, it is often emphasised that people feel ashamed not so much because of what they have done, but because of who they are – they are ashamed of themselves and for themselves. When the dam separating us from shame breaks, it is impossible to predict where it will lead a person; certainly to the negation of a significant part of their personality. (…)

Promise me friendship, but do not manifest it. If you do not promise, may the gods send plagues upon you, for you are human. If you keep your promise, may they curse you, for you are human. (IV, 3)

This is the essence of the tragic situation that affects not only Timon, but all of us. (…)
It can be said that at the root of Timon’s disappointment, bitterness, hatred and misanthropy, we initially find a superficial motive of disappointment and bitterness resulting from the fact that the generosity of the individual is not reciprocated by other people. But beneath this superficial, psychological thread lies a deeper one: the individual hides from himself the awareness of corrupt human nature, deceiving himself. However, it turns out that this is not yet the deepest level. This consists in the knowledge that even realising the whole bitter truth about human nature (and consequently choosing misanthropy) does not solve any mystery or give a sense of righteousness. It is just another act of self-aggrandisement, isolation, false pride. Man finds himself trapped in this constant distancing from a situation he considers bad, immoral, unbearable. By distancing himself from falsehood, he falls into another falsehood, this time a kind of pride that makes him curse everyone, attributing the worst motives and intentions to others.
(…)
Shakespeare thus presents us with the most difficult philosophical puzzle: How can one do good, restore good, care for good, if good is a dynamic state whose loss, damage and deficiencies are irreversible? What resources can existence draw on to save itself from such a profound decline in faith in man and human bonds as experienced by Timon of Athens?

/ R. Piłat, Timon of Athens and the enigma of misanthropy, [in:] In Praise of Rosalind. Shakespearean Essays, Warsaw 2024, pp. 118-131 /

Director’s note:
Throughout his adult, thinking life, the director has been desperately struggling with this tragic dilemma.


Author of the production: Włodzimierz Staniewski

Costumes: Aleksandra Reda, Weronika Karwowska
Set design: Marek Chowaniec
Composer: Mikołaj Blajda

Lighting designers: Paweł Kieszko, Jędrzej Skajster
Sound engineer: Maciej Znamierowski
Design and construction of Alcibiades’ horse: Tomasz Samoszuk
Assistant director working on the script: Aleksandra Szypowska
Subtitles: Joanna Holcgreber

Cast: Jarosław Gajewski as Timon of Athens, Dariusz Kowalski as Apemantus, Michał Chorosiński as Flavius, Maciej Wyczański as Alcibiades, James Jack Bentham, Elliot Windsor, Charles Sobry as artists, bandits, senators, as well as Anna Maria Słowikowska, Agnieszka Guz, Anna Szymczak, Paulina Borowa-Misiarz, Dominika Malczyńska, Julia Zhaglina, Patrycja Malinowska as Frynia, Tymandra and other Heter

Musicians: Dymitr Harelau, Małgorzata Bardak, Weronika Fedyk, Bartek Godula

The project is co-financed by the National Restoration Program (KPO for Culture)