Performances of the Academy for Theater Practices

Eleutheria

BECKETT’S “ELEUTHERIA”

analytical “working out” by the director with the participation of actors, enigmatic and obscure texts of dramas, according to Wyspiański’s message from “Liberation”:
“Because there is no such thought unclear that a man, thinking clearly and distincly, would not percolate or understand” (Act II. Konrad speaking to the Mask 8)

“Eleutheria” (Freedom) was written in 1947. It’s a play in three long acts containing seventeen characters. It was submitted by Beckett to the Paris theaters and brutally rejected by famous directors of the time.
Beckett experienced it heavily. Right after the success of “Waiting for Godot” he banned the publication and staging of “Eleutheria”.
The publication ban was later drawn back, but the staging ban was never withdrawn.
There were three or four attempts at underground production, including one in Tehran.

The effect of the first stage of Staniewski’s work with students, created during the pandemic can be seen: <<HERE>>
The first glance for audiance took place during the “Between. Pomiędzy” Festival.

Rehearsals are taking place online. What does that kind of work look like? And why Eleutheria? Włodzimierz Staniewski tells <<HERE>>
The process of work  and the first results can be seen: <<HERE>>. 

They starred in the movie:
WŁODZIMIERZ STANIEWSKI
and Students of the 14th Academy of Theater Practices “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

The lecture of Włodzimierz Staniewski was also recalled in the program of Mrs. Grażyna Lutosławska „Nie tylko rozrywkowa niedziela radiowa” (“Not only entertainment Sunday in the radio”).
In the broadcast you will hear the answer to the questions such as:
Why did Staniewski selected this particular text? What connects Wyspiański and Beckett? Listen <<HERE>>