Koncert i czytanie tekstu Golgota Picnic w Nowym Teatrze / Malta Festival Poznań

25.000 A holy gathering. What’s going on over there? Oh, so you’re from that gender ideology? You went over there and what did you ask over there? Have you seen the show? What is this really about? Please let us in there. We will see it and say what we think. We don’t want things like this to be shown in Poland. What things? Like this! Like this! You cannot trample on another human being that way in our fatherland. Janusz Glowacki, writer, playwright: They are calling them: ‘pederasts, pederasts; chase the Bolshevik away!’. This means the Argentinean guy is now on the list of communists, and that’s no mean feat. Olena Leonenko, singer, composers of musical theatre: Regrettably, this is not about art, but I’m happy that so many people have found out where Teatr Nowy is, and that theatre in general can cause such a stir. So, all in all, I think that this is a good thing. A good thing has happened. People are coming to the theatre, praying. The theatre has always been a sacred place so we shouldn’t be scared. It’s a pity there’s no dialogue, only accusations. But maybe dialogue will come too. That’s what I hope. Maja Kleczewska, theater director: It is unthinkable that people who have come to see a play cannot get inside. This is violation of the constitution. We can’t understand why there are no police or municipal guards ensuring security. We don’t understand why the Ministry of Internal Affairs allows for the police to refuse protection to Malta. We don’t understand why freedom of speech is being violated, being a basic tenet in a democratic country. I think that this situation, this show and the fact that Rodrigo was invited, is just a spark that has ignited some layers of a split within society that we were not aware of. Mikolaj Lizut, journalist: We are being subjected to some kind of unbelievable violation under the banner of some kind of religious censorship, under the banner of some kind of insanity. None of the protesters have, in fact, seen Golgota Picnic, but they all hold an opinion. Adriana Prodeus, art critic, animator: The public mood has become more radical in the past few years, since, for example, Romeo Castellucci showed his apparently iconoclastic play. But there were no protests then and, I think, there was some kind of discussion. There were people who liked it and there were those who didn’t. So this time we are still in a narrative which started in Klata’s To Damascus, a narrative of condemnation and making it impossible for viewers to see a performance. The protests are exclusively based on reports from the Internet, from some sort of descriptions. In fact, I think that the people who are standing behind the gate don’t really know what would happen on the stage if the play was performed. I hope that, despite the fact we had to come in here through the fire exit, we will be able to see the reading, this one act that will be performed. And I also hope that a discussion will be possible, and that no one will get hurt. Because this would probably be the moment when you can stop this battle for a show that none of us have seen. Rodrgio Garcia, director “Golgota Picnic”: I won’t say anything about what’s going on outside. I would only like to explain that when it was not possible to perform this show in Poznañ, this theatre suggested, invited us with the play here. We did everything we could to make this possible, to perform the play here. We had very little time and the play requires quite a lot of preparation from a technical point of view. The assembly is quite complicated as far as lights and other elements of the set are concerned, and unfortunately, for this reason it turned out to be impossible. That’s why another proposal was made – I was invited here so that my actors could only read the text. My actors made the effort. They came here as far as they could. They were summoned at the last minute. The pianist is also here with us. This will be a sort of presentation. The texts will be read and they will be enhanced with musical elements, but I have to say that this is not an actual performance of Golgota Picnic. Unfortunately, to me the significance of this event is rather symbolic than artistic, and the artistic significance is more important to me, but I am here so that you can at least become familiar with the text of my play. We will ultimately be slaves. I am not being insincerely modest when I say that I don’t have a recognisable voice or gestures that would distinguish me. Technology is attempting to conceal damaged buildings. But don’t try to hoodwink me here. The towers in Manhattan are made of the blood of the Hellenistic world. The ruins have reached this far, my dear colleagues. Just like the huts in Brazil are made from the debris of a Russian spaceship. No one should have ever given permission for these terrifying stations of the cross, crosses and tears, open wounds and those fingers fumbling inside them, the propaganda of perversion, torment and cruelty created with sophisticated techniques. But one has to do something in life. They are the conservators of torment. There are people who check the tickets for you to see this savagery. There are those who stand sentinel with guns around this magnitude of suffering. There are specialised guides who take groups of people from humiliation to humiliation explaining each torture from a technical perspective. Piotr Gruszczynski, playwright Teatr Nowy in Warsaw: But what’s happening? It didn’t happen. I think that we all could see, at least in this limited version, how wise it is, how innocent, what a desperate calling it is. As we are talking, the meeting with Rodrigo García was supposed to start, but we cannot do it, Because one of the viewers has polluted the hall with some kind of stench. It’s impossible to go inside. What has happened is, on the one hand, beautiful, because we came here to see a show, to demonstrate our right to have theatre: a bold theatre that does not succumb to simple templates. What will come next? I don’t know, because this escalation of aggression here, today, under the banner of ‘theatre fighting against the church’. This theatre is not fighting against the church. It’s the church, I don’t even know if it is the church, it’s these people who are fighting against theatre. I don’t think anything like this has happened in Poland before. Perhaps it has, but I can’t remember it. So I am happy but also terrified. Elzbieta Lebkowska, sociologist, publisher: There’s also a second layer, which is what we are in and what surrounds us. There’s also this extraordinary compilation of what there was in that hall. Wonderful texts, in a calm beautiful language with references to art, a piano concert and, from behind the wall, we could hear hateful shouting and sounds. This gave the show yet another dimension. But what I saw here was, to me, very wise, very topical. I really don’t know why all the controversy; probably because those who are protesting haven’t seen the play. It’s an extremely improbable contrast to me. Between these people, filled with hatred in the name of a God I don’t know (because I think this is their God), and self-righteousness which makes them feel that they have the power to dictate to others what they should watch, where they should go and they try to force this on others… You just cannot give in to this, you just can’t. Kuba Falkowski, actor: As far as I’m concerned, it’s interesting due to the context which constantly transpired, actually, and was present during the whole reading. In the sense of people who could be heard from the street, the sirens and the sounds which reached us and which merged and created a joint background. It was certainly interesting. It was, in some way, unique. I can say I’m happy that I could experience this. Krystyna Bradkowska, publisher: The people behind the gate are simply part of this event. I think that they are really enhancing it. I mean the message we heard in the theatre was greatly enhanced. The things happening over there simply confirm the words spoken by the actors. Dorota Glac, actress: The people out there are so manipulated that it’s frightening. There was this contrast between the freedom in here, the peacefulness, and what happened to me outside; the fact that a lady pushed me, one from this catholic crusade, and I told here to stop walking into me, because she was advancing on me. In an instant, the crowd started yelling to her: ‘Don’t give in to manipulation! Don’t give in to provocation!’ And I didn’t even want to say anything. And the worst thing was when I saw there was a wall, that we wouldn’t be able to reach any compromise. Because these people are not interested in what I have in my head or what I feel, but only in me conforming. It’s their only message: ‘You must conform!’ This is the worst, because this has already happened before. They are from another time. prof. Dobrochna Ratajczakowa, theatrologist, dramatolog: I think that there wasn’t anything to fight about for all those who were against the show. Because the show is simply a dispute with our culture; with everything that’s distorted, terrifying in it, with things that make us angry, which are paradoxical. This is what it’s simply like. And all this was clearly shown in the play. dr Maria Napiontkowska, theatrologist: I think this would have been a very interesting show if it was complete, because what we saw was really moving. Not to mention the beautiful… This contrasted fantastically with everything the text talks about. It doesn’t matter whether it’s played by a pianist wearing clothes, in a material costume or without it. His appearance, attire has no effect on how he plays, and he plays superbly… and what he plays is superb. These are the seven words of Christ on the cross. A beautiful thing and I can’t see any moment that should be protested against here. Even if you take into account the, let’s say, ugly things the author, the text says about Christ. But it’s always so that a religious leader is always a bit of a demagogue, is always a little preoccupied with himself; despite preaching universal love. These are just certain psychological situations.

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