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“King Knife” – Documentary audio performance of Grzegorz Hann from the Pegazy Zarazy collective of Szczecin at the 56th session of the PTMF Kontrapunkt in Szczecin. Tomasz Domagała writes for the DobraPunkt Festival Gazette.

Photo: mat. Organizer

It starts with asking us to sit down at a modest table. Red tablecloth, plates, vodka cups, some flowers for decoration, nothing special. Thirty seats, plus the throne chair at the head of the table, are covered with white bed linen. When the performance begins, the protagonist appears half-naked from under the cloth. He’s a real character, enjoy a bit of fame in Szczecin, the title character leather king – Grzegorz Hann “Siusiak”.He is distinguished in particular, with a whitened face, and presents himself as a Shakespearean hero to some tragedies. Perhaps Richard III, or perhaps Prospero. His face appears on the screen on the other side of the table – he will stare at him throughout the performance. On the screen behind him, we will see his story made up of recorded parts from his “argument” that took place years later to the places where the first phase of his life took place. Least Awesome: Filled with violence, drugs, and everything that could happen to a badly lost man. On the other hand, films show our hero without a stage crew. Oh, a normal guy in his fifties tells his life. We listen attentively to his unusual story, gradually experiencing the feeling when the hair is on the head. Interestingly, I am not sure whether Hanna’s character is played by the actor or the actor himself. Anyway, when you don’t know a guy, how do you tell that apart?

The protagonist sits, watches and sleeps, sometimes reaches for a cigarette, sighs from time to time or changes his position. I try to guess what he’s thinking and feeling. On the one hand, he is bombarded with an image of his own, his face almost still, on the other – his life story exudes from the recordings. However, he keeps a poker face. He does not let the secret be dragged away, he sits and remains as if he understood that the punishment for what he had done would be the eternal torment of telling his story and expressing his destiny. Such an absurd representation, provided that every evening in front of other strangers and, above all, the people who judge him. Because how can we remain indifferent to the scenes from his life that we hear about. How do you cope with the passing of heroin, the desecration of the cathedral with droppings or the complete destruction of your apartment, thus telling your mother that you hate her? With that last story, I immediately thought it was a very theatrical scene. Instead of spitting out his anger with just a few words, Han and his friend gave an extremely shocking and exciting performance. However, it is fundamentally different from theatre. Assuming that art aimed to explore or even transgress boundaries, violate social order or dismantle taboos, King Skin’s “shows” would become her deepest eruption, especially because they were made of powerlessness, a need for rebellion, sprinkled with a sauce of bad but pure feelings. Of course, life is real, so its essence belongs to reality. However, they often occurred according to the same rules of art, except that they were real and had, or at least should have, different consequences. And here we get to the essence of this performance, because Hanna’s story reveals to us the falsity of the theater and through it art in general: we sit at the table and listen to a story based on someone’s true destiny. A real human being, more dramatic than any art. It is chapel on a healthy tree of life, as we now affirm, for a particular person, in fact feeding only on the diseased cells of his body, a growth that can no longer be cut off.

maybe in context skin king In Bismarck’s famous saying that a nation should not see how sausages are made and politics, it is worth changing sausages to Szczecin paprykarz. Delicious delicacies eaten by locals and tourists in Szczecin and at the end of the show – we, its viewers, finally stumble in our throats when we realize the cost of such a performance that its hero, sitting at the table with we, as real as ever – Grzegorz Hann.

Mr. Grzegorz, thank you for your courage and for wanting to share your life with us. I’ve never seen a more difficult task in the theater before.

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