Różewicz’s “trap” with the war in Ukraine in the background Kultura

Grzegorz Wolf, as the head of the family, Hermann (left), creates the figure of a strict father who appears to his children as a tyrant and tyrant.

Photo: Roman Gaucher / Gdynia City Theater

Tadeusz Różewicz’s drama “Pułapka”, staged for its premiere at the Municipal Theater in Gdynia, is very capacious – it allows you to look at the quivering “I” of the artist, the nickname of the artist Franz Kafka, to look at the difficult father-son relationships, and at the same time look for An answer to the question why the personal life of the artist and his relatives can be torment without any trace of rest. However, Krzysztof Babicki in his production emphasizes the context of the war the most, clearly referring to the events in Ukraine. It also gives the actors space, enabling them to create interesting and full roles.

Why do you go to the theatre?

Różewicz’s art is largely autobiographical. The persona of Franz Kafka has always intrigued the playwright, and “Pułapka” is an attempt to piece together this magic after several decades of working on the life and work of this German-speaking author of Jewish descent, associated with Prague all his life. The heroes here, except for Franz, are also his relatives – father Hermann, mother Julia, three sisters and a friend of Max.

The story of the hero is carved into the biography of Franz Kafka, who served Rozevic to include many of the problems also found in his other plays – for example, the problem of social classes and the fundamental differences between the intelligent and the simple peasant, which must lead to disaster, or the complex relationships characterized by trauma and unfulfillment . family. Franz himself Różewicz serves as a mirror for a glimpse into the state of the twentieth century artist in a slightly satirical painting tinged with self-criticism, often dealing with issues detached from the reality that surrounds us.

The main character in Różewicz's play and Krzysztof Babicki's play is Franz Kafka, played by Piotr Michalski.

The main character in Różewicz’s play and Krzysztof Babicki’s play is Franz Kafka, played by Piotr Michalski.

Photo: Maciej Czarniak / trojmiasto.pl

Display Manager Krzysztof Babiki He’s also been back on “The Trap” for his entire career. This title accompanied him at the beginning of his career (in 1984 he presented it at the Wybrzeże Theater, with Krzysztof Gordon in the main role). Subsequently, there were productions in Pozna, Katowice and Kraków, which – as reported by their reviewers – were not very different from each other. Show by Gdynia (realized with the participation of regular companions on the artistic path of the director – designer of the set Brand Braun and music composer Marek Koczynskiwho has also worked with him on previous productions of this title) is very similar to them.

There are two plans in the design of Braun’s contracted set – on the stage we notice, among other things the family at the table, and in the final scene a wardrobe important to the all-inclusive tone. In this plan we accompany Franz and his many struggles with the world. Behind, in the twilight, on a platform often hidden behind a curtain, we notice intimate family portraits with the participation of his parents and himself, and harbingers of war – the high boots of marching soldiers. Throughout the performance, we are accompanied by a film-style demo, usually aggressive, attacking the senses and clearly emphasizing the mood of the musician.

Together with the story of Franz, we get acquainted with several women with whom the writer is trying to live a life for himself (in the photo Greta, played by Monica Babica).  However, despite the announcement, Franz is unable to make final decisions and change his life.

Together with the story of Franz, we get acquainted with several women with whom the writer is trying to live a life for himself (in the photo Greta, played by Monica Babica). However, despite the announcement, Franz is unable to make final decisions and change his life.

Photo: Maciej Czarniak / trojmiasto.pl

The main issue for performance is the title trap. It’s about the “biology trap” that terrifies Franz, along with marriage that demonizes and parenthood that inspires him, and the “history trap”. About the first he says himself: “I am a trap, my body is a trap that I fell into right after my birth.” However, the “history trap”, related to the coming of the executioner, the aggressor and the evil, seems much stronger. For Krzysztof Babicki, this is a souvenir – a warning of the tyranny and brutality of war.

In Różewicz’s art it relates to World War I, although the message and references to World War II seem clear. This is why Babeki in the municipal theater performance (as in previous productions) uses Holocaust metaphors. It introduces the character of a boy of several years old – an innocent little spirit with whom the audience will be left in the last scene, when the boy stares into the glowing chimney. The director unambiguously provides the Ukrainian context for these omens of war. baby play Nikita Mateuk, a young refugee from Ukraine, was forced to leave his country due to the Russian invasion. Bricks in the national colors of Ukraine will also be left on the stage. Totalitarianism, which terrified Rosevich, turns out to be a multi-headed hydra and we have to face it again.

The performance is full of great scenes and hit episodes.  This is for example while Maks (Dariusz Szymaniak, in the foreground) was visiting the shoemaker's house.  Pictured, Jacek Bała and Elżbieta Mrozińska.

The performance is full of great scenes and hit episodes. This is for example while Maks (Dariusz Szymaniak, in the foreground) was visiting the shoemaker’s house. Pictured, Jacek Bała and Elżbieta Mrozińska.

Photo: Maciej Czarniak / trojmiasto.pl

Krzysztof Babicki’s performance is based on the actors who, for the most part, do their job very well. Peter Michalsky Like Franz Kafka he plays a dark introvert, as if surrounded by an invisible wall, a cocoon that ordinary life could not penetrate. Franz is selfish, unable to overcome the limits of ordinary life, he terrorizes and transcends everyday life in the form of buying a wardrobe or getting married.

However, Gdynia’s performance is above all a show Jerzegorz WolfHe plays Franz’s father, Hermann. From the first moment, the actor portrays this character as a bossy family tyrant, a man who is not able to build an intimate relationship with his children, which at the same time hurts and makes all family members dependent on him. Only scenes of Hermann with Franz’s mother – Julia (playing the quiet, pained mother Piata Boczyk-Guarnica) Show directly what Grzegorz Wolf constantly suggests from the first moment – tenderness and pent-up emotions, which there is no opportunity to embody when in contact with children. The final encounter between Hermann and her son is the culmination of hidden feelings and deep frustration, and a true acting show by Wolf, who gave Michalsky no chance in this clash.

Franz is fascinated by women from every state and every education.  Pictured with the dishwasher, Jana (Olga Barbara Djowska).

Franz is fascinated by women from every state and every education. Pictured with the dishwasher, Jana (Olga Barbara Djowska).

Photo: Maciej Czarniak / trojmiasto.pl

The gem of acting is the visit of Franz Max’s friend (Dariush Szmaniak(with Jana Swick’s family)Olga Barbara Długońska), one of Franz’s brides. Excellent in an episode of Idiot Girl’s Brother Jacek Bata (It’s a pity that she rarely plays in Mijsky shows), and this merry family is complemented by Jana’s parents, who also have iconic roles in them. Rafa Kowal And Elżbieta Mrozińska. In turn, Max’s visit to Greta allows the character she plays Monica Babika To make a statement to an unhappy woman who is treated by a man in an efficient manner. If we add to this the conversation between Franz and Max about their relationship and the legacy of Franz Kafka, we have a lot of great and interesting scenes. The level of friends and colleagues can only be achieved by sure and hurtful shouting Agnieszka Bała In the role of Veliga.

Theatrical myths are not dead…

Krzysztof Babicki, in Różewicz’s unusually dense and difficult text, moves with great ease. However, emphasizing all the threads in it is a bit overwhelming (in fact, you can follow the drama of the lost artist, the drama of the father, the drama of the mother, the drama of the rejected son, the brutality of war with torture, casualties and the rise of predictable evil). Sometimes the flexible structure of the text is transferred very literally to the stage, which is why some episodes (for example, with the participation of the teenager Józek, were played by Simon Sudrowski) is not fully readable in the context of others. Nevertheless, the Municipal Theater performance is well paced and dramatized, and it is well watched. It is a strong and thoughtful opposition to aggression, evil and tyranny.

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