Anhelli

Anhelli. The Calling


In the consecutive versions of the performance participated:

Anhelli: MATEJ MATEJKA

and

  • NINI JULIA BANG
  • DITTE BERKELEY
  • PRZEMYSŁAW BŁASZCZAK
  • TOMASZ BOJARSKI
  • EMMA BONNICI
  • ALESSANDRO CURTI
  • JEAN FRANÇOIS FAVREAU
  • KAMILA KLAMUT
  • ALEKSANDRA KOTECKA
  • JAROSŁAW FRET
  • EWA PASIKOWSKA
  • TOMASZ WIERZBOWSKI

Project leader: JAROSŁAW FRET

Lighting: MACIEJ MĄDRY

Hieronymus Bosch, The Musical Hell [fragment], part of The Garden of Earthly Delights, around 1500, Prado Museum, Madrid


Because I do not hope to know again

The infirm glory of the positive hour

Because I do not think

Because I know I shall not know

The one veritable transitory power

Because I cannot drink

There, where trees flower, and springs flow, for there is nothing again

Because I know that time is always time

And place is always and only place

And what is actual is actual only for one time

And only for one place

I rejoice that things are as they are and

I renounce the blessed face

And renounce the voice

Because I cannot hope to turn again

Consequently I rejoice, having to construct something

Upon which to rejoice

[Thomas Stearns Eliot, Ash Wednesday]

The premiere presentations of the performance took place at the Barbican Centre, London in September 2009, as the last part of the triptych Gospels of Childhood, shown within the POLSKA! YEAR in Great Britain. In October 2011 special version of the performance was presented in Belchite near Zaragoza, in ruins of San Augustino church in the historic part of the city that still bears traces of the Spanish Civil War (1936-1939).

 


A tribute to the Polish romantic poet, Juliusz Slowacki and his journey from Naples to the Holly Land, via Alexandria, Cairo and Damascus.

Anhelli's theme is a phenomenon that Theatre needs to face in order to protect its essence and its place in this world. This is a theme of unity and disintegration of our life, our corporality, of our own selves. This is a theme of possession. Of making a vessel for the other, for a stranger's life, even a future life, out of our own selves. This is a theme of illuminating, a theme of ‘over angeling’. This is a theme of being possessed by an angel.

How to make an angel transit through a human body; how to let that angel live there for a moment? In what musical form? In what vibration?

We live in cathedrals of our bodies, with ornamentation and gilding of facades, and with placement and relation to the others being of most importance. But the theme of Anhelli is calling for small country wooden churches where we stay enclosed in our aloneness. Closed within. Instead of cathedrals- small temples of the heart. Small churches of the body. Chapels and meeting halls. Here one calls spirits of their forefathers. And thus the unfinished forefathers' eve project at the same `time transforms itself into a seance of calling the Angels. Their wings are not snow white. They are rather of the ashy, smokey grey of the ebbing souls.

One needs to involve their entire inner being, their entire life force to create vast space within oneself, create a void as empty as a Siberian abyss. So empty that it sucks in.

The musical core of the performance is based on Byzantine and Sardinian paschal hymns as well as Ortodox Irmoses.

Drawing of the scenography (author Maria Stożek)