Overture

Overture.

Fragments on Intimations of Immortality from Recollections of Early Childhood


In the consecutive versions of the performance participated:

Marta / Maria: DITTE BERKELEY / KAMILA KLAMUT

and

  • NINI JULIA BANG
  • PRZEMYSŁAW BŁASZCZAK
  • TOMASZ BOJARSKI
  • EMMA BONNICI
  • DANIEL CUNNINGHAM
  • ALESSANDRO CURTI
  • JEAN FRANÇOIS FAVREAU
  • JAROSŁAW FRET
  • DOMINIK KOŚCIELAK
  • ALEKSANDRA KOTECKA
  • SŁAWOMIR KUPCZAK
  • MATEJ MATEJKA
  • EWA PASIKOWSKA
  • TOMASZ WIERZBOWSKI
  • MAREK ŻERAŃSKI

Project leader: JAROSŁAW FRET

Lighting: BARTOSZ RADZISZEWSKI

Poster (project Bartosz Radziszewski)

The first presentation initiating the work on the performance Gospels of Childhood took place during the 25th Anniversary of the Centre for Theatre Practices “Gardzienice”. The premiere performance was in October 2003 in Brzezinka, the forest base of The Centre for Study of Jerzy Grotowski’s Work and for Cultural and Theatrical Research.

The initial impulse for the project Gospels of Childhood was an interest in the beginning of Christianity. The performance oscillates between two threads: the story of the resuscitation of Lazarus evoked through the mouths of Marta and Maria, his sisters and „the testimony of Mary Magdalene”, who according to some gnostic traditions took a particular position among the apostles and was identified as one of the sisters of Lazarus. Among the texts which appear in the performance there are scarcely known apocryphal gospels such as that of Mary Magdalene, Phillip, Thomas and fragments by Fiodor Dostoevski and Simone Weil.

The songs used in the performance were collected by the company during its expeditions to Georgia, Bulgaria and Greece in the years 1999–2003. Specially important was the work with the Svaneti people, living `in the highest part of the Caucasus mountains. In their tradition they kept the funeral songs, which have their roots in the beginning of our era. The second musical plot consists of liturgical songs from the Orthodox Republic of Monks – Athos. These songs, connected with the Pascha period, build the end part of the performance – consolamentum.

The performance is an attempt to tell the ‘late story of the flesh’ – after love, after humiliation, after death; an impossible story of resurrection.

I am the silence that is incomprehensible

And the idea whose remembrance is frequent.

I am the voice whose sound is manifold.

I am she who exists in all fears

And strength in trembling.

I am she who is weak,

And I am well in a pleasant place.

I am shame and boldness.

I am shameless; I am ashamed.

I am the one before whom you have been ashamed,

and you have been shameless to me.

I am the one you seek after.

[Thunder. The Perfect Mind]

Drawing of the scenography (author Maria Stożek)