We

 

The performance emerged as a result of work between director, Daniel Jacewicz, and the young performers of Teatr Brama. It is a sincere story which is the result of many hours of conversation and reflection. The performance speaks about our personal experiences, emotion, and conscious response to the world in which we live. In rehearsal our individual emotional states and manners of perception blended to create a performance about our personal histories. It is interesting because the story is a collage of images of the world seen through the eyes of young people. The histories were drawn from our daily lives and are contrasted and shaped by our emotions.

 

The performance speaks about sadness, loneliness, the struggle to fit in and rebellion against predetermined roles dictated by society. In spite of this, it is not a sad story, but one that speaks about our personal dreams.

 

„We“ has been performed over 40 times at theatre festivals and meetings in Poland and Germany and received the following recognition:

- Special prize of the OPTN in Ostrów Wielkopolski in 2010

- 2nd place award in the competition held by Dolina Kreatywna TVP in 2009

- 1st place award at the Lodz Theatrical Meeting in 2008

- award at WINDOWISKO in GDAŃSK in 2007

 

Director and idea Daniel Jacewicz

Script We

Starring Aleksandra Nykowska, Anna Rynkiewicz, Dorota Zieminska, Piotr Nykowski, Maciej Ratajczyk, Marcin Styborski (also starring: Kinga Binkowska, Dominik Murach, Szymon Lechwar)

Sound and light Jennifer Crissey i Adrian Kryk

Premiere September 2007 

 

PHOTOS FROM THE PERFORMANCE...

 

VIDEO FROM THE PERFORMANCE...

 

Fragments of reviews

 

Witold Kobyłka  (Poznań Theatre Journal 2009):

„(...) It's hard to clearly define the theme of the play, because it is a collage of personal experiences of the actors. This has created a unified whole collage, drawing attention to the passing loneliness and dreams, which always find a place in our sometimes painful reality. The mere staging also refers to Grotowski, who was limited only to the actor's performance. So it is with Brama. We are seeing only black-clad actors who themselves have created in our imaginations a picture of their world.(…) Young people clearly spoke to the audience. Only if we believe them? It's not yet experienced enough to authoritatively diagnose the present day. Still, watching the spectacle we, it's hard not to believe them, because their expression seems to be quite mature (…)”

 

Sebastian Krysiak (New Critical Power 2009):

„(…) Equally as frugal as the performance of the group’s director, viciously intelligent, mischievous, ironic, a merciless debate with family hell. The performances gets the pervasive hypocrisy of indigenous Polish martyrdom - O God, how I suffer! I suffer for the millions! the performance’s heroes scream about the disrespecting and destroying of their individualism. The young actors of Theatre Brama, speak about difficult issues with great maturity, but never once fall into didacticism, which is so dangerous in today's discussions about Poland. The performance is topic combined with great technique and we were kept in suspense until the very end. It was the only performance in the whole festival that received a standing ovation from most of the audience (…)”

 

Marta Zgierska (New Critical Power 2008):

„(…) Young artists skillfully combine different aesthetics. Choral singing, a native of Gardzienice or Chorea, passing through folk songs accompanied by a whole collage scenes - complicated, hilarious, dramatic and tense sequences. The young actors from a very good workshop thus form a distinctive and unusual whole. We does not attacking the product as literally as the performance Produkt polski, but with greater accuracy, perceptions, stereotypes, ridiculing and extracting the relevant human desires in a few great scenes, it definitely stands out among the performances presented (…)”

 

Michał Ptaszyński (Windowisko 2007 Gdańsk):

„(…) The biggest problem for young people seems to be the realization of the basic desire of being happy, so they rebel against the nest of professional slaves, compulsion, artificially created heroes and patterns. The performance We ascended to the ninth edition of the National Festival of Authored Arts Windowisko as a breath of freshness. Very cleverly told, so everyone believed despite everything in the importance of dreams. It seems that this is the real voice of the young generation (…)”

 

Szymon Kazimierczak (Festival Paper „Kiloff” Skierniewice 2008):

„(…) The play is structured according to a simple concept. Heavy, emotional monologues are interspersed with scenes and sketches played without convention to give the impression of continuous inclusions and situations. When highly emotional actors begin to move towards something pathetic or pretentious and suddenly cut off in mid-sentence they ridicule or cancel the other thing expressed. And we no longer know what is private to the actors and what is worked out in form. This deconstruction of theatrical language stripped out banality and brought ambiguous light (…)”