MEDIATHEK

In the hands of the idiosyncratic and provocativ Jan Klata, this ancient text changes into the harsh language of pop culture. The old story thus a merciless mirror up to the current day, reflecting the world of politics and the media. The text, considerably cut, breaks into two halves, which "might be labeled crime and punishment." The crime is the events described in the first two parts of the triology, while the punishment is the verdict that the gods pronounce on Orestes" Jakub Škorpil has written.

Reviews:

"Klata (and the set designer Justyna Łagowska) does not try to conjure up any specific reality on stage - either ancient or contemporary; similarly, he does not seek to find a single path down which to lead the narrative. The empty, unfriendly space is like the nightmare world in which Aeschylus' caracters live. (...) The tone is serious (although tinged with black humour), and the ill fate that dogs the characters is almost as they try in various ways to measure up to the roles they have been sqeezed into by a series of crimes. And by the indifference of the gods, preoccupied with themselves, treating people as mere objects of manipulation whose purpose is absolutely incomprehensible to mortal men. (...) At the end, Orestes is left alone on the stage. Spinkled by the Chorus with grey dust, freed from the curse, but unable to answer the question of who he is."
(by Joanna Targoń)

"In this world celebrities are gods - Apollo (Błażej Peszek) is a superb parody of Robbie Williams; Athena (Anna Radwan-Gancarczyk) is a star of a televison talk show. They are as proud, narcissisttic and childish as the originals, playing with human lives with the same carelessness. (...) It seems that the Chorus is most determind to have the curse fullfilled. Covered with ash burnt like the soil of Argos, neither humans nor Zombies, they are like guardians of the world 's order. And when the curse is fulfilled, this small revenge-mongering group sprinkles Orestes with ash as if to say that by exacting punishment for patricide he has become one of theme."
(by Aneta Kyzioł, POLITYKA)

The performance uses expertes from Heiner Müller's Materials for Medea, translated by Jacek S. Buras, and from the following pieces of music: Doom. A Sigh (Kronos Quartett), Feel (Robbie Williams), Classical Homocide (Dälek), Corpses as Bedmates, Ghosts (Third Eye Foundation)

[JUM]

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17th International Festival Theatre Pilsen Booklet ( Printed Edition)