Theatre
Anna Millar takes a trip to Warsaw and discovers how Poland's theatre-makers are responding to the country's chaotic past and burgeoning cultural
confidence
itting in a picturesque cafe in the heart of
Warsaw — Poland‘s capital and largest
city — it‘s easy to forget the turbulent history that has shaped this country‘s place in the world today.
The city has long had a reputation as a vibrant playground for the creative arts. having spawned Oscar-winning director Roman Polanski and composer and virtuoso pianist Frederic (‘hopin among others. But even these famous offspring have been overshadowed by the social and political battles that have defined Poland as a nation.
At once a pawn and reluctant player in war. Warsaw was largely destroyed during the first half of the 20th century. Almost 80 per cent of the city had to be rebuilt from the ground up after its complete devastation during World War II. Today. Poland hits the headlines for another reason. immigration. whether it be the Poles‘ mass exodus since the former Communist country acceded to the European Union. or their apparent current inclination to pack their bags and head back borne. It is these very themes of identity. displacement and war (on a global or personal scale) that define the Polish works coming to this year‘s Fringe.
For Tomas'l. Kubikowski. deputy director of the National Theatre of Poland. the country’s response to its history through the medium of theatre was inevitable: ‘lt was like everything was put into the cultural refrigerator for half a century and then burst back to life.‘ he says.
52 THE LIST FESTIVAL MAGAZINE 131 Jul-f Aug 2008
'liven today. Poland is a fragmentations: different religions. alphabets. politics cities devastated and people displaced. Theatre has found its place in reformed society and people respond to that.' With a strong tradition of performances addressing social and political issues at its heart. Polish theatre has long provided an outlet for
Clockwise from above: Emigrants; Broken Nails; Bite the Dust; Mime for Laughs!; Etcetera
country of
encouraging and effecting social change. Even prior to World War II the country boasted numerous small independent companies. Now. says Kubikowski. theatre-makers are building on what has been learned from the country‘s turbulent past and responding to the current climate. ‘You rise from what has gone before and you grow stronger from it. In the face of censorship and adversity. Polish theatre created its own very unique voice and came out of a war. a depression and then a time of rediscovery.‘
The last decade has seen Poland putting its theatre and arts stamp firmly on the global map. a phenomenon recognised in the sheer volume of Polish work arriving at this year‘s Fringe. Helmed by Edinburgh-based Universal Arts and the Polish Cultural Institute in London. this year‘s programme features a handful of very different shows. the highlight of which is undoubtedly Teatr Provisorium‘s Bite the Dust. The acclaimed company follows up its award- winning l’enlydrn‘ke with an adaptation of Tadeusl. Rosewicz's controversial World War [I drama. about the (anti)heroics of the Polish army resistance. Written by Tadeusz. Rozewicz and