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Hymn to Love

Dir. Marta Górnicka Poland

Having considered the fact that no official decision had been received by 27 September 2017 from the Ministry of Culture and National Heritage regarding the provision of the grant to fund the festival, the organiser has to cancel 3 Polish spectacles of the main programme: the following performances will not be staged: “The Enemy of the People” by Jan Klata from the Helena Modrzejewska National Stary Theatre in Krakow, “Hymn to Love” by Marta Górnicka, which is a co-production of the Polski Theatre in Poznań and the Chorus of Women Foundation, and “One Gesture” by Wojtek Ziemilski from the Nowy Theatre in Warsaw, as well as meetings over the above spectacles. Due to the fact that the grant has been withheld by the Ministry, the organiser is not able to stage the above performances.

Statement of Tomasz Kireńczuk, the Programme Manager of the 9th Dialog-Wrocław ITF of 27 September 2017 on changes to the festival programme: HERE

Ticket return rules: HERE

 

Hymn do miłości is a story about the power of a community. It is also an important contribution to the discussion about what kind of community we want to build in Poland. Collective songs – hymns, patriotic, folk and religious songs – are transformed into a painful cry of protest against the direction followed by today’s Europe, where the voice of populism, xenophobia and nationalism is getting louder and louder, while actions which are ostensibly to make us safe prompt us to close ourselves to strangers, to others. The production, which in its formal layer draws on the tradition of the chorus, uses the principle of counterpoint. Although in the musical layer the works are full of very positive, joyful energy, the texts spoken from the stage are, as Marta Górnicka notes, “shocking, ferocious, lethal”. Górnicka’s production is a song-story about how much we are able to sacrifice in order not to lose our comfort zone; it is a song in which the chorus talks about a world of marginalised individuals and societies fighting each other.

“Górnicka has created not only an attractive staging, but also – perhaps above all – an extremely important work, painfully emphasising our national, Polish Catholic hypocrisy. Our hypocrisy, which, on the one hand, boasts about our apparently traditional hospitality (having a guest in the house is like having God in the house, as we say), and on the other – has no intention of welcoming even a few Syrian families. Of course, those families who have survived, because many have been brutally murdered.”

“Górnicka has created not only an attractive staging, but also – perhaps above all – an extremely important work, painfully emphasising our national, Polish Catholic hypocrisy. Our hypocrisy, which, on the one hand, boasts about our apparently traditional hospitality (having a guest in the house is like having God in the house, as we say), and on the other – has no intention of welcoming even a few Syrian families. Of course, those families who have survived, because many have been brutally murdered.”

Mike Urbaniak, Wysokie Obcasy

“Hymn o miłości is another important statement about Polish theatre. Genuine and painfully honest.”
Stefan Drajewski, Polska Głos Wielkopolski

“When it comes to the form, Hymn do miłości is a masterpiece. Precision and energy, dynamism and rhythmic perfection. An intricate musical arrangement of the young composer Teonika Rożynek raises the tried and tested form of the chorus to an even higher level.”
Witold Mrozek, Gazeta Wyborcza

director, author the concept, librettist: Marta Górnicka
set designer: Robert Rumas
choreographer: Anna Godowska
music: Teoniki Różynek
dramaturgy: Agata Adamiecka
costume designer: Anna Maria Karczmarska
puppets: Konrad Czarkowski (Kony Puppets)
lighting designer: Artur Sienicki
cast: Sylwia Achu, Pamela Adamik, Anna Andrzejewska, Maria Chleboś, Konrad Cichoń, Piotr B. Dąbrowski, Tymon Dąbrowski, Maciej Dużyński, Anna Gierczyńska, Paula Głowacka, Maria Haile, Wojciech Jaworski, Borys Jaźnicki, Katarzyna Jaźnicka, Ewa Konstanciak, Irena Lipczyńska, Kamila Michalska, Izabela Ostolska, Filip P. Rutkowski, Michał Sierosławski, Ewa Sołtysiak, Ewa Szumska, Krystyna Lama Szydłowska, Kornelia Trawkowska, Anastazja Żak

assistant director: Arnold Prządka
assistant set designer: Anna Krysiak
music assistant and consultant: Joanna Piech-Sławecka
co-producers: Chorus of Women Foundation, Ringlokschuppen Ruhr, Maxim Gorki Theatre

Marta Górnicka – Polish theatre director, vocalist and actress. Graduate of the Faculty of Directing, Theatre Academy, Warsaw, and the Fryderyk Chopin School of Music, Warsaw. Author of a method of voice/body vocal-acting training which seeks to find an organic voice. Górnicka has presented the method during workshops all over the world, e.g. in Athens, Berlin, London and Paris. She has developed a concept of a chorus theatre, a modern tragic chorus, which she has employed in her productions since 2009, using the Chorus of Women, an ensemble of 50 women and men. Her awards include the Main Prize of the Jury at the 47th Counterpoint Festival in Szczecin. Outside Poland her productions have been presented in Germany, Israel and Slovakia. Her staging of M(other) Courage, which she directed at Staatstheater Braunschweig, was acclaimed as one of the best productions of 2015 in German-speaking countries. In 2013 she was honoured with a review of her work at the Festival International de theatre SENS INTERTIDS in Lyon and at the Malta Festival in Poznań.

MARTA GÓRNICKA ON THEATRE:
My thinking about theatre has always been radical. I believe in the power of the chorus. I believe that the chorus changes, breaks taboos, that its voice touches the spectators, talks with them. By forgetting about the chorus contemporary theatre deprives itself of something very important and powerful – of drama and possibility of entering into a discussion with reality. A theatre without a chorus today is dead, it becomes an ordinary show, a form of entertainment. Hence the chorus. Because it is a tool of change, finding its strength in the rhythm and wisdom of Antiquity. Because it speaks about something important.
Marta Górnicka, culture.pl