Cultural Monitor
So that emotions go beyond the footlights Interview with Piotr Salaber Maciej Proliński Olsztyn, Lublin, Kraków, Gdańsk – you’ve been working with the theatres far from the centre for many seasons. I suspect that Varsovians’ image of the Polish theatre is slightly distorted just because they see it from the angle of the capital, and the trends of this capital. What does the Polish theatre outside Warsaw look like in your opinion? I am lucky to be working in practically the whole of Poland. In the Ateneum theatre in Warsaw the play “The
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little Judas” can be seen, starring Jadwiga Jankowska-Cieślak (I invited one of the most remarkable trumpet players in the world, Markus Stockhausen to the recordings for this play), and in the Ochota Theatre to one of a few plays to which I composed the music, Marek Koterski’s “The three of us”, which has been performed there for over 12 years. But theatre is teamwork. That is to say, if the whole group of people - director, stage designer, actors, composer, manage to create a team, then a piece like Wiesław Myśliwski’s “Horizon”, directed by Bogdan Tosza, can come into being. Today it already is a cult play, created on the basis of one of the most
interesting Polish novels of the 20th Century, which brought Myśliwski his first Nike Award. And this walk “towards the horizon” is first of all, searching for yourself. The key to success is, first, to find new means, sounds, instruments, and then, to create good conditions for work for the already artisticallyunited group of people, who are focused on what they want to do. And then it turns out that it is possible to also do it in smaller centres. Working in the theatre allows to make use of the ability to move from one style or epoch to another. Theatre is an oasis of a kind, where it is possible to be really free, a