KOMUNA//WARSZAWACEZARY GOES TO WAR
Cezary TomaszewskiBY AND WITH
Bracia (Agnieszka Klepacka, Maciej Chorąży), Antoni Grałek, Tomasz Kowalski, Justyna Wąsik, Klaudia Hartung-WójciakSCRIPT
Michał Dembiński, Weronika Krówka, Oskar Malinowski, Bartosz Ostrowski, Łukasz StawarczykPREMIERE
8 July 2017Project co-financed by the Warsaw City Council.
Polish with English surtitles
The play is the second premiere of a 3-year long “Pre-war/War/Post-war” series of Komuna//Warszawa, which describes the permanent state in which the world is. Wars can be armed or psychological, overseas or domestic, international or familiar.
Wars can be armed and psychological, overseas and civil, international and family. The war travels around the world “it’s hard to live without it, easier to die with it”.
The impulse that prompted Komna//Warszawa to work on the subject of war was a series of grim situations from the past few years: the war in Ukraine and the Middle East – Brexit – Trump’s victory. Increasingly, there is an idea that war in Europe may stop being just a history, so we need to ask questions: Are we prepared for war? Does the memory of war make maintaining peace easier? Can war be fair? Do historical policies open up the wounds and are they arming society to be ready to fight.
Komuna//Warszawa will be talking about war and wars in their various contexts and scenes, but with an emphasis on their real – non-heroic and personal – dimension. Komuna//Warszawa’s approach is purely pragmatic – focused on practice and the cost of survival.
The performance ridicules and discredits all attempts at dividing people into abstract categories. The ingenious manipulation of interpretation frames efficiently deconstructs stereotypes and ideologies, but it also gives, in my opinion, a simplistic diagnosis of the contemporary world. The performance “Cezary Goes to War” does not go beyond an intellectual joke, a play with meanings, a safe play.
teatralny.pl, Mirosław Kocur
Tomaszewski’s show, which combines elements of cabaret-like performance with the opera buffo, creates an original style of social choreography, in which the director creatively uses the historical heritage of the avant-garde.
dwutygodnik.com, Krystyna Duniec