The figure of Judas Iscariot is burdened with a load of stereotypes, but is also offers an opportunity to showcase numerous aspects of humanity. In their production, playwright Artur Pałyga and director Paweł Passini intend to look at Judas from a variety of angles.

Different variants of the Biblical narrative serve as the creative duo’s point of artistic departure. The account of Matthew the Apostle, which has remained most engrained in public consciousness, portrays Judas as a contrite human, who returned his thirty pieces of silver and subsequently hanged himself. In contrast, Saint Peter relates in Acts of the Apostles that Judas did not give any money back, but instead bought himself a plot of land – only to perish in an accident. In comparison, Papias of Hierapolis, one of the Apostolic Fathers, claims that Judas became so obese that he was unable to walk unencumbered on a road that was wide enough to allow a horse and cart to pass smoothly.

Why such a diversity of versions? Why have we suppressed other testimonies? What did the reality look like? What could it look like? These are some of the questions that the creators of the play have attempted to answer. 

The story of Judas runs through the play like a silver thread among contemporary acts of betrayal, treason, and treachery.  

The play premiered at the New Epiphanies Festival in Warsaw.


Paweł Passini

Graduated from the Drama Directing Department at the National Academy of Dramatic Art in Warsaw. Earlier, he studied philosophy and cultural studies at the University of Warsaw. Director and composer. One of the precursors of the interactive theatre trend in Poland. Founder of the world’s first internet theatre, neTTheatre. Critically acclaimed, The Dybbuk by S. Ansky (Nowy Theatre in Poznań) is his diploma performance.

He worked, among others, in Israel, Finland, the USA, India, Italy, Greece, and Cyprus; he also has acting episodes in his career. He directed, among others, A Premeditated Crime by W. Gombrowicz (Miejski Theatre in Gdynia), The Curse by S. Wyspiański, and Iphigenia in Aulis by Euripides (J. Kochanowski Theatre in Opole), Artaud: The Theatre and Its Double (Studio Theatre in Warsaw) and Amsel Kafka (Polski Theatre in Wrocław). On 1 August 2008, he staged Hamlet 44, a play based on Shakespeare, at the Warsaw Uprising Museum. In 2007, he directed Requiem, the world’s first theatre performance shown live online (Łaźnia Nowa in Kraków). His latest projects include: Hideout (neTTheatre, Lublin / Warsaw), Dziady. Brest Fortress (IAM / ATD, Brest, Belarus), Halka/ Haiti (Cazale, Haiti / Polish Pavilion at the Venice Biennale), Poles (neTTheatre Lublin / Maska Theatre Rzeszów), Y (Musical Theatre Capitol, Wrocław), The Sign of Jonah (neTTheatre, Lublin / Warsaw), Mothers (Jewish Theatre, Warsaw), DyBBuk (Polski Theatre Bielsko-Biała).

Recipient of numerous awards, including the Konrad Swinarski Award, Herald Angel and Total Theatre Award at the FRINGE Festival in Edinburgh.