‘We are not capable of lying next to each other close enough to get really close. For the images cluster in between, pictures whirl, expectations pile up so high that standing or sitting next to each other we cannot see each other any longer’.
‘The most recent version of man is an autonomous monster, self-performer in a monodrama filled with longing for another person, fearful to confront the other person and absolutely ready to defend himself against everything which does not suit the concepts represented by this monster’, in his speech delivered on September 11, 1994, said Peter Turrini, the author of a play Jan Peszek’s spectacle is based on. After the premiere it was reviewed as a study of loneliness and inner emptiness. The character created by Peszek paralyses the audience with his drama, at the same time enchanting with the perversity of his ‘playing death’. Tragic and grotesque, great and small, proud and humble – that’s what man is like.
The drama of Endlich Schluss seems apparently banal. However, we may assume that it constitutes a figure of human existence approached as ‘living for death’. For just like from the moment we are born, every day we get closer to the absolute end, the successive number brings closer the moment when the protagonist will shoot himself’, writes Malwina Głowacka in ‘Theatre’ magazine.
Peszek is famous for his outstanding technical acting precision, his perfect distribution of emphasis, his masterly skill of stage movement, his voice conveying every single intention of a character he creates. At the same time his acting is very reserved. Zbigniew Brzoza, a director of Turrini’s monodrama, managed to get access to the deeply human tone in Peszek’s virtuoso acting.’ Z.Mościcki ‘Życie’