The times are strange.

We have been hearing for years that we can “take fate into our own hands”. Isn’t that a scam? Ancient Greeks thought completely differently about Fate, Necessity and Destiny.
In the present moment, when we are all confused, we don’t know what to think, what we can do, we try to take a fresh look at this old thinking. Are we just pieces moving on the board? If we assume that we do not have free will, what hope remains for us. What for us, here, contemporaries, could be moving and relevant about the myth of Prometheus?
This project is our attempt to quickly face this classic theatrical text. In addition to Aeschylus’ text, there will also be quotations from other great works of literature. On the basis of Prometheus, we have created an intuitive mind map. The project itself, due to the turmoil of fate, changed every now and then, from the text, through the cast, to the form of the show.
We were supposed to meet you “eye to eye”, on stage, “live”. Unfortunately, the virus that is circulating in the air prevented us from this meeting, but we do not give up and we are full of hope for the meeting, we will be waiting for you on Friday, October 30 in the Cetnre for Culture in Lublin. In form … well, not entirely physical … But everything you see will happen “live”, here and now – it seems to us that this quality is the essence of theater.

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The motto And what now? refers to four post-pandemic premiere performances about hope. Instead of large and expensive multiple-cast productions, the response to the economic, attendance and identity crisis of Polish theatre should be small and low-budget productions. They will be prepared by the authors invited to Lublin: Anna Gryszkówna, Marcin Liber, Maciej Gorczyński, Jan Hussakowski. Everyone will work on their performances in the same conditions and for the same period of time. Instead of two months of analytical tests, several days of intense and intuitive work. The works of the artists invited to the project will share the same slogan HOPE. We do not impose texts, forms or messages on authors. We are interested in their personal response, association, idea. However, we would like them to work on literature, undertake adaptations of works – prose, drama, poetry. And they looked for a recipe and an answer in what has already been created. Let’s talk about the future with the help of the past. Let us look there for suggestions about what will save us, if we are to survive at all – as uncompromising artists, sensitive viewers, conscious citizens. Ironically or for real. What is hope anyway? How can theater give it a scenic expression? Does the viewer need it?