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J.M. RYMKIEWICZ
The Abduction of Europa


Opening night
07.04.2017

The Main Stage
2 h 15 min.

Regular Tickets:
25–60 zł

Reduced FareTickets:
20–45 zł


PLAY

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PRODUCERS

Piotr Cieplak direction

Zbigniew Wróbel director’s assistant

Anna Wesołowska prompter

Dagmara Habryka stage manager

Krzysztof Lisiak photo shoot



CAST

Grażyna Bułka

Dorota Chaniecka

Dariusz Chojnacki

Aleksandra Fielek

Anna Kadulska

Barbara Lubos

Arkadiusz Machel

Michał Piotrowski

Zbigniew Wróbel


THE ABDUCTION OF EUROPA

In Greek mythology beautiful Europa is seduced and then abducted by Zeus, king of gods who had transformed himself into a white bull. Jarosław Marek Rymkiewicz draws on an imagery of the story in his – never staged until now – text. The author not only criticises there blindness of elites but also in his own specific way demolishes theatre fiction to disclose a staginess of the world.

Action of this bedroom farce takes place at French mansion at the turn of 20th century. Beautiful Europa, young, randy and unbridled, is a daughter of the aristocratic Pompadours. Against her parents’ wishes she doesn’t want to marry aloof English duke – she prefers Moldova knez, a wild and unpredictable anarchist. She is also interested in peasants revolution that unexpectedly will appear on stage. When the aristocracy waltzes and eats oysters a world they are acquainted with declines… 

 



Komediowe Sztuka Współczesna Prapremiera



MEDIA ON THE PLAY

Piotr Cieplak is one of the more important 50-year-old generation directors, who decided to revive a play with "farce" written under its title. Which playwright’s face we see on Teatr Śląski in Katowice stage? This is Rymkiewicz à la Gombrowicz. In “Abduction of Europe” he’s “Ferdydurke’s” author pasticheur. There are coming back the echoes of “Operetta” or finale of “Iwona, Princess of Burgundy”.

"Gazeta Wyborcza" Warszawa

 

The play is full of everything. There is trifling with form, that is with farce, and with theatre itself, that exposes its artificiality, conventionality and falseness. There are brilliant though crudely drawn human types – a woman, who wants to gain an independence from being a lady, also effeminate man who abhors the cast of features of an opposite sex and an unpredictable brute who rams everything what comes into his way. There is a treaty about old Europe receding into nothingness. And lastly – great afterthought on Poland, that being at the crossroads of Europe and Asia never knew in its history where to go to and torn between West and East it can’t find itself in French drawing rooms.

 "Gazeta Wyborcza" Katowice

 

Jarosław Marek Rymkiewicz once got an idea to deconstruct theatre farce. 40 years later Piotr Cieplak decided to repeat this gesture. The beginning is intriguing even. In the gloom there loom profiles of stage characters – we see the moment before creating of the stage world, before heroes and heroines will have their identities and take shelter behind baroque costume and gilded stage design.

"Polityka"

 

There start a game with dressing-up and there is no end to it. Parts are interchanged and there are new ones. But then maybe there should be like that from the beginning? Europe turned into prince, he flirting with knez. All intertangled, the worlds too. (…) Significant thing, when Chojnacki appears on stage the performance gets new pace, proper meaning and from no funny, non-absorbing farce he makes the world full of existential and philosophical questions.

Sławomir Szczurek

 

The play is bitter and dark. The liberal Polish could be frightened with Polish parochialism, liberals and conservatives ones – with Europe weakness.

"Rzeczpospolita"