przedstawienie Teatru Cogitatur
kreacja autorska Teatru Cogitatur
Teatr Cogitatur od wielu lat istnienia kusi historiami, które nigdy nie miały miejsca, ani nawet siły, żeby się przydarzyć. Tym razem opowiada sny będące najprawdziwszą prawdą. Jest to zapis nie mający precedensu w archiwum kultury: sny opętanego poety sprzed dwustu lat, idee sprzymierzone z bogami Olimpu. Ale historia jest okrutna. Bawi się Napoleonem i nie pozwala, żeby Napoleon bawił się historią. Co do Hölderlina, rzecz jest prosta. Był to człowiek, który uwierzył w miłość i rewolucję. Dzieje jego ostatnich lat nie napawają optymizmem. Ale ani optymizm, ani poezja nie są wystarczające. Jeśli tylko można dobrze spać. I nie śnić.
The show has the atmosphere of a dream where there is no logic or events, nor senne ot fiction but transitoriness of feelings and poetry.
This atmosphere is built trom absolute darkne5s which paralyses the eyes of the audience for more than a dDien seconds at the beginning of the show. This black colour will dominate during the whole time of our contact with the insane imagination of Hólderlin berause from it as tear in the curtain of the subconscious are revealed fractions of remembrances, figures and events. Prepared out of space - and after a while we have the impression that out of time - figures and objects appear like real phantoms. They flDat high up, come out from unexpected places, they throw a charlock seed or a handful of sand. And disappear finto nothingness from which they had came.
Four awful dreams have been written in the book, the pages of which are turned without the help of the human hand. The scenario fis written by fate Which fertilazes the heros fantasy. Perhaps he fis a madman or maybe only a man of extraordinary 5ensitivity who fis not stronę enough to carry the weight of reality and that fis why he resoru to dreams. Or maybe the dreams bring back memories and do not let him to forget the horrible experiences? Or maybe reality fis a dream but only Hólderlin knOws anything about it? Great philosophy and metaphysics are inscribed in the flickering dreams. Dreams of love border on dreams of the revDlution and both sensations have devastating forte. A forte that changes the life and the lifeˇhistory of Man. A woman who asks about the exstence of feelings after death, craZy musician sitting over the score of a symphony of social upheaval, a conuict and again the woman her fate witki Unknown. They appear for a moment but remain in memory for long. Also in us who are only witnesses to the heros sufferings.
Four Dreams of H0lderlin have as I wrote before the unusual climate of understatement and unreality that spreads to the audience. And in fart we don't want to knoty what technical tricks were used by Witold Izdebski to Braw us finto this play of illusion, hallucination, increasing feeling of danger. The show fis precisely composed and really excellent acted.
Henryka Wach-Malicka, Dziennik Zachodni