Stanisław Wyspiański Festival
The patron of the theatrical section of Krakow 2000 is Stanisław Wyspiański. His works were strongly influenced by the spirit of Krakow and its neighbourhood, therefore it should not be surprising that a special festival has been dedicated to this artist at the advent of the new millennium. Wyspiański’s dramas have always acted as magnets, attracting the prime Polish masters of the stage: Andrzej Wajda, Konrad Swinarski, Jerzy Grzegorzewski, and others. Their encounters with Wyspiański are documented on film; there are also the productions themselves which we keep in our memory: time to begin another conversation with them.
Tadeusz Nyczek, who devised the idea of the Festival, wants to make it possible to see the best contemporary stagings of Wyspiański’s dramas in Krakow in the year 2000. They will be presented within the Wyspiański teatralny (Theatrical Wyspiański) series which will include Powrót Odysa (Return of Odysseus) directed by Krystian Lupa, and the Wesele (The Wedding) and Sędziowie (The Judges) by Jerzy Grzegorzewski.
In the Stary Theatre, Marek Fiedor, an artist of the young generation, will direct The Wyspiański Triptych - a variation on the theme o the playwright and poet’s biography: an attempt to vivisect the core of his talent. The role Wyspiański plays in our collective memory will be accentuated by an open-air production of Teatr mój widzę ogromny (My Theatre Vast I Behold). The director of the spectacle, Andrzej Rozhin, based the screenplay on Wyspiański’s Skałka, Bolesław Śmiały (Boleslaus the Bold), and Achilleis. The production will be a tale of the man who transformed Krakow into myth.
Compelled to keep on asking his contemporaries What is there to be done in Poland? Wyspiański has remained, as if a thorn stuck in our conscience. Entering the united Europe, and adding our say to the common culture heritage, we are, quite accidentally, turning him into an export artist. the Hence presence of his prints, paintings, and stained glass at the Festival. It may turn out that such events as the concert of Zygmunt Konieczny’s, presenting his music composed to the productions of the great poet and playwright’s dramas, will eventually break the stereotype of Wyspiański’s locality and impossibility to have him translated into any non-Polish sensibility.
Supported financially by the Ministry of Culture and National Heritage