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Witold Kopeć (Lublin)

“Three conversations with Mr Herbert” — monodrama

16. 11. 2009 – Monday
5 pm
LOGOS Theatre Chamber, ul. Marii Skłodowskiej-Curie 22

About Christian Culture Festival

Christian Culture Festival was organized for the first time in 1997 on 10th Anniversary of the Logos Theatre. In a sense, it extends the idea of Christian Culture Weeks organized in Poland in 70s and 80s of the last century, which were to become counterpoise to lay media model promoted by the State. Lodz Christian Culture Days were organized in churches all around the city, so as to accommodate the artists, spectacles, exhibitions and projections.

One of such places was the John Paul lecture theatre in the vault of the Assumption of Holy Mother Church in Kościelna Street. This is where the Logos Theatre started, before it was moved to the church in Maria Skłodowska-Curie. It was this church that Archbishop Władysław Ziółek gave to the Lodz artists in 1993, and in which the Centre of Creative Communities’ of Lodz Archdiocese was appointed. It is here that the ‘logistic’ centre of the Festival is located, and where some of the Festival events take place.

Traditionally, the Festival takes place in November, on the first Sunday after All Soul’s Day. It usually lasts for two weeks, during which various event take place – spectacle premiers, other theatres come to Lodz, there are exhibitions of invited artists, performances of choirs and musicians, very often not to be seen anywhere else in Poland at any other time. The Festival programme is the result of the whole year’s work of rev. Waldemar Sondka, the Festival Director, who – using his contacts – invites artists who are interesting, out of the ordinary, noteworthy and creating art perhaps not always religious, but always searching and at the highest level. Care for the level of the Festival offers is a permanent rule, the Logos environment has always wished to provide the Lodz citizens with the possibility of contact with art deprived of parochialism, open to the man and as perfect formally as possible.

The Festival is not an activity that brings profit. Any entrance cards are issued as invitations that are free of charge, and the team of the Logos Theatre and all the people engaged in the Festival organization, act as volunteers. This does not mean that Christian Culture Festival costs nothing. On the contrary, to organize such a cultural event at appropriate level is always connected with costs. Rev. Waldemar Sondka deals with organizing means to secure the Festival events all year round. He manages to gain sponsors (without whom the Festival would not exist) and subsidies from institutions that deal with funding culture (without which the Festival could not develop). All that in order to realize the basic idea of the event that derived from the Lodz Christian Culture Days – to enable anyone who wishes and needs that, to live the Mystery through art. This idea assumes a free of charge participation in all the artistic events, which has been the case since the very beginning of the Festival until today, the only condition is that on the day of the Festival opening, one must queue as long as it takes to get invitations. The only limit to the number of invitations is the capacity of rooms in which the events are organized every day throughout the two weeks of the Festival.


 

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Witold Kopeć

Actor, graduate of Acting Department at PWSFTViT in Łódź. In 1981 he began working at the Jaracz Theatre in Olsztyn and later performed in Polski Theatre in Bydgoszcz, and in Polski and Współczesny Theatre in Szczecin. Since 1989 he has been closely connected with J. Osterwa Theatre. He has played over 100 theatre, radio and film characters.

He is most proud of the following roles that He player:

Gustaw in “Śluby panieńskie” A. Fredro Piotr in “Ósmy dzień tygodnia” based on M. Hłasko — directed by J. Wierzbicki Artur in “Tango” by S.Mrożek — directed by K. Szachnowski Prince Myszkin in “Idiot” based on F.Dostoyevsky — directed by A. May Septimus in “Arkadia” by T.Stoppard and Earl Szarm in “Operetka” based on W. Gombrowicz — directed by K. Babicki Mazurkiewicz in “Żołnierz królowej Madagaskaru” by J.Tuwim Parolles in “Wszystko dobre co się dobrze kończy” based on W. Shakespeare — directed by T. Bradecki.

Some of the more import ant radio roles:

He in “Opowiem wam o Ester” based on M. Hłasko
Actor in “Mistrz Ildefons z Aktorem rozmowie świątecznej” — both In radio play based on his own scripts — directed by K. Kotowicz

Among the film roles, the following are worth mentioning:
Mim in pantomime film by K. and M. Bogusławscy with K. Penderecki music “Psalmus” and Sławek in L. Niedbalska film “Day four". He is the author of theatre and radio scripts, and a theatre producer (he runs a private Poezja Studio Theatre in Lublin). He also has published (e.g. “Na przykład”, “Najwyższy czas") and directed (e.g. “Opowiem Wam o Ester” and “Pętla” based on M. Hłasko).

He realised 9 monodramas, including:

“Nie będzie darowane” — his own text
“Zwracam się do rządu Jej Królewskiej Mości” — based on W. Suvorov
“Beniowskiego” — based on J. Słowacki
“Trzy rozmowy z Panem Herbertem” — based on Z. Herbert.

His repertoire also includes the premieres of two recitals: “Jest już za późno” based on E. Stachura and “Wciąż po linie” based on W. Wysocki.

He is an academic teacher. Since 2001 he has been co-operating with Maria Curie-Skłodowska University in Lublin and has classes in “Literary texts interpretation”, and at Law and Administration Department “Legal rhetoric in practice". In 2005 he began his PhD studies at Theatre Academy in Warsaw, and in 2006 received the PhD in theatre acting.

He received many rewards at international and national theatre festivals and contests.

“Three conversations with Mr Herbert”

Spectacle “Three conversations with Mr Herbert” is a monodrama, whose script was based on poems, fragments of letters and essays written by Zbigniew Herbert. Among other poems, there are also those very famous, like “Apollo i Marsjasz”, “Potęga smutku” or “Przesłanie pana Cogito”, and others, like “Zima” or “Kasztelanko mych palców…”, which were published only in “Zeszyty Literackie”. Fragments of essays come from volumes of “Labirynt nad morzem” and “Martwa natura z wędzidłem”, and as for letter, those are fragments of correspondence with Czesław Miłosz and Stanisław Barańczak.

It is a performance about a man with clear vision, about a steadfast man, faithful to his ideals. It is about his fascination with creative journey. The spectacle is about a declared European aware of his Polish roots.

Witold Kopeć — script, direction and acting
Katarzyna Krygier-Durakiewicz — stage design
Rafał Rozmus — music
Jacek Wierzbicki — co-operation with the director
Anna Sieradzka-Wawryszczuk — English version of a text
Andrzej Durakiewicz — poster
Błażej Kalinowski — technician

There is more on: www.witoldkopec.pl

He died on a July night of 1998 in a corridor of a Warsaw hospital — none of the nurses or doctors knew that was one of most gifted poets of contemporary times. A man who deeply admired the European culture, faced the same loneliness as Norwid, who died in a Paris poorhouse. Herbert left us with a black and white world: “I believe there are things that are beautiful, things that are ugly, good and bad, nasty and noble and shame on those structures in which those borders are going to be blurred for the sake of anything” — he wrote. Are these words going to be understood by today’s world, in which relative things matter? In any case, it is worth fighting for. Be faithful. Go.

In a conversation with Jacek Trznadel in 1985, Herbert retorted to his question about writers who gave into the dictatorship of communism: “What should draw us together is a certain inalienability of a human conscious. An intellectual is for thinking independently, even against everybody else (…) The truth holds true for ever.”

The form of a monodrama chosen by Witold Kopeć, is to show a steadfast man, who was once a poet. According to Norwid, the role of a poet is to “provide things with appropriate words”, as much as the role of an actor is to reverse this process and transform the word into reality. The spectacle leads us into a reality of a human — a steadfast poet. The monologue is often a form of Herbert’s poetic statement. We can feel it is him ho speaks to us.

Małgorzata Lalicka — linguist
Kraków Town Hall