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ZAR Theatre (Wrocław)

“The Gospels of Childhood Triptych” ANHELLI. THE CALLING

04. 11. 2014 – Tuesday
8pm
Wytwórnia, ul. Łąkowa 29

phot. Irena Lipińska

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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“Gospels of Childhood. The Triptych”

Part I Overture. Fragments on Intimations of Immortality from Recollections of Early Childhood
Part II Caesarean Section. Essays on Suicide
Part III Anhelli. The Calling

The Triptych performance is a culmination of the company’s more than 10 years of work with ancient sacred songs. It premiered in London at the Barbican Centre in 2009 and was presented in Los Angeles, Florence, San Francisco, Chicago, Sibiu in Romania, also in Wrocław, Legnica, Szczecin and Bydgoszcz in Poland. Separate parts of the opus were presented among others in Athens, Edinburgh, Madrid, Beograd, Budapest, Paris, Cairo, Seoul, New Delhi, Boston. With presentation of it Teatr ZAR was named Best New Music Theatre from the “Los Angeles Times” in 2009, and in October 2010 it was honoured with the Wrocław Theatre Price.

The Triptych is dedicated to those, who gave us life and those, who gave us the voice — to our teachers.

 

“Anhelli. The Calling”

Anhelli: Matej Matejka
Ellenai / Eloe: Ditte Berkeley / Kamila Klamut
and: Nini Julia Bang, Przemysław Błaszczak, Alessandro Curti, Jarosław Fret, Aleksandra Kotecka, Jarosłąw Fret, Ewa Pasikowska, Tomasz Wierzbowski

Project leader: Jarosław Fret
Lighting: Maciej Mądry

A tribute to the Polish romantic poet, Juliusz Slowacki and his journey from Naples to the Holly Land, via Alexandria, Cairo and Damascus.

Anhelli’s theme is a phenomenon that Theatre needs to face in order to protect its essence and its place in this world. This is a theme of unity and disintegration of our life, our corporality, of our own selves. This is a theme of possession. Of making a vessel for the other, for a stranger’s life, even a future life, out of our own selves. This is a theme of illuminating, a theme of “over angeling”. This is a theme of being possessed by an angel.

How to make an angel transit through a human body; how to let that angel live there for a moment? In what musical form? In what vibration?

We live in cathedrals of our bodies, with ornamentation and gilding of facades, and with placement and relation to the others being of most importance. But the theme of Anhelli is calling for small country wooden churches where we stay enclosed in our aloneness. Closed within. Instead of cathedrals — small temples of the heart. Small churches of the body. Chapels and meeting halls. Here one calls spirits of their forefathers. And thus the unfinished forefathers’ eve project at the same time transforms itself into a seance of calling the Angels. Their wings are not snow white. They are rather of the ashy, smokey grey of the ebbing souls.

One needs to involve their entire inner being, their entire life force to create vast space within oneself, create a void as empty as a Siberian abyss. So empty that it sucks in.

The musical core of the performance is based on Byzantine and Sardinian paschal hymns as well as Ortodox Irmoses.

The premiere presentations of the performance took place at the Barbican Centre, London in September 2009, as the last part of the triptych “Gospels of Childhood”, shown within the POLSKA! YEAR in Great Britain.

Because I do not hope to know again
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is nothing again
Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessed face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice
[Thomas Stearns Eliot, Ash Wednesday]