stage director

Archive for October, 2014

Displaced Women

Dialog, 03/2014, Malgorzata Leyko

„ (…) Monika Dobrowlanska’s play was composed due to a principle of freely consequense of sampled text sequences, scenery flow, memory stream, theatre situations built around the prop, gesture, image, a word precisely outplayed by actresses. The play refers tot he question of excilded women’ identity and integrates itself into the present process of activitizing our mind and the history itself, knowledge and ingnorance.
Creating the „place of memory“ in the meanining of Pierre Nora, the artists of Displaced Women History Remix tries to show that history is not able to dominate diferent memories, which abandonned from their main flow do return to strengthen our identity since seeing for memory ist he test of finding one’s own history story. Nora claims that the „places of memory“ emerged whie in society past rituals started to vanish, when society started to reavange on ist own new over old, young over old, fiture times uver oast times. The place of memory includes museums, archives, cementaries, festivals, annniversaries, monuments, shrines.
If would give the same status tot he theatre, their similiar as in the case of literature – it will be become a place of memory unless it verifies history when the artist becomes as well a human being of art as well as a human being of action, what means that he changes the individual discourse to collective one by his artistic acting.

So, while using mixed up techniques, the artist creates a “device of negotiating meaning and identity”. he activates the interpretation creativeness of the recipient through the same tactic, because the mix refers in equal measure to the process of creativeness and delivery. The performance Displaced women does not have the character of a dead repository, but fulfils the role of an emphatically shelter, it directs the record to the individual viewe, commiting its operation to what could be his participation in the collective memory. The function of theatre understood like descriped is the eloquent expression of the experience revived in memory, which becomes a device of the dramatic remix through direct participation of the viewer.
With the performance Displaced women, which I use as an example of drama fulfilling a indirect function towards history and wherein the viewer’s aesthetic experience connects to cognitive experiences, I would like to confront a totally different project. (…) “