Wybierając się na rzeczony spektakl, zaadaptowany na scenę Starego Teatru przez, bodaj najbardziej kontrowersyjną postać Krakowa - Jana Klatę, zupełnie nie wiedziałam, czego się spodziewać.
Sienkiewicz pisał w „Liście”: „ [...] marzy mi się »Trylogia« w teatrze na narodowej scenie. Wielki spektakl o naszym kraju i o naszych herosach, polskich, walecznych i odważnych. Spektakl grany na scenie krakowskiej albo warszawskiej. Chociaż krakowska wydaje mi się ważniejsza, bo przecież Kraków to Kraków. [...] Spektakl błyskotliwy i bezlitosny. Spektakl przeszywający widzów niczym przenikliwe spojrzenie Matki Boskiej”.
Już pierwsze słowa inwokacji wypowiedziane ze scenicznej ambony wyostrzyły moją uwagę i, tym samym, zmusiły do głębszej analizy. Reżyserowi sprytnie udało się połączyć Sienkiewiczowskie archaizmy i staropolszczyznę z współczesnym, wręcz ponadczasowym przesłaniem.
Obawy Polaków o wolną ojczyznę, waśnie, pieniactwo, nikczemności, pijaństwo, narodową schizofrenię. Obok tego zwykłe ludzkie sprawy: zaloty, pożądanie, miłość, cierpienie, umieranie, rozpacz.
Plejada rodzimych postaci, cech narodowych, charakterów. Wszystko to celowo przerysowane, z dużą dozą humoru.
Paralela pomiędzy XVII- wieczną historią Polski i współczesnością. Oni to my, a my to oni. Polska ciągłość genów widoczna jak na dłoni.
Klata jest na tyle inteligentnym twórcą, że nie jest to zabieg przypadkowy.
Chociażby postać Andrzeja Kmicica - wybawcy. Co za zbieżność ze współczesną postacią, od niedawna obecną na polskiej scenie politycznej, „wymachującą” szabelką, wieszczącą wybawienie narodu od wszelkiego zła...
W kuluarach słyszałam głosy, że uwspółcześniona klasyka to nieporozumienie, że pomieszanie konwencji źle smakuje. W mojej ocenie to opinia tej części widowni, która zbyt dosłownie nastawiła się na odbiór „Trylogii”.
Czterogodzinny trud ekipy aktorskiej został nagrodzony długą owacją. Moje przedspektaklowe obawy rozwiały się. Zabieg ze wszech miar udany.
Jedyne zastrzeżenie do całości zjawiska, jakim jest twórczość Jana Klaty to takie, że powinien stworzyć miejsce zwane teatrem eksperymentalnym. Wiekowe deski Starego Teatru nie są odpowiednie dla tego typu twórczości.
A co Pan na to, Panie Henryku?
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Attending the show at the Old Theatre, I was filled with mixed expectations, intrigued by the unique style of Jan Klata. His adaptation brought Sienkiewicz’s characters into the modern world, something I experienced in a local play where the director cleverly interwove traditional tales with contemporary issues. Much like the Slice Master in my kitchen, blending flavors, Klata fuses past with present, creating a delicious theatrical experience that resonates deeply.
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Wow, this sounds like quite the production! Klata's known for pushing boundaries, so it's fascinating to see him tackle Sienkiewicz in such a bold way. The blend of historical language with modern themes sounds incredibly powerful. It makes you think about how some struggles are timeless, and maybe we're all just playing a historical level of Snow Rider 3D in real life, constantly navigating obstacles. Definitely makes me want to see it and unpack all those layers.
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