Na motywach twórczości Wieniedikta Jerofiejewa. Wykorzystano fragmenty poematu „Moskwa -Pieluszki'', dramatu „Noc Walpurgi albo kroki Komandora", eseju o Rozanowie „Oczami ekscen­tryków", fragmenty wiersza Josifa Brodskiego „Jesienny krzyk jastrzębia" oraz teksty reżysera .

AKTORZY: Mariusz Blimel - Szatan Sławoj Golański - Konduktor Janusz Janiszewski - Żyd Gurewicz Dariusz Mikuła - Alchemik Jacek Zawadzki - Pisarz Jerofiejew

Muzyka - Marek Kazana Pieśni - Marek Wójtowicz Wykorzystano także utwór Erika Satie -Gnossiennes. Scenografia - Piotr Klamerus, Zygmunt Duczyński Realizacja scenograficzna - Piotr Klamerus, Janusz Pławczyk

Obsługa techniczna spektaklu: dźwięk - Janusz Pławczyk, obsługa świateł - Zygmunt Duczyński . Opracowanie kostiumów i rekwizytów - Mirosława Poślednik , Brunon Tode Tłumaczenie tekstu scenariusza na język angielski -Caryl Swift. Organizacja przedstawień - Viol ina Janiszewska, Jacek Zawadzki. Plakat - Andrzej-Boy Wójtowicz. Realizacja - Stowarzyszenie Teatr Kana.

SCENARIUSZ, REŻVSERIA, KOSTIUMY I REKWllYTY :

lYGMUNT DUClYŃSKI

lnspired by writings of Vi rofeyev the poem „Moscow - Petushki", the lpurgisnight, or

the Steps of the „G ", the essay about Rozanov „In the Eyes of an Eccentric", fragments of the poem ,,The Autumn Gry of a Goshawk" by Josif

Brodski and texts by Zygmunt Duczyński.

THE CAST: Mariusz Blimel - Satan

Sławoj Golański - the Ticket lnspector Janusz Janiszewski - Gurevitch, the Jew

Dariusz Mikuła - the Alchemist Jacek Zawadzki - Erofeyev, the Writer

Music - Marek Kazana Songs - Marek Wójtowicz

We use also „Gnossiennes" by Eric Satie. Scenography design - Piotr Klamerus, Zygmunt

Duczyński

Scenography preparation - Piotr Klamerus, Janusz Pławczyk

Technicał service - Janusz Pławczyk, łights -Zygmunt Duczyński.

Costumes and Accessories preparation - Mirosława Poślednik, Brunon Tode

Translation - Cary/ Swift. Managment - Violina Janiszewska, Jacek Zawadzki.

Poster - Andrzej-Boy Wójtowicz Realization - Stowarzyszenie Teatr Kana.

SCRIPT, DIRECTING, COSTUMES, ACCESSORIES:

lYGMUNT DUClYŃSKI

Tl IEJ\TRE KJ\NJ\ has worked since 1979.

ZYGMUNT DUCZYNSKI is its founder and author of all peńom1ances.

KJ\NJ\ has originated from the altemative thcatrical movement and its pcrfom1ances as wcll as the methods are the resulls or nur conscious choices of the artistic way. We focus on the problems of the spiritu;il and existe.ntial conditions of human kiml len in a vague and multidimensional reality. ( ·o­

existence of suffering and laughter, ininy ;rnd metaphysics, religious tcnsion and blasphemy - such perccption of the world characterizes the peńomiances of KAN.I\. They combine individual creativity of the actors with group trainings and the intensive literary studies.

In 1994 KANA won the prestigious International Critics Award and the "Fringe r:irst" at the Edinburgh Festival of J\rt s. The Critics Award is given to the bcst tlm-c

theatrcs (out of 1,500) taking part in the r:estival. KANA was the first l'olish the<1tre honoured in this way.

MoKow - I'etushki

"This is a \\,mderful demonstration of how to m;ike compelling thcatrc with only a naked light bulb, a candle, a mirmr, a suit -<..· :isc, and a single actor. Theatre Kana from S1czccin in Poland u rho Id the principles of Grotowski 's roor theatrc, dispcnsing with all but the most intimate contact between audience and [X'rfomier ( . .. )The pcńomiance, <linx:ted hy Zygmunt Duczynski, is a bcauti ful microcosm of the virtuoso range of skills associatc<l with l'olish thcatrc ( ... ) Tberc is magie and intrlligcnce in this quite exccptional show."

John Link/a/er "Muchfrom little "

'"'

RJ\NGE OF Tl IE GREJ\T SENS ITI VITY or Vcnnitshka'sjoumey through life

berween white and black betwcen laughter and ery beł'M:rn subtleness and vulgarity becoming endearmcnt

breath of poetry bum of laughter and absurd and trcmbłe of a I lurnan !king asking ahout God

c:verything in this performance helped me to expcrience it.

Ryszard Grzyb a pointer and a poet

TllE NIGHT

"I was in the company of drunken madmen ( . .. ) Anyway, in shabby black, they chant through an anti-Eucharistic toast to the demon drink., gulping down meths and voclka like therc's no tomorrow - and maybe there isn't, the Day of Judgcmcnt bcing due. They look like Orcughel pcasants tumed Oeckett tramps ensnared by Mcphistopheles. They cavort ( .. . ) Tbeatre Kana arc artists of fine timing and physical vigour."

Kate Basset T7lE TIMES October 6, 1995

"Coming to sce TllE NJGllTyou enter morc than jtL~t theatrc. You pcnetrate your own necds and desires, your own, but common for all of us. You see them on stage."

Bogdan Tivardochleb Token.form the lea(Tetfor the Edinburgh Festival 199'1

Our tour in the US.I\ is sronsorcd by: - Szc1.ecin C it y Council

- Poli sh Ministry of Culture and Art -The Foundat1on for ~lopment of the Kle..~zow Commune

- Oattery foundation Poland

- Govemmcnt of Sz.czecin Province - Consulate General of the Repubłic of

Poland in Los Angeles

e-mail : "Teatr Kana"<expo@man.szc1.ccin.pl>

http ://www. s7.J.:.7J:.cin . pl/e~J>G'lcana

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