hymn to love Texte et mise en scène marta górnicka novembre 2018 je 15 20:30 ve 16 20:30 maillon - wacken

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Théâtre choral / Pologne hymn to love Texte et mise en scène marta górnicka novembre 2018 je 15 20:30 ve 16 20:30 maillon - wacken à 0:50 En polonais, surtitré en français et allemand Warm-up

1 Théâtre choral / Pologne hymn to love Texte et mise en scène marta górnicka novembre 2018 je 15 20:30 ve 16 20:30 maillon - wacken à 0:50 En polonais, surtitré en français et allemand Warm-up «Tableau sonore» Avec les CEMEA ve 16 novembre, 19:00, Maillon-Wacken réservation : irene.cogny@maillon.eu / entrée libre Relations avec le public Enseignement supérieur : Marion Ollivier marion.ollivier@maillon.eu / Écoles, collèges, lycées : Mélanie Bauré melanie.baure@maillon.eu / CE, associations, CSC : Irène Cogny irene.cogny@maillon.eu / Allemagne : Céline Coriat celine.coriat@maillon.eu /

2 MARTA GÓRNICKA HYMN TO LOVE PREMIERED: JANUARY 21st, 2017 POLISH THEATRE in POZNAN fot. Magda Hueckel HYMN TO LOVE for orchestra, stuffed-animal choir, and others is a show about Europe closing its ranks. Nation after nation is crying out: Give us back our country! And Poles are eagerly joining in the chorus. It is also a show about how every nation loves to forget. And how human time-bombs are so furious they're blowing their fuses. Thus, history repeats itself. So, just for us, the chorus will sing The Song of the Forgetful Nation: The TRUTH is that this NATION let all of this happen. It let certain of its children, the chosen children, die, even though they were never its children, children of that nation. OK. So that makes it all right. And, anyway, it wasn't THIS country but THAT ONE: (high and low) GERMANY. And we don't know anything about it. WE DIDN'T SEE IT HAPPEN. Certain facts have been tailored to fit the story. And since it's only been a short time that we've had this country and this nation for OUR VERY OWN, we fight, fight to make it OUR country, our POLAND, ours and OURS ALONE.

So we can't afford to take in those Fugitives now, either. Oh, we simply can't allow that. We have a lot of room but it's not enough. We can't squeeze anything more in.

3 So we can't afford to take in those Fugitives now, either. Oh, we simply can't allow that. We have a lot of room but it's not enough. We can't squeeze anything more in. We can love them when they're at home where they belong, and anyway it's those who are to blame who should help them first. Besides, they'd come and grab all the special offers on smartphones, and seize all the bargains and discounts. And the thing about us Polish people is A GUEST IN THE HOUSE IS GOD IN THE HOUSE we sure do love low prices! Photo: Magda Hueckel HYMN TO LOVE is the last piece in the director's European triptych inspired by Mother Courage. The image of an orchestra playing music in death camps and the Holocaust are a starting point for Górnicka to address the rise of present-day European nationalism and the migration crisis. In her libretto to HYMN TO LOVE, Marta Górnicka exposes the obscene language of politics today, quoting statements by fundamentalist fighters and terrorists (including fragments of Anders Breivik's manifesto 2083 A European Declaration of Independence, and speeches by ISIL leader Abu Bakr al-baghdadi and Osama bin Laden) alongside speeches made by legitimate politicians. Górnicka mashes up Internet hate-speech with pop lyrics and patriotic songs. She makes use of musical and ritual structures, and samples national anthems and fragments of church liturgy in an attempt to determine where the song that emerges out of all these sources might take us.

! Photo: Magda Hueckel In HYMN TO LOVE, I've composed a monstrous National Songbook out of various versions of the national anthem, marches, patriotic songs, religious hymns and folk songs our shared

4 ! Photo: Magda Hueckel In HYMN TO LOVE, I've composed a monstrous National Songbook out of various versions of the national anthem, marches, patriotic songs, religious hymns and folk songs our shared musical repertoire, so eagerly being mixed by the nationalist rappers of today: 'TIS A DAY OF BLOOD AND GLORY! When working on this project, I was haunted by the image of the concentration camp orchestra, which played marches, German classical music, and tunes from prewar operettas. All the inmates were forced to sing along. Music played a part in the Holocaust. I am looking into this alliance of song and murder. I believe that the CHORUS, as a figure of the community, can show the workings of the collective unconscious. Its song exposes the frightfulness of a community bound together by love of country: of a homeland exclusively for people like us. A homeland which is like a family that has to be kept safe and pure by eliminating all foreign bodies other races, religions, sexualities. Such a love is a perverse fulfillment of the commandment Love thy neighbour as thyself! It inspires Champions of Purity/Saviours to fight for our right to love our neighbours, as long as they look just like us. You must honour me for my seventy-seven victims, Anders Breivik urges, Actions like mine prevent a future civil war, which could result in the death of hundreds of thousands. I put the world in order. I come to heal. With a smile, Breivik insists he is completely sane, as the entire history of our civilization attests. He is right. How are we to respond to this horrific logic? Marta Górnicka

! Photo: Magda Hueckel The choir will be made up of actors and actresses from Polish Theatre in Poznan and from The Chorus of Women, amateurs, children, adults with Down's Syndrome, and senior

5 ! Photo: Magda Hueckel The choir will be made up of actors and actresses from Polish Theatre in Poznan and from The Chorus of Women, amateurs, children, adults with Down's Syndrome, and senior citizens. Conceived, written and directed by: Marta Górnicka Music: Teoniki Rożynek Choreography: Anna Godowska Dramaturgy: Agata Adamiecka Set design: Robert Rumas Costumes: Anna Maria Karczmarska Puppets: Konrad Czarkowski (Kony Puppets) Lighting design: Artur Sienicki Producers: Izabela Dobrowolska, Agnieszka Różyńska Assistant to the director: Arnold Prządka Assistant to the choreographer: Anna Krysiak Assistant to the costume designer: Agnieszka Majkutewicz Vocal coach and musical consultant: Joanna Piech Sławecka Technical director: Andrzej Szwaczyk Cast: Sylwia Achu, Pamela Adamik, Anna Andrzejewska, Maria Chleboś, Konrad Cichoń, Piotr B. Dąbrowski, Tymoteusz Dąbrowski, Maciej Dużyński, Anna Maria Gierczyńska, Paula Głowacka, Maria Haile, Wojciech Jaworski, Borys Jaźnicki, Katarzyna Jaźnicka, Ewa Konstanciak, Irena Lipczyńska, Kamila Michalska, Izabela Ostolska, Filip Piotr Rutkowski,

6 Michał Sierosławski, Ewa Sołtysiak, Ewa Szumska, Krystyna Lama Szydłowska, Kornelia Trawkowska, Anastazja Żak Co-produced by: The CHORUS OF WOMEN Foundation, Polish Theatre in Poznan, Ringlokschuppen Ruhr, Maxim Gorki Theater Partners: Goethe-Institut, Center for Contemporary Art Ujazdowski Castle Project co-financed by The City of Warsaw, The City of Poznan and Kunststiftung NRW. Duration: 50 minutes

7 Photo: Magda Hueckel REVIEWS Hymn to Love is a masterpiece. Precision and energy, dynamism and rhythmical perfection. Elaborate musical arrangement by young composer Teonika Rożynek elevates the proven form of chorus to an even higher level Witold Mrozek, GAZETA WYBORCZA HYMN TO LOVE is another important voice in Polish theatre. A real and painfully honest one. Górnicka's productions are created according to an original method. She is consistent and always fresh in it. Each chorus of hers is different, although based on music combined with specific expression of voice and movement. In the production "Hymn to Love", nothing disturbs us, nothing distracts our attention from the shouted, sung, whispered word... It is important to want to hear it. Stefan Drajewski, GŁOS WIELKOPOLSKI The text, and the action on stage hit harder than expected, producing however much the term might smack of pathos a plaintive cry about the Holocaust This time, Górnicka's work is not merely surprising and innovative, for we have come to expect that of her pieces by now, but shocking. And this is no exaggeration. The military, mathematical precision with which the author measures out remembrance of the Holocaust within the sound universe she

8 creates is utterly riveting. There is no room here for either understatement or over-interpretation: Górnicka explicitly addresses Polish acquiescence to, and complicity in the Holocaust... By using statements [by Anders Breivik], it becomes clear where she is taking us: atrocities, ossified in the memory by the agency of a detached gaze, that can be fast-forwarded, skipped over, or deleted. To watch human tragedy unfold, to behold it as a spectator and refrain from taking action means being complicit and acquiescing to evil, is the conclusion Górnicka leaves us with. Patryk Czaplicki, Trauma Out Loud, Didaskalia This great work bears the title Hymn to Love (please, while reading this text, buy the tickets immediately) and has been prepared with the actors of Polski [Theatre] and amateurs, recruited by Górnicka as it is a tradition already in a casting call open for everybody. However, there is no trace of amateurishness on stage. Everybody copes very well, both collectively and individually. Together with Agata Adamiecka, responsible for the dramaturgy, and the rest of the team, Górnicka has created a masterpiece, not only attractive in terms of staging but also and above all extremely important, painfully accentuating our national Polish-Catholic hypocrisy. [...] It is necessary to scream, wail and sound the alarm, it is necessary to resist and not capitulate by any means. Certainly, Marta Górnicka does not lay down her arms and bravely leads her chorus to the barricades! Mike Urbaniak, GAZETA WYBORCZA, suplement WO Marta Górnicka's chorus puts the national community and the age-long opposition of "us" and "them" under question marks. Blurring of the boundaries between what is "ours" and "foreign" is a great success of this production. Marta Górnicka shows the conflict, without accepting any party's argument. Sometimes silent, sometimes loud, the cry of her chorus is just a wake-up call for Europe: "Attention! We've already been there!". In addition, there are sublime moments in which the choreutic performers rhythmically march, imitating a military orchestra we can then see in them confidence and verve which move and, at the same time, arouse anxiety in the viewer. Is that really "us"? So fierce, relentless and hostile? Or perhaps it is "them", perhaps "we" have nothing to do with them? Anna Rogulska, kulturapoznań.pl portal According TEATR monthly s ranking HYMN TO LOVE was announced THE BEST PERFORMANCE OF MUSICAL THEATRE in POLAND in 2016/2017 season. Links: html

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Copyrighted material Part 1 Ways of Working 1. Introduction: Using This Book 3. Chapter 1 The World of Musical Theatre 5

Copyrighted material Part 1 Ways of Working 1. Introduction: Using This Book 3. Chapter 1 The World of Musical Theatre 5 Contents List of Illustrations Acknowledgements vii viii Part 1 Ways of Working 1 Introduction: Using This Book 3 Chapter 1 The World of Musical Theatre 5 Chapter 2 Creating a Reflective Journal 11 Part