W grudniu 201 3 r. miałam zdjęcia do teatru TV pt. “Walizka” w reż. Wawrzyńca Kostrzewskiego.
Sztukę napisała super zdolna Małgosia Sikorska – Miszczuk.
W obsadzie znaleźli się oprócz mnie: Krzysztof Globisz, Adam Ferency, Halina Labonarska i Lukasz Lewandowski.
Premiera już niedługo w TV.
Gram : Jacqueline, Automatyczną Sekretarkę
Na zdjęciu z Elą Radke, wspaniałą kostiumograf
Teatr Dramatyczny in Warsaw
ALINA GOES WEST
translated by: Dorota Sajewska
directed by: Paweł Miśkiewicz
premiere: 7 January 2006
The story about the world between consciousness and dream
An unnamed place somewhere at the end of the world; heat which coats people’s faces and bodies, taking away vision acuity. Alina Goes West at Teatr Dramatyczny is one of the best performances by Paweł Miśkiewicz in the last few years.
Here in this place you live by the force of habit. What remains from a gas station, by the exit from the motorway no. 15, is a dingy shack with fuel distributors that have been broken for ages. One could dig them up from the concrete but what for? Time has stopped here; there is hardly a soul that comes by.
Tom (Marcin Bosak) seems to have problems with thinking, he can not liberate himself from the influence of his mother Gerda (Katarzyna Figura). She is working in a bank and sometimes thinks that one day her life can still change. Crippled Nikodem (Władysław Kowalski) opens his beer cans in front of his house, i.e. a camping trailer. From time to time, he would just scream at his mute wife (Jolanta Olszewska), when she turns on the radio with its chafing music too loud. The so-called Sped (Marcin Tyrol) fights with his motorbike, but this “shit” never wants to start. His buddy Bart (Andrzej Szeremeta) watches Gerda hungrily; it seems to be a substitute of life. Air does not move, and it is not only because of the heat.
Paweł Miśkiewicz portrays the world which imperceptibly falls off the frames, a fuzzy world, deprived of clear contours. Dirk Dobbrow’s play Alina Goes West gives the possibility to create such a theatre, as it is free from typical weak points of German dramaturgy. This is not one more The Innocent by Dea Loher (Paweł Miśkiewicz made it at Stary Teatr in Krakow), nor Clara’s Case by the same author, which was prepared by the director at Teatr Polski in Wrocław. I do not say that the latter of these plays is a failure, but Dobbrow, unlike Loher, knows how to mingle the detailed observation of his protagonists with the aura of poetry and magic. And this leads to look at Alina Goes West from a completely different angle and to tear oneself away from the politics which is omnipresent in new theatre, and it does not concern only the German theatre. To discover the story that is independent from the place and time. The story without end.
Alina (Marta Król) arrives in this world in white Ford Mustang from 1969, which fits here as a spaceship in a town square. Nobody knows where she comes from and where she is heading to, but is does not matter. What matters are her “green as an alligator’s eyes,” hypnotic, strange, and disturbing. Alina is real but somehow unreal – anyway, that is how she is outstandingly played by Marta Król. She is a beautiful, flesh and blood girl, but she also could have been a dream, a not-so pure fantasy of almost every man.
Dust and heat, and from the other hand a dream of a better life – this is how the show by Miśkiewicz is. Perhaps it is the most visible in an intense role played by Katarzyna Figura, who transformed herself here into a fat, ugly woman with a bald skull. Looking at the actress one can be impressed by her courage, and her will to undergo a physical transformation. However, it is not a physical change that seems to be the most important. Washing windows in a trance and pushing the reservoir, Figura’s Gerda makes one think of the heroines of Werner Schwab, Austrian scandalising playwright, such as Maryjka from the famous Die Präsidentinnen [President Women]. In spite of the dirt which covers her, she remains pure inside, almost immaculate.
Alina Goes West offers moments of emotions, but not for free. One has to enter the rhythm of the play, consent to the unhurried course of the story, and dive deep into it. It’s really worth it.
10 January 2006
Translated by Anna Kiełczewska
More and more cool every day
She used to work at Radio Pogoda, and was reporting for the Televisier [Televiewfinder] programme at the TVN station. Finally, she decided to become an actress. The role of Diana in Egzamin z życia [Life Exam] made her recognizable.
– Measuring 174 cm, haven’t you tried to become a model?
– I always wanted to be an actress. This profession is interesting because you can always be someone else. But yes; I did have some other professional stints: I was a journalist, and for a moment also a model. But I didn’t feel fulfilled. I simply had different ambitions. However, I won’t contradict you, since childhood I’ve always liked to be in the centre of attention.
– So Diana from the Egzamin z życia [Life Exam] is your total opposite?
– She sure is, but that will soon change. I can’t reveal any plot details, but my character will survive a tragedy and those dramatic events will make her a tough, strong woman who will start to struggle with life, and take risks. We will see how far the script-writers will go in this direction but it all seems very interesting. These were also my suggestions, so I am happy they are taken into consideration.
– You never give up?
– Of course I have my moments, but I never break down, I never give up! Of course I do have moments of weakness: I cry and I am angry but in the next moment thanks to the help of the people who are close to me I am taking all the pieces together and moving on. This profession is sometimes stressful, but I am not afraid of hard work. I believe in this principle – if I know I don’t have impact on something, I leave it. Then, I go to the gym, I run, I practice yoga, and I simply forget about professional and private stuff. This is a strongly purifying experience.
– Are you enough recognisable at this point that it may start to be a burden?
– Luckily not, but recently more and more people have recognised me. I had dinner with my dad yesterday. Then we went for a walk. Suddenly my dad decided to buy me flowers at Plac Zbawiciela, from a street florist. When she was giving me flowers she said: “So you are more cool than on TV.” And this made my dad really proud! I do think however that for an actor it is better to stay anonymous as long as it is possible. You can then drop in a restaurant and safely watch people, because this is how you build your drama skills as well. I care about the quality and not the quantity of what I am doing. I prefer to be appreciated, than recognised by crowds. I would prefer that the result of my work was popularity and success, than affairs and scandals.
Translated by Anna Kiełczewska
Marta Król, actress without complexes. She will do a lot for a part, but she won’t give up being herself. In January she will take part in another premiere at Teatr Dramatyczny. She will play Alina in Alina na zachód [Alina Goes West] alongside Katarzyna Figura.
TALENTED AND REBELLIOUS
In order to get a part in the American film and series Pope John Paul II, at the casting Marta Król had to beat several hundred other candidates. The director chose her because he felt her energy and enthusiasm. She is successful in Poland at Teatr Dramatyczny in Warsaw. She plays Nina in Niedokończony utwór na aktora [Unfinished Play for an Actor] by Krystian Lupa.
Twój STYL: Does being unruly pay at work?
Marta Król (laughs): It’s true I have a strong character and it’s difficult to force me to do anything. If I don’t understand a part, I just say: I won’t play it until I know what it’s about. Otherwise I won’t be real. And I used to be unruly already in high school. My parents had some trouble with me.
TS: Isn’t a strong character an obstacle when you have to go along with the director?
MK: Trust is very important. Once in Krakow Krystian Lupa offered me a bit-part in Mistrz i Małgorzata [The Master and Margarita]. After one of the rehearsals we were leaving together and suddenly I said: I trust you. He answered: I trust you too. That was enough. Now we don’t have to use a lot of words. Krystian Lupa has made me appreciate the theatre which I had thought of as pompous. I preferred the cinema.
TS: Your most important part is that of Nina in Niedokończony utwór na aktora [Unfinished Play for an Actor]. This original adaptation of Chekhov’s Seagull was written by Krystian Lupa. How did you prepare to play it?
MK: I didn’t think she was an outstanding person. I didn’t want to feel overwhelmed by her. I tried to love Nina, simply to be her. Because afterwards, on the stage, everything happens by itself.
TS: In Gry i zabawy [Plays and Games] you play a girl who was raped. Weren’t you frightened by this story?
MK: I looked for information on the Internet, I also know a woman who was raped. She was 15 years old at the time. For me her story was a revelation. I knew that I couldn’t cheat because a girl with a similar experience could be sitting in the audience. After Gry i zabawy I was slightly jittery. But I do like to play this part; the performance cleanses me of bad emotions.
TS: You played in an American film about the Pope. John Paul II was played by John Voight. How did you get this part?
MK: Thanks to the casting. The director, John Harrison, chose me because he felt I was enthusiastic. I played Danuta Ciesielska, a member of young Karol Wojtyła’s Krakow circle of friends. I watched John Voight on the set. He also invited me to a reception organized for the actors. I gave him a Solidarity badge. He pinned it on and treated it like a fetish.
Translated by Anna Kiełczewska
Basement at Olesińska Street in the Mokotów district – previously the cinema Przodownik [Leader] now Labratorium Dramatu [Laboratory of Drama]. It is here that the rehearsals for Malambo are taking place.
There is no auditorium “ready.” There are several chairs. It’s cold but the actors are dancing the hot flamenco to warm themselves up before the rehearsal.
– Where are we going to talk? – I am asking Marta Król (who plays Lola).
– Let’s go to “the VIP room” – proposes the actress. It is because unlike the other rooms in this basement, here one can find as much as two chairs. Marta Król, who normally works in the Teatr Dramatyczny, says that now she feels as “an actress from the itinerant theatre.” However neither she, nor the director Ondrej Spišák have any doubts that all this unconventional environment is beneficial for the work.
The Slovak director is putting on stage another one of the Tadeusz Słobodzianek plays. He had previously directed Merlin and Prophet Ilia.
– Every playwright dreams of meeting his director – says Tadeusz Słobodzianek. I can’t complain so far, since I have worked in the past with Piotr Tomaszuk. My plays were put on stage by Mikołaj Grabowski and Kazimierz Dejmek, among others. But the encounter with Spišák is something extraordinary.
Spišák is someone who fascinates and inspires me – adds the playwright. He is as Renaissance explorer, traveller. Each of his performances is like an oceanic trip. Like discovering a new land, a new continent, new people.
CONVERSATION WITH MARTA KRÓL
LOLA AND MICE
Dorota Wyżyńska: This story of blacksmith Malambo, what is it about for you?
MARTA KRÓL: This is not only the story of blacksmith Malambo, but the story of being an architect of your own destiny. The story of a simple man who thinks about the world: “This is right, and this is wrong.” He can’t think differently than that. He feels old, and disappointed. But at the same time, he would also like to live through something special before he dies. The life story of a man, of a lot of people, older ones, the lonely ones…
And Lola is…
–… a prostitute, a shrew, and a woman; maybe all of them together. This depends from the point of view. Three dreams of a man about the woman. Three women from different periods. Lola dances and sings. She speaks very little. But she does live intensively in the world of men. This is a creature who constantly seeks love. As every woman does. This is the tragedy of being a woman. We always want to give. While preparing myself for this role, I was reading prostitutes’ blogs, to understand why do these women do business with their bodies. Do they simply want to become important in this way?
With the entire team you also went to the go-go club.
My first reaction was laughter, and afterwards, it started to fascinate me. These women are feeling beautiful, they are confident. They are convinced of doing something good, because they give to those men what they want.
What does it mean to you to working with the director Ondrej Spišák?
He is a man who doesn’t impose anything, he listens, proposes, and gives the actor time. He is able to say that he doesn’t know something, but at the same time he knows perfectly well what he wants. When we were preparing ourselves to this performance we would spend several weeks at Wigry all together. During the day we all rehearsed, and in the evening we all watched films together. Very different films: westerns, Tarantino’s ones, Saura’s and others films on flamenco, malambo and tango. All this inspired us.
We are sitting in a cold room. In the theatre there is no typical dressing-room. What are the pros and cons of working in these difficult, alternative conditions?
Pros are that you meet wonderful people here. Yesterday I cleaned the floor with a friend; I have to take care of my costume by myself. But all this gives us energy. And the cons are mice, the fact that it is cold here and we get sick frequently. Rubble falls on our heads during rehearsals, because someone is drilling upstairs just at the moment we are working. Discomfort. Luckily, we know how to look at it with a sense of humour.
Translated by Anna Kiełczewska
(Gazeta Wyborcza, April 2004)
Nina Zarechnaya in Seagull by Anton Chekhov is a challenging role. A wonderful material to make a start as an actor. In Krystian Lupa’s performance at Teatr Dramatyczny Seagull – Unfinished Play for an Actor. Spanish Play this role will be played by Marta Król. Nina is a young girl, who dreams about the theatre. During the scene of theatre in the theatre she is presenting a catastrophic text written by Konstanty Trieplew: “People, lions, eagles and partridges… cold, cold, cold… fear, fear, fear.”
“I was struggling with Nina Zarechnaya, I hated this character. I woke up in the morning with this thought: ‘Oh my God, this evening I must still play this awful Nina.’ It was a real physical torture” – wrote on this role Krystyna Janda, who played Nina Zarechnaya at Teatr Ateneum in 1977. Ten years later, it was Joanna Trzepiecińska who made her debut on stage playing in the performance Ten Portraits with ‘Seagull’ in the Background directed by Jerzy Grzegorzewski.
The intriguing Nina was Małgorzata Rudzka in the performance directed by Andrzej Domalik in the beginning of the 1990s at Teatr Dramatyczny. Lately, Nina Zarechnaya was played by Agnieszka Grochowska in a play by Zbigniew Brzoza at Teatr Studio. Marta Król has graduated from the Ludwik Solski State Drama School in Krakow (from the drama department in 2003), but also from the Warsaw University where she studied journalism. She also finished the Karol Kurpiowski musical school (cello, piano). Krystian Lupa speaks about her: “She was my student; she really found her place in her drama classes. She has imagination and strength.”
This is not the first time she will play in one of Lupa’s performances. She also played in Extinction in Teatr Dramatyczny and some episodic characters in his The Master and Margarita by Mikhail Bulgakov at Stary Teatr in Krakow. In Teatr Dramatyczny she played (Blanche, French Woman and Germanic Deity) in I served the King of England by Bohumil Hrabal directed by Piotr Cieplak and in Platonov by Chekhov directed by Paweł Miśkiewicz.
Translated by Anna Kiełczewska