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Artists
SONG OF THE GOAT THEATRE (Poland)
Lacrimosa
Director: Grzegorz Bral
Costumes: Cristina Gonzalez
Musical Adaptation: Maria Sendow
Performers:
Earl– Dariusz Chojnacki
Jan– Rafał Habel
Girl – Anna Krotoska
Jew, Prince – Matthieu Leloup
Baker – Ian Morgan
Bishop – Marcin Rudy
Mother – Anna Zubrzycka
50 min.
Fascination with the Greek ritual of anaster (walking on burning wood logs) and inspiration taken from a fable about an innocent victim and redemption resulted in a play, which takes a long time to mature in the viewer, reflecting in her or his personal experiences and feelings; returns; demands attention, does not let to rest. Simultaneously, it functions as a sort of experiment, which seeks to destroy the boarders between music and theater. A chance to see Lacrimosa by Teatr Pieśń Kozła is an open invitation to participate in a magical, yet intimate encounter.
The play is loosely based on Andrzej Szypiorski’s Msza za miasto Arras (Prayer for the city of Arras), however it also evokes quotes from F. Dostoevsky’s Brothers Karamazov and The Apocalypse according to St. John. The play’s musical layer returns to the motifs from W.A. Mozart’s Requiem, and the sphere of the physical movement is inspired by the anaster cult, which is probably “the last possession” of Europe.
In 1485, French city of Arras was attacked by a plague and as a result, about half of the city population passed away. However, those who survived often did this at the expense of those less fortunate. Among the survivors, there were strong people, but also cruel. Three years after the plague, the citizens of Arras decided to find “the evil one,” who provoked them to bestiality. The “guilty” one was found among the “foreigners”. The first accusations were hurled at Jews and young women. In two weeks, the citizens of Arras murdered all those they labeled “foreign” and gave them as the sacrifice in the name of superstitions, prejudice and recklessness.
With this play, the theater group closes the stage of working with myths: each of the succeeding three plays touched upon the topic of the topos of the victim. Lacrimosa is about one man giving himself the right to give as a sacrifice a live of another human being, and the tragic consequences of usurping by man the position of equality with God. It refers to one of the most cruel incidents in the history of France in the Middle Ages. It does not explain or argue for, it is a metaphor for a complicated world of human feelings and passions, which can, at moments, become blind and soulless.
Director: Grzegorz Bral
Costumes: Cristina Gonzalez
Musical Adaptation: Maria Sendow
Performers:
Earl– Dariusz Chojnacki
Jan– Rafał Habel
Girl – Anna Krotoska
Jew, Prince – Matthieu Leloup
Baker – Ian Morgan
Bishop – Marcin Rudy
Mother – Anna Zubrzycka
50 min.
Fascination with the Greek ritual of anaster (walking on burning wood logs) and inspiration taken from a fable about an innocent victim and redemption resulted in a play, which takes a long time to mature in the viewer, reflecting in her or his personal experiences and feelings; returns; demands attention, does not let to rest. Simultaneously, it functions as a sort of experiment, which seeks to destroy the boarders between music and theater. A chance to see Lacrimosa by Teatr Pieśń Kozła is an open invitation to participate in a magical, yet intimate encounter.
The play is loosely based on Andrzej Szypiorski’s Msza za miasto Arras (Prayer for the city of Arras), however it also evokes quotes from F. Dostoevsky’s Brothers Karamazov and The Apocalypse according to St. John. The play’s musical layer returns to the motifs from W.A. Mozart’s Requiem, and the sphere of the physical movement is inspired by the anaster cult, which is probably “the last possession” of Europe.
In 1485, French city of Arras was attacked by a plague and as a result, about half of the city population passed away. However, those who survived often did this at the expense of those less fortunate. Among the survivors, there were strong people, but also cruel. Three years after the plague, the citizens of Arras decided to find “the evil one,” who provoked them to bestiality. The “guilty” one was found among the “foreigners”. The first accusations were hurled at Jews and young women. In two weeks, the citizens of Arras murdered all those they labeled “foreign” and gave them as the sacrifice in the name of superstitions, prejudice and recklessness.
With this play, the theater group closes the stage of working with myths: each of the succeeding three plays touched upon the topic of the topos of the victim. Lacrimosa is about one man giving himself the right to give as a sacrifice a live of another human being, and the tragic consequences of usurping by man the position of equality with God. It refers to one of the most cruel incidents in the history of France in the Middle Ages. It does not explain or argue for, it is a metaphor for a complicated world of human feelings and passions, which can, at moments, become blind and soulless.
08.07 (Sunday) 4:00 pm.
Song of the Goat Theater
10.07 (Tuesday) 5:00 pm.
Song of the Goat Theater
--
Chronicles—the custom of lamenting
Director: Grzegorz Bral
Gilgamesh: Rafał Habel
Enkidu: Marcin Rudy
Shaman: Christopher Siversten
Ninsun: Anna Zubrzycka
Ishtar: Anna Krotoska
Death: Maria Sendow
Utnapishtim: Ian Morgan
Text: Based on the adaptation and a completed Polish translation of Gilgamesh by Robert Stiller.
Scenography: Grzegorz Bral, Rafał Habel, Stanisław Kral
Costumes: Cristina Gonzales
Musical adaptation: based on Albanian and Greek polyphonic laments—the group
Time: 40min
In the Northern Epirus, on the boarder of Greece and Albania, Teatr Pieśń Kozła discovered the existing tradition of singing laments and polyphonic songs. In its exploration of traditions, the theater found a unique ‘physiology of singing.’ Chronicles—the custom of lamenting is a play about entering a purifying song, which makes the senses resonate and embodies what many describe as soul…
Two years of intensive research and studies of this special music: lament, which connects our world and the world of our dead ones, preceded the constructing of this play. Laments typical of the Albanian-Greek border region have a unique structure. The succeeding voices are called: the one, who wanders or sits; the one, who cuts; the one, who gives or takes; and finally, bourdon, a immovable sound. The play is built around a structure on the level of voices, and on the dramatic level. One of the actors narrates a story—with movement, song, word; the other one cuts it; the third one gives or takes, and yet another one holds bourdon—with movement or his fist. Chronicles can also be viewed as a search for dramatic art in the unity of movement and music.
The Sumerian epic of Gilgamesh, only partly preserved on five thousand years old tablets, forms the canvas of the play. The epic as we know it allows us to reconstruct some of the themes in the life of the hero--half God, half man. Angering Shamash, the wild friend of Gilgamesh, Enkidu passes away. Afterwards, the hero decides to seek immortality, and throw into question his destiny. Therefore, we can think of the story of Gilgamesh as a description of failed initiation into eternity, a narrative that we all can in some way identify with. The performers, however, do not try to retell the fate of the hero. They actually share with their audience a story of a sure funeral. Gilgamesh, in this play, is a pretext to a deeper reflection about dying.
Director: Grzegorz Bral
Gilgamesh: Rafał Habel
Enkidu: Marcin Rudy
Shaman: Christopher Siversten
Ninsun: Anna Zubrzycka
Ishtar: Anna Krotoska
Death: Maria Sendow
Utnapishtim: Ian Morgan
Text: Based on the adaptation and a completed Polish translation of Gilgamesh by Robert Stiller.
Scenography: Grzegorz Bral, Rafał Habel, Stanisław Kral
Costumes: Cristina Gonzales
Musical adaptation: based on Albanian and Greek polyphonic laments—the group
Time: 40min
In the Northern Epirus, on the boarder of Greece and Albania, Teatr Pieśń Kozła discovered the existing tradition of singing laments and polyphonic songs. In its exploration of traditions, the theater found a unique ‘physiology of singing.’ Chronicles—the custom of lamenting is a play about entering a purifying song, which makes the senses resonate and embodies what many describe as soul…
Two years of intensive research and studies of this special music: lament, which connects our world and the world of our dead ones, preceded the constructing of this play. Laments typical of the Albanian-Greek border region have a unique structure. The succeeding voices are called: the one, who wanders or sits; the one, who cuts; the one, who gives or takes; and finally, bourdon, a immovable sound. The play is built around a structure on the level of voices, and on the dramatic level. One of the actors narrates a story—with movement, song, word; the other one cuts it; the third one gives or takes, and yet another one holds bourdon—with movement or his fist. Chronicles can also be viewed as a search for dramatic art in the unity of movement and music.
The Sumerian epic of Gilgamesh, only partly preserved on five thousand years old tablets, forms the canvas of the play. The epic as we know it allows us to reconstruct some of the themes in the life of the hero--half God, half man. Angering Shamash, the wild friend of Gilgamesh, Enkidu passes away. Afterwards, the hero decides to seek immortality, and throw into question his destiny. Therefore, we can think of the story of Gilgamesh as a description of failed initiation into eternity, a narrative that we all can in some way identify with. The performers, however, do not try to retell the fate of the hero. They actually share with their audience a story of a sure funeral. Gilgamesh, in this play, is a pretext to a deeper reflection about dying.
13.07 (Friday) 4:00 pm.
Song of the Goat Theater
14.07 (Saturnday) 4:00 pm.
Song of the Goat Theater
14.07 (Saturnday) 4:00 pm.
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