by Julie Uszpolewicz
The sun was setting on the old Warsaw villas and the air was filled with the fresh scent of early spring. I was on my way to the theatre show, finally, after so many months of lockdown. The play I went to see was “The French” by internationally recognised Polish director Krzysztof Warlikowski, who was recently awarded the Gold Lion for his lifetime achievement at Venice Biennale 2021. The thrill of wondering whether it will be worth it right until the opening act was back. The exciting idea of being immersed in someone else’s artistic vision for four hours straight was back. The theatre I longed for greatly was back.
The online recordings popular during the lockdown were a nice gesture of course, and sometimes even an opportunity to see something you would not otherwise. It is also a big step to making art more accessible, which the art world definitely needs. Without a doubt, however, the experience of seeing a live show is incomparable — the sense of participation in something unique is definitely a big part of it (at least for me). In fact, I was quite surprised to learn that the Venice Biennale did give awards for theatre achievements this year too. To Krzysztof Warlikowski no less, whose productions have such a strong effect on the viewer that it is impossible to replace from your own home.
“The French” is a loose interpretation of In the Search of the Lost Time by Marcel Proust. It starts abruptly in media res, and without any introduction sucks you into the oniric scenery and unexpected events. All Warlikowski works feel like observing someone’s dream. What is most important is usually unspoken, left to be read in between the lines of passionate exclamations or, in case of “The French”, daily banter of aristocracy. “What we believe in is hidden even from ourselves” — as one of the characters in his other play, “The End”, says. This four-hour long reverie is as if you were to enter your own stream of consciousness, starting to wonder about your views on this or that, inspired by the unexpected events that unfold before you.
For me, theatre is capable of evoking much stronger emotions than any other art form. Especially, in the performance style of Warlikowski, which is characterised by a certain sense of uneasiness. Perhaps it is the disconnected plot or the mix of classical and electronic music, but the tension created drives you to the edge of your seat. You are immersed in it, drawn into the scene as if someone was forcing you to watch things that can be uncomfortable or unpleasant at times. This suspense would not work if you were laying on your bed with a glass of wine or even watching it on a big screen.
Krzysztof Warlikowski is a well-known figure to anyone interested in the art scene in Warsaw, but he also received recognition internationally. Those who attend his plays staged usually in the New Theatre in Warsaw may even bump into him smoking a cigarette after the show. He is most known from the distinct style of his productions and unique interpretations of canon works of literature. Internationally though, the most attention he seems to get from his operas — Electra was featured this summer during the Salzburg Opera Festival which gained Warlikowski a controversial interview in the New York Times. I have never had a chance to see any of his opera interpretations, but hopefully with the ease of lockdown restrictions such an opportunity will present itself soon.
The recognition he got from the Venice Biennale Teatro 2021, according to the website, is due to his “profound renewal of the European language of theatre”. It was definitely well-deserved, as Warlikowski himself says that his plays have an aim to become a part of public discussion. In “The French”, for instance, the decadent aristocracy not only gossips about love life, but also sheds light on the European values. In times of the crisis of identity during the pandemic— both personal and European — the play is strikingly relevant. However, his work relies on subtleties, so rather than present us with a view it makes us question the ideas we have about ourselves and our role in the society.
The unique and multi-media style of his theatre productions, often inspired from ballet, opera or rave concerts, deserved the awards. The eclecticism and innovation are definitely valued at the Venice Biennale Teatro 2021. Kae Tempest, though I am less familiar with their work, was awarded a Silver Lion. Similarities between the two winners can be found in the transcending of the canon art forms, not straightforward interpretations of classical literature, and a mixture of the high art with pop-culture. Hopefully, this will mean that the plays we will manage to see after the lockdown will be even more unique and immersive. After all the time spent staring at screens, our urge to experience something real and one-of-a-time is bigger than ever. It would be exciting to observe this shift in the performing arts more widely.
As with anything else, it is hard to predict how the coronavirus pandemic will transform the artistic scene. The beauty of art is that we bring in what we ourselves want to see into it — therefore it always can be relevant in one way or the other. Warlikowski’s plays are standing proof of the claim that through looking at art we can look into ourselves. This opportunity to enter your own thoughts in a beautiful, dreamy scenography is something I look forward to seeing more and more as the restrictions will ease. After the pandemic we all long for real experiences and theatre is in the best position to reflect that. The Venice Biennale reminds us of the future, when we will able to dress up to go to see a play and then discuss it at length with friends again.
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