This play about Bruno Jasieński – a boy genius who took a wrong turn and was executed in the USSR – is a poetic portrait of an innovator and hooligan, his youthful rebellion and tragic entanglement in ideology. In recalling one of the most important figures of the Polish avant-garde, the creators of this play are looking at him through the lens of past complexities, without the tone of condemnation so often found in today’s inquisitors. “The director has managed to develop her own language for alternative theater. Jasieński is a play with an idea, joining recollections of this 20th-century poet and contemporary technology. The spare and symbolic set, involving the use of video, fascinates the audience,” opined Katarzyna Fryc and Agata Olszewska in Gazeta Wyborcza. “Keeping to a gray-red color scheme, the space recalls a children’s room. The crib in the corner changes into a prison bunk, and out of a red container, Majnicz teases a wooden toy – a horse’s head on a stick, which, in his hands, turns into a steed barreling across the lands of Soviet Tajikistan.”

Michał Majnicz is absolutely flawless in the role of the wayward avant-garde god. He performs as though his body and voice were conquered by the spirit of the defeated writer. He seduces with a predatory eroticism, attacks with manifestos, then softens us up with a tale about a woman who did not come. (…) Despite our expectations, “Jasieński” does not give us a linear story (here we have the logic of poetry and “free words”). This remarkable monologue resembles a puzzle that exhibits its missing pieces. This explains the vagueness, uncertainty, and remoteness.
Alicja Müller, Teatralia