Graduate of the Acting Department of the L. Solski State Theatre School in Krakow (2009)

2011 – J. Szaniawski Dramatyczny Theatre, Wałbrzych

1.01.2023 – National Stary Theatre, Krakow

A powerful stage presence and skilful way of turning spare gestures into enormous effects—these are attributes of Filip Perkowski’s acting, admired by a host of critics, including Jacek Sieradzki, who hoped the actor would “continue to pirouette in all his thespian ballets,” and Przemek Gulda, who calls Perkowski’s acting “masterful and mad.” It is this mastery, acknowledged at the COUNTERPOINT Review of Small Theatrical Forms (2018), that is on show at the Stary Theatre stages.

The ironic commentator from Klaudia Hartung-Wójciak’s “Correction,” with his remarkable capacity to break through the seriousness of stage, showed himself fully as a Don Juan in Małgorzata Warsicka’s “Constant Prince.” Since graduating from his studies he has performed in over forty plays on the country’s foremost stages. Apart from the National Stary Theatre in Krakow, he has been hosted by the Wybrzeże Theatre, the W. Horzyca Theatre in Toruń, Studio Theatre in Warsaw, and Komuna Warsaw, and above all, at the J. Szaniawski Dramatyczny Theatre inWałbrzych. This was where his voice rang out most stridently, in the monodrama “May the Law Be with You (or: What to Know about the Constitution in the Event of a Reign of Thieves, Madmen, and Fundamentalists)” by Aneta Groszyńska, of which Łukasz Drewniak wrote: “And again he is unleashed, transforming and shouting his own self down” (teatralny.pl).

On three occasions, he took home “The Best” distinctions handed out annually by Teatr magazine, one for his role as Father of the Director in “An Enemy Is Born” by Aneta Groszyńska, for which he received outstanding reviews: “Perkowski is excellent as the tough political player and cynical businessman (…), and his disconnected way of perorating on the radio waves strangely gets through to listeners” (Aram Stern, teatrdlawszystkich.eu). His role as Henryk Sienkiewicz in “Sienkiewicz Superstar (or: A Very Late Biographical Anecdote on the Praiseworthy Occasion of the Centenary of Gaining Independence)” by the same director was also greeted with enormous enthusiasm, as he was in “If Pina Had Not Smoked, She’d Be Alive” (dir. Cezary Tomaszewski): “Sienkiewicz is now a pragmatist (…). I feel like this kind of assumption is fun for the actor; his fending off attempts to clamber onto a pedestal is what makes this such a good time (…). During this season at Wałbrzych’s Szaniawski Theatre he also was tasked with dancing in a marvellous show, ‘If Pina Had Not Smoked, She’d Be Alive,’ and although he did not physically resemble Mikhail Baryshnikov, under the guiding hand of Cezary Tomaszewski he was able to win over the audience” (Jacek Sieradzki, encyklopediateatru.pl).

He has worked with Poland’s leading theatre directors, including: Anna Augustynowicz (“The Martyrs”), Wojtek Klemm (“The Wedding”), Marcin Liber (“Aleksandra: A Piece on Piłsudski,” “For the Love of God,” “Being Dr. Strangelove, or: How I Stopped Worrying and Learned to Love the Uniform”), Marcin Wierzchowski (“Decalogue. Volare”), Aneta Groszyńska (“Zapolska Superstar”), Magda Szpecht (“Schubert: A Romantic Composition for Twelve Performers and a String Quartet”), Monika Strzępka (“On Goodness”), Klaudia Hartung-Wójciak (“The Manatee: An Underwater Romance”), Maciej Podstawny (“Moby Dick”), Cezary Tomaszewski (“The Goethe Institute,” “Tamara Returns”), Ewelina Marciniak (“Heroines”), and Magdalena Miklasz (“Everything’s Here”).