Over our heads, in the sky spangled with indifferent stars, spin swarms of planets and asteroids equally indifferent to human fate. The stage is in constant rotation, alternately revealing and concealing the scene of the action, the consecutive illuminations and doubts of the protagonists. Witold winds up in a boarding house inhabited by a group of characters – a place which holds one riddle after another. And at all costs, even to excess, he strives to give significance to what he sees, using increasingly absurd associations and analogies. The world he sees thickens and grows monstrous, until ultimately we are unsure what is objective truth and what is a projection of his overheated imagination. Garbaczewski’s Cosmos maintains the convention of a surrealist dream; it is a visually impressive tale of an attempt to structure and delve into the meaning of the world – the eternal field of battle between Eros and Thanatos – emerging from the chaos of sensory impressions and the jumble of facts that accompany questions of the individual’s identity and his place in the world.
At the opening of the play, Witold (Jaśmina Polak) is lying stage center, the black and starry sky is spinning, and a hypnotic voice invites Witold on a journey, promising solace. The director invites the viewers inside Witold’s mind, and there we will stay till the end. The same goes for Gombrowicz’s book – only the medium has changed.
Joanna Targoń, Gazeta Wyborcza
Strobe lights are used during the performance.