The notion of moving the setting to the Vatican might initially seem shocking, but where else in the contemporary world might we find rule by divine right? “In Klata’s interpretation ‘King Lear’ dazzles with its monumental set design and the costumes by Justyna Łagowska, it attracts and seduces us with the music of James Leyland Kirby, it delights us (…) with the sharp and witty choreography by Maćko Prusak. […] Jaśmina Polak lingers in the memory – her fool is an outpost of authenticity in a world of cynicism and lies,” wrote Michał Centkowski for dwutygodniku.com. “The camera above stage is always on. The digitally mediated image is projected on the rear wall of the stage. Lear stares upward, closed in his glass cell, tumbling into madness. What drives him? A longing to forgive? The solitude and despair of a man on the verge? Perhaps a little of everything?”
As an authority figure surrounded by rehearsed rituals, Lear becomes less and less reachable, less and less vital, yet his presence is powerful on stage, and the King’s vote is mandatory. It leaves no room for opposition, only for covert intrigue.
Do I believe in a single King, an All-powerful Father? I do not, because there is no way to believe. He is neither a king, nor a father, nor omnipotent. This is the tale of Lear, crowning Klata’s royal triptych (following Oedipus and Ubu), it is the story of a fall, of inevitable passing, and of powerlessness. But in spite of everything this is an unforgettable conclusion, it remains in your memory as a sensation that crawls from the pit of the stomach and sticks in the throat. What a beautiful end of the world.
Beginning 15 February 2016, the play will be presented in an altered form, using recorded scenes featuring Jerzy Grałek. The change in the structure of the play following the death of the actor gives the performance a new, even more symbolic dimension. Come join us.
The play has already been presented in a new structure before.