Spring-Effatha (2007)

• idea and choreography: Ewa Wycichowska
• music: Jacek Wierzchowski
  and Dettingen Te Deum no 17 of G.F. Haendle
• scenography: Bohdan Cieślak
• video: Marcelina Wojciechowska
• costumes: Adriana Cygankiewicz
• instalation video: Kacper Lipiński 
  assistant choreographer: Anna Gruszka
  light: Ewa Wycichowska, Arkadiusz Kuczyński
  technical manager: Grzegorz Okupniak
  premiere: 17 November 2007 in Łódź (XIth Christian Cuture Festival)
  duration: 60 minutes
  cast: Andrzej Adamczak, Karina Adamczak – Kasprzak, Agata Ambrozińska – Rachuta, Urszula Bernat / Katarzyna Kulmińska / Małgorzata Mielech, Paweł Malicki, Tomasz Pomersbach, Daniel Stryjecki, Paulina Wycichowska

 

He looked up to heaven and with a deep sigh said to him,
"Ephphatha!" (which means, "Be opened!")
Mk. 7,34

"Spring-Effatha is a project, which combines choreography with multimedia. Here, technology and globalization clash with the longing for simple truths and principles, which are attainable through changes occurring in nature. Although we used to live in harmony with nature, today we are locked in the nature-culture conflict. Hence, we are incapable of seeing the basic truths, everything, which is essential in an anthropological, philosophical and spiritual sense.
We have shut off our senses, lost our child-like curiosity, openness and strength from nature, which cyclically comes to life."
Ewa Wycichowska

ORIGIN OF LIFE

Water – the origin of life
Was in the beginning before the first life
Water was with the Creator
Mothering all life
Is and will be forever
Water is a destiny of my life
It shares the necessity in my body
It was formed and grew in a waterbag
In my mother’s womb
When I cease to live I shall turn into dry dust
Water is the source of healing
It quenches gnawing thirst of midsummer’s day
My tired body plunges in the cool and full water
It is the bosom of Mother Nature
A mere sight of pacifying scenery over the still
Waters removes fatigue from my eyes
Refreshing finally the whole my being
As a full water gives rest to my spirit torn apart
By fierce aggression of the world
The roaring waves arouse courage
In the midst of despair
Water is cleansing power
It washes away all sorts of dirt and carries it
Away with it’s own body
Deeply stained by sin souls are cleansed by
Water that binds renewing power
Always flowing… always gathering…
Always evaporating upward…
Always running downward
Water represents the eternal flux
And adaptability in all situations
But it lives the secret of change
Without unchanging unruliness within the laws
Fulfilled quieted by incessant flow
Rising high by flowing downward
Singing joy in pain in perfect union of
Individual and communal identity
Has dual aspects of unfathomable profundity and
A million expressions exquisite
Knows how to be self-contained while
Surrendering itself uncontained
Water avail at all times
Power to kill and to give life
Living forever with all lives

Sun Al Park

"In postdramatic theatre the body isn’t expose for the public view due to its proximity to the ideal, but as a reason to hurtfull confrontation with imperfectness. Beauty and aesthetic dialectic of classic sculptures was based inter alia on a fact that living person could never compete with them in any matter. Nowadays aging and physically damaged flesh is ruthlessly exposed to view for a carnality of actors is barely protected and filtered by the fiction of the world they’re representing and roles they’re playing  Performer is balancing between transoformation into inanimated object of exposition and confirmation of ones identity as a specific person. He’s showing himself and gives the audience as a form of sacrifice: devoided of protective mask of the playing part and support from idealized tranquility of perfectness, body is being shown in all it’s physicall frailty and misery, but also as an erotic stimulus and provocation on the court of the looks apprising mercilessly. From the position of the victim turned into a sculpture, the postdramatic body is directing itself to the point of agressive attack, putting the audience under the radical question mark. Because of the face to face meeting with an actor as an indyvidual, fragile being, the viewer becomes aware of often underestimated in traditional theatre fact of voyeuristic look on the performer as an object exhibited like a sculpture. And no dramatic action nor conflict doesn’t give the looker necessary „excuse” for such way of looking at human being on stage."

Teatr postdramatyczny,  Hans-Thies Lehmann

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Premiere is produced from the subsidies of the Polish Ministry of Culture and National Heritage.

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