Anna Koczorowska, Gazeta Malarzy i Poetów

(...) The idea of Morawiec’s choreography is to cover and uncover the inner life. One’s face plays the role of a mask hiding poisonous emotions. Tearing off the mask turns out to be a healing gesture.

A coil of material, placed vertically on the stage, as if hiding and embracing something, serves as a screen for projecting faces expressing sadness, despair or anger. The meaning of onstage acting stems out of the play between emotions expressed by the projected faces of dancers and dance movements, as if telling stories of emotions hidden behind the sad face expressions. The dancers move lowly, near the floor. They roll on the stage, giving an impression of oppression and failure. In this atmosphere, a child is born – literally and metaphorically. A woman-child wearing white clothes is born. She climbs onto the arms of her partners, stretches upwards as if trying to free herself from a trap, but she keeps falling down. The meaning of the show becomes clear only when the coil of material reveals the secret it has been hiding. When the curtain is torn, we can see a monstrous machine, reminding one of torture tools.

This is the inside of each character whose face was displayed on the coil. Each of them hides suffering. When the mask breaks, the characters feel relieved. Analogously, new dancers appear on stage, wearing red outfits, smiling, full of life. From beneath the curtain lying on the floor rises the woman-child, released from her trap and free to leave the stage.(...)

Anna Koczorowska, "Gazeta Malarzy i Poetów" No. 2 (48), May 2003.