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The Trojan Women (Gdansk) 18

The Trojan Women (Gdansk)

Wybrzeże Theatre, Gdansk, Poland

Director: Jan Klata

Performed in Polish with Hungarian and English subtitles

2 hours 30 minutes with 1 breaks.

In The Trojan Women, Eurypides showed us what Homer did not tell us in THE ILIAD. What was the morning after the fall of Troy like. How women, until then representatives of the Royal lineage, have been pushed to the very bottom of human existence. What is their relationship with the conquerors, representatives of high Hellenistic culture, who by murdering the innocent and defenceless cross the boundaries of barbarism. While working on this production, the authors attempted to look at the process of maturing into vengeance - the victims against the perpetrators. Writing THE TROJAN WOMEN in the context of the ongoing Peloponnesian War, Euripides openly criticised the Athenians' imperial ambitions. He strove to make them understand that in any armed conflict there are no winners or losers. The Greeks in Homer's epic, like Euripides' Athenian contemporaries, believed they were invincible and this brought doom upon them.




Dorota Kolak –Hecuba
Jacek Labijak – Poseidon
Sylwia Góra-Weber – Athena
Piotr Biedroń - Apparition Polydora
Magdalena Boć – Akantha
Sylwia Góra-Weber – Apollonia
Agata Bykowska – Enyo
Małgorzata Brajner – Sophia
Cezary Rybiński –Talthybius
Małgorzata Gorol – Cassandra
Magdalena Gorzelańczyk – Polyxena
Michał Kowalski – Odysseus
Antoni Łaciński/Marcel Pawłowski –Astyanax
Katarzyna Dałek – Andromache
Michał Jaros –Neoptolemus
Grzegorz Gzyl – Menelaus
Katarzyna Figura – Helen
Robert Ninkiewicz – Agamemnon
Krzysztof Matuszewski – Polymestor
Jacek Labijak – Theoclymenus 


Stage- and costume designer: Mirek Kaczmarek
Choreographer: Maćko Prusak
Dramaturge: Olga Śmiechowicz
Composer: Michał Nihil Kuźniak


Jan Klata

Main Stage
Jan Klata

Jan Klata

Studied drama directing first in Warsaw and then at the PWST in Kraków. Worked as an assistant to Jerzy Grzegorzewski, Jerzy Jarocki, and Krystian Lupa. On graduation he worked as a copywriter, music journalist, and director of a TV talk show. His first professional production was Nikolai Gogol’s Rewizor / The Inspector General for the Jerzy Szaniawski Dramatic Theatre in Wałbrzych (2003). A month later Klata staged his own drama, Uśmiech grejpruta / Grejprut's Smile, at the Polski Theatre in Wrocław In 2004 his H. wg HamletaWilliama Shakespeare’a / H after William Shakespeare's Hamlet for the Wybrzeże Theatre had its high profile premiere at the Gdańsk Shipyard. From that time, the director has constantly worked with Poland’s most interesting stages, including the TR Warszawa, National Stary Theatre in Kraków, Polski Theatre in Wrocław, and Polski Theatre in Bydgoszcz. In 2006 he won the Passport Award of the Polityka weekly in the Theatre category for his innovative reading of the classics, and for his passion and tenacity in examining national myths and diagnosing the Polish reality. Sprawa Dantona/ The Danton Case (Polski Theatre in Wrocław, 2008) won Klata not only general acclaim but also the Konrad Swinarski Prize, the Laur Konrada at the Interpretations Festival in Katowice, and the Best Director Prize at the Boska Komedia / Divine Comedy Festival in 2008. In 2009 he was commissioned by the Dialogue of Four Cultures Festival with a contemporary version of Ziemia obiecana / The Promised Land based on Władysław Reymont. In 2013–17 Klata was the director of the National Stary Theatre in Kraków, where he directed Trzy stygmaty Palmera Eldritcha / The Three Stigmata of Palmer Eldritch (2006), Oresteia (2007), Trylogy based on Henryk Sienkiewicz (2009), Wesele hrabiego Orgaza / The Wedding of Count Orgaz (2010), Do Damaszku / To Damascus (2013), Król Ubu / Ubu Roi (2014), King Lear (2014), Wróg ludu / Enemy of the People (2015), and Wesele / The Wedding (2017).

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